This resource is designed to recognize the contributions Black Barnard faculty members have made to scholarship, public intellectual life, and the arts. In honoring their contributions to their fields, to the Barnard/Columbia community, and beyond, we commit to and urge others to uplift and build on the work of Black faculty across the disciplines.
From The Cite Black Women Collective
#1 - Read Black women's work
#2 - Integrate Black women into the CORE of your syllabus (in life & in the classroom).
#3 - Acknowledge Black women's intellectual production.
#4 - Make space for Black women to speak.
#5 - Give Black women the space and time to breathe.
Have a citation of an article, chapter, or creative work by a Black Barnard faculty member to contribute? Please fill out this Google Form.
"When Mahalia Sings"
Kim Hall, Things of Darkness: Economies of Race and Gender in Early Modern England
["‘These bastard signs of fair’: Literary whiteness in Shakespeare's."](https://www.taylorfrancis.com/chapters/bastard-signs-fair-literary-whiteness-shakespeare-sonnets-kim-hall/e/10.4324/9780203426517-8.) Post-Colonial Shakespeares (2013): 64.
Excerpt: While not much is known about the presence of certain ethnic and religious minorities in England, one can say with some certainty and (only slightly facetiously) that England was inhabited by a large population that came to be seen as ‘white’ and yet we have not uncovered ways of discussing this as a factor in English identity formation. Even as scholars examine the social, political and imaginative construction of whiteness, whiteness still becomes normative so long as we assume that its viability as a racial signifier is self-evident. More bluntly, they do not address the more basic question: why is whiteness the mark of racial privilege at all?
Why we cite: “While many scholars of Shakespeare’s work thoroughly analyze “themes” such as family, love, power, and virtue, few consider whiteness as a theme and source of power. Hall’s chapter “‘These bastard signs of fair: Literary whiteness in Shakespeare’s sonnets” highlights the Elizabethan England context of whiteness as well as its social, political and cultural implications. Students are often told that Shakespeare’s work is “universal” and are simultaneously expected to implicitly understand that whiteness is the default in Shakespeare’s work. This dynamic “produce[s] the invisibility that fuels white hegemony” (Hall 81). Reading Hall’s chapter before or while engaging with Shakespeare’s work provides historical context like that, “the appearance of references to African blackness suggests that the sense of whiteness is being reconfigured by England’s expanding trade and colonial ambitions” (Hall 66). Hall also presents an example of analyzing Shakespeare’s sonnets through the lens of whiteness, a often-ignored method of analysis. Without understanding the implication that “lyric whiteness a key component of white supremacy” (Hall 66), students and teachers uphold the white supremacy around lyric whiteness, but understanding and analyzing it as Hall does provides complex insights into the role of whiteness in Elizabethan England and, consequently, in society today.” -- Eva Scholz-Carlson BC '24