Titlebook: Imagining the Black Female Body; Reconciling Image in Carol E. Henderson Book 2010 Carol E. Henderson 2010 Comic.culture.Imagination.Renais

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n of common misunderstandings of choice. Next, I describe and analyse major assessments of choice availability, with attention to assessment involving self-reported choice versus choices reported by proxies. This section is followed by an examination of the major research findings concerning choice

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Disembodiments,ory. Artists’ reliance on a history that has to be constructed and imagined is reflected on a marked black body. In her painting . (1988), Howardena Pindell positions herself at the center of her autobiographical account. Her face emerges clear from the water, but her body is submerged in a blue sea

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,“Pull Up to the Bumper”,scene. Its star, Grace Jones, is a music and queer icon in popular culture. She is an artist who personifies a spectrum of personalities to audiences, but she has never been a man, contrary to rumors that suggest otherwise. In spite of her completely singular approach to the reigning interest in and

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Four Women, For Women,sively absorbed this thinking or vehemently resisted it” (65). Unlike Nina Simone’s 1966 first-person rendition of “Four Women,” in reaction to the unbridled racism and white supremacy of the civil rights era, Talib Kweli’s twenty-first-century third-person voice, in tribute to Simone, positions the

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