By Deborah Gray White
Dwelling with the twin burdens of racism and sexism, slave ladies within the plantation South assumed roles in the family members and neighborhood that contrasted sharply with conventional woman roles within the better American society. This re-creation of Ar'n't I a Woman? studies and updates the scholarship on slave ladies and the slave relatives, exploring new methods of realizing the intersection of race and gender and evaluating the myths that stereotyped woman slaves with the realities in their lives. certainly, this groundbreaking learn indicates us how black ladies skilled freedom within the Reconstruction South — their heroic fight to achieve their rights, carry their households jointly, withstand financial and sexual oppression, and hold their experience of womanhood opposed to all odds.
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Extra resources for Ar'n't I a Woman?: Female Slaves in the Plantation South
31 and the body. Yes, they stitched together a whole, but any garment consisting of several pieces is seamed where the parts join. ”) Other teams described their work as “intertwined” or “woven” together, metaphors which seem compatible with our original deﬁnition of co-authoring: face-to-face, word-by-word collaborative writing. Priscilla S. Rogers and Marjorie S. Horton (1992) deﬁne “face-to-face composing” as the rare “truly multiple authorship . . the fully collaborative enterprise involving coauthors who plan, draft, and revise a document in a face-to-face context” (122).
For those who perpetuate the (mis)conception of plagiarism and use that term to cover every kind of suspect use of another’s words—a conception which hinders their understanding that all writing is collaborative—co-authoring would represent a type of fraud which only they could imagine is possible. They would see co-authoring as not producing original, autonomous work. ” If we believe that all writing is collaborative—that all texts are intertextual, all authors are interauthorial—then plagiarism as we have thought of it traditionally is obliterated.
The collaboration moves recursively through stages of talk, coresearching, co-teaching, co-drafting, co-revising, co-analyzing, and ﬁnally to co-editing on the other end. But as Bakhtin says, the heteroglossia of this process is impossible to resolve—the forces (voices, consciousnesses, lived experiences, knowledges) are impossible to tease apart. And further, Thralls (1992), in connecting Bakhtin and collaborative writing, claims that “to speak—to write—demands collaboration with others in a communication chain” (66).