A Beyoncé Feminist
Keywords:Beyoncé, Feminism, Black Feminism
AbstractBeyoncé’s album Beyoncé is a vexing articulation of twenty-first century mainstream feminism that captivated audiences worldwide. Whether or not feminist scholars, activists, or artists agree with Beyoncé’s discourse, her influence on popular culture is undeniable and it would be negligent for those of us invested in women’s and gender studies to dismiss the album or its principal artist. Résumé L’album Beyoncé de Beyoncé est une articulation fâcheuse du courant féministe dominant du 21e siècle qui a captivé le public dans le monde entier. Que les universitaires, les militantes ou les artistes féministes soient ou non d’accord avec le discours de Beyoncé, son influence sur la culture populaire est indéniable et il serait négligent pour ceux d’entre nous qui sont investis dans des études sur le genre et les femmes de ne pas prendre l’album ou sa principale artiste au sérieux.
Apple Press Info. 2013. “BEYONCÉ Shatters iTunes Store Records With 828,773 Albums Sold in Just Three Days.” December 16. https://www.apple.com/ca/pr/library/2013/12/16BEYONC-Shatters-iTunes-Store-Records-With-Over-828-773-Albums-Sold-in-Just-Three-Days.html.
Beyoncé. 2013. Instagram. December 13. http://instagram.com/p/h2YFO6Pw1d/?modal=true.
____. 2014. “Bow Down / I Been On.” SoundCloud. July 21.
Beyoncé, and Nicki Minaj. 2014. “Flawless.” Beyonce.com, August 31. www.flawless.beyonce.com.
Bordo, Susan. 1993. Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley, CA: University of California Press.
Cashmore, Ellis. 2010. “Buying Beyoncé.” Celebrity Studies 1 (2): 135-150. Celebrity Universe. 2014. “Beyonce Interview on CNN's Larry King Live - An Amazing Personality!!” July 21. http://youtu.be/qBtqaF9Up50.
Collins, Patricia Hill. 1990. “Toward an Afrocentric Feminist Epistemology.” In Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment, by Patricia Hill Collins, 201-220. London, UK: Harper Collins Academic.
Cubarrubia, RJ. 2013. “Beyonce Calls Herself a ‘Modern-Day Feminist.’” Rolling Stone Magazine, April 3. http://www.rollingstone.com/music/news/beyonce-calls-herself-a-modern-day-feminist-20130403.
Durham, Aisha. 2012. “Check on It: Beyoncé, Southern Booty, and Black Femininities in Music Video.” Feminist Media Studies 12 (1): 35-49.
Evans, Denise. 2013. “Gig Guide: Beyoncé at Manchester Arena.” Manchester Evening News, April 26. http://www.manchestereveningnews.co.uk/whats-on/music/gig-guide-beyonc-manchester-arena-3157004.
***Flawless. 2013. Directed by Jake Nava. New York, NY: Colombia Records, a division of Sony Music Entertainment, video.
Foster, Kimberly. 2014. “On bell hooks and Feminist Blind Spots: Why Theory Will Not Set Us Free.” For Harriet: Celebrating the Fullness of Black Womanhood, May 12. http://www.forharriet.com/2014/05/on-bell-hooks-and-feminist-blind-spots.html.
Goldberg, Haley. 2014. “LAFF 2014: ‘Beyoncé’ Visual Album Comes to Life at Screening.” Los Angeles Times, June 14. http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-laff-2014-beyonce-visual-album-comes-to-life-at-screening-20140614-story.html.
Grammys, The. 2014. “Past Winners Search.” www.grammy.com. http://www.grammy.com/nominees/search?artist=beyonce&field_nominee_work_value=&year=All&genre=All.
Hall, Stuart. 1990. “Cultural Identity and Diaspora.” In Identity: Community, Culture, Difference, edited by Jonathan Rutherford. London, UK: Lawrence and Wishart.
Hatton, Erin, and Mary Nell Trautner. 2013. “Images of Powerful Women in the Age of ‘Choice Feminism.’” Journal of Gender Studies 22 (1): 65-78.
Hollows, Joanne. 2000. Feminism, Femininity and Popular Culture. Manchester, UK: Manchester University Press.
Kaufman, Gil, 2005. “Destiny’s Child’s Long Road To Fame (The Song Isn’t Called ‘Survivor’ For Nothing).” MTV News, June 13. http://www.mtv.com/news/1504044/destinys-childs-long-road-to-fame-the-song-isnt-called-survivor-for-nothing/.
Kid Fury and Crissle. 2014. On The Run – This Is The Read Podcast 71. Podcast Audio. MP3. https://soundcloud.com/theread/on-the-run.
McKittrick, Katherine. 2006. Demonic Grounds: Black Women and the Cartographies of Struggle. Minneapolis, MN: University of Minnesota Press.
MTV.com. 2014. “Beyoncé Named Highest-Earning Black Artist Of All Time.” April 29. http://www.mtv.co.uk/beyonce/news/beyonce-named-highestearning-black-artist-of-all-time.
Pomerantz, Dorothy. 2014. “Beyoncé Knowles Tops the FORBES Celebrity 100 List.” Forbes, June 30. http://www.forbes.com/sites/dorothypomerantz/2014/06/30/beyonce-knowles-tops-the-forbes-celebrity-100-list/.
Rosen, Jody. 2014. “Beyoncé: The Woman on Top of the World.” The New York Times, June 3. http://tmagazine.blogs.nytimes.com/2014/06/03/beyonce-the-woman-on-top-of-the-world/.
Sandberg, Sheryl. 2014. “Beyoncé.” Time Magazine, April 23. http://time.com/70716/.
Strother, Z. S. 1999. “Display of the Body Hottentot.” In Africans On Stage: Studies in Ethnological Show Business, edited by Bernth Lindfors, 1-61. Bloomington, IN: Indiana University Press.
Subscribe for the Best of Bey!. 2011. “Beyonce on Piers Morgan Tonight, June 27, 2011. (Full Interview) [HD 720p].” https://www.youtube.com/watch?v=KThKNMo8tFM.
TEDx Talks. 2013. “We Should All Be Feminists: Chimamanda Ngozi Adichie at TEDxEuston.” April 12. http://youtu.be/hg3umXU_qWc.
Time Magazine. 2014. “Beyoncé on Her Biggest Influence.” April 23. http://time.com/70716/.
The New School. 2014. “bell hooks - Are You Still a Slave?: Liberating the Black Female Body. Eugene Lang College.” May 7. http://youtu.be/rJk0hNROvzs.
The Official Beyoncé YouTube Channel. 2013a. “‘Self-Titled’: Part 1. The Visual Album.” December 13. http://youtu.be/IcN6Ke2V-rQ.
____. 2013b. “‘Self-Titled’: Part 2. Imperfection.” December 17. https://www.youtube.com/watch?v=cIv1z6n3Xxo.
____. 2013c. “‘Self-Titled’: Part 4. Liberation.” December 30. http://youtu.be/1b1loWJfxaA?list=PLHFeMk_LSwG7Zd-9Iudc9oUmQ-U5nwYY5.
____. 2014. “About.” August 31. https://www.youtube.com/user/beyonce/about.
Weidhase, Nathalie. 2015. “‘Beyoncé Feminism’ and the Contestation of the Black Feminist Body.” Celebrity Studies 6 (1): 128-131.
Authors who publish with this journal agree to the following terms:
1. Authors retain copyright and grant the journal right of first publication, with the work simultaneously licensed under a Creative Commons Attribution 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
2. Authors are aware that articles published in Atlantis are indexed and made available through various scholarly and professional search tools, including but not limited to Erudit.
3. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
4. Authors are permitted and encouraged to preprint their work, that is, post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process. This can lead to productive exchanges, as well as earlier and greater citation of published work. Read more on preprints here.