P\u00ebrmes dituris\u00eb dhe kritik\u00ebs, hooks, e cila vdiq k\u00ebt\u00eb jav\u00eb, rishkroi kuptimin ton\u00eb p\u00ebr feminizmin si dhe iu dhuroi gjeneratave t\u00eb t\u00ebra nj\u00eb m\u00ebnyr\u00eb t\u00eb re p\u00ebr t\u00eb par\u00eb bot\u00ebn.<\/p>\n\n\n\n
Para se t\u00eb b\u00ebhej bell hooks, nj\u00eb nga shkrimtaret dhe kritiket e m\u00ebdha t\u00eb kultur\u00ebs t\u00eb shekullit t\u00eb nj\u00ebzet\u00eb, para se t\u00eb inspironte gjenerata t\u00eb t\u00ebra t\u00eb lexuesve- ve\u00e7an\u00ebrisht grat\u00eb e zeza- q\u00eb t\u00eb kuptojn\u00eb fuqin\u00eb e tyre p\u00ebr t\u00eb qen\u00eb vetvetja, ajo ishte Gloria Jean Watkins, vajza e Rosa Bell dhe Veodis Watkins. hooks q\u00eb vdiq t\u00eb m\u00ebrkur\u00ebn, \u00ebsht\u00eb rritur n\u00eb Hopskinville – nj\u00eb qytet i vog\u00ebl i izoluar n\u00eb Kentucky. \u00c7do gj\u00eb q\u00eb ajo do t\u00eb b\u00ebhej n\u00eb t\u00eb ardhmen, filloi aty. Ajo u lind n\u00eb vitin 1952 dhe vijoi shkollat e ve\u00e7uara p\u00ebr t\u00eb zinjt\u00eb deri kur arriti n\u00eb kolegj: n\u00eb klas\u00eb v\u00ebrehej q\u00eb ishte e etur p\u00ebr t\u00eb m\u00ebsuar, aty filloi t\u00eb shihte mund\u00ebsit\u00eb \u00e7liruese t\u00eb edukimit. Ajo i donte filmat, por ishte e vet\u00ebdijshme p\u00ebr m\u00ebnyrat se si teatri na b\u00ebn\u00eb ndonj\u00ebher\u00eb rob\u00ebr t\u00eb mendjeve t\u00eb vogla dhe stereotipeve. Kjo e shtyu at\u00eb t\u00eb k\u00ebrkonte m\u00ebnyra t\u00eb reja t\u00eb v\u00ebshtrimit (dhe t\u00eb folurit) prapa imazheve l\u00ebviz\u00ebse t\u00eb ekranit. Gjat\u00eb rritjes, babai i saj punonte si pastrues nd\u00ebrsa n\u00ebna si sh\u00ebrbyese p\u00ebr familjet e bardha; puna e tyre, plot me posht\u00ebrime t\u00eb vogla, vinte n\u00eb fokus fuqin\u00eb e nj\u00eb verbimi t\u00eb pasjellsh\u00ebm. Nj\u00eb bot\u00eb e re u lind nga k\u00ebto gjeste t\u00eb vogla t\u00eb rezistenc\u00ebs – t\u00eb afirmimit t\u00eb nj\u00eb hap\u00ebsire q\u00eb e meritojm\u00eb me t\u00eb drejt\u00eb.<\/p>\n\n\n\n
N\u00eb vitin 1973, Watkins diplomoi n\u00eb Stanford. Si nj\u00eb n\u00ebnt\u00ebmb\u00ebdhjet\u00eb vje\u00e7are ajo tashm\u00eb kishte p\u00ebrfunduar nj\u00eb draft t\u00eb tregimit vizionar Black feminism and Womanhood. Gjat\u00eb viteve t\u00eb 70-ta, ajo vazhdoi studimet pasuniversitare n\u00eb Universitetin e Wisconsin- Madison dhe Universitetin e Kaliformis\u00eb- Santa Cruz. N\u00eb fund t\u00eb viteve t\u00eb 70-ta filloi t\u00eb publikoj poezi me emrin artistik bell hooks- p\u00ebr nder\u00eb t\u00eb st\u00ebrgjyshes s\u00eb saj, Bell Blair Hooks (inicialet me shkronja t\u00eb vogla i kishte p\u00ebr q\u00ebllim ta dallojn\u00eb at\u00eb nga st\u00ebrgjyshja si dhe t\u00eb tregonte se si r\u00ebnd\u00ebsi ka p\u00ebrmbajtja e pun\u00ebs dhe jo emri i autorit). N\u00eb vitin 1981 n\u00ebn emrin hooks ajo publikoi librin q\u00eb kishte nisur n\u00eb Stanford Ain\u2019t I a Woman? Black Women and Feminism nj\u00eb lib\u00ebr historik q\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb ishe nj\u00eb histori e trash\u00ebgimis\u00eb s\u00eb skllav\u00ebris\u00eb dhe dehumanizimit t\u00eb vazhduesh\u00ebm t\u00eb grave t\u00eb zeza, si dhe nj\u00eb kritik\u00eb e politik\u00ebs revolucionare q\u00eb ishte ngritur si p\u00ebrgjigje ndaj k\u00ebtij keqtrajtimi- p\u00ebrgjigje q\u00eb p\u00ebrqendrohej n\u00eb psik\u00ebn mashkullore. Ajo besonte se \u00e7lirimi i v\u00ebrtet\u00eb, duhet t\u00eb njoh\u00eb klas\u00ebn, rac\u00ebn dhe gjinin\u00eb si pjes\u00eb t\u00eb identiteteve tona pasi q\u00eb jan\u00eb t\u00eb lidhura pazgjidhshm\u00ebrisht. Ne jemi t\u00eb gjitha k\u00ebto gj\u00ebra n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb.<\/p>\n\n\n\n
Gjat\u00eb viteve t\u00eb 80-ta dhe 90-ta, hooks ligj\u00ebroi n\u00eb Universitetin e Yale, Kolegjin Oberlin dhe n\u00eb Kolegjin e Qytetit n\u00eb New York. Ishte nj\u00eb dijetare e profilizuar dhe shkrimtare, duke botuar m\u00eb shum\u00eb se kat\u00ebrdhjet\u00eb libra dhe qindra artikuj n\u00ebp\u00ebr magazina, revista dhe gazeta. Nd\u00ebr idet\u00eb e saj m\u00eb me ndikim ishe ajo e \u201cv\u00ebshtrimit opozitar\u201d. Marr\u00ebdh\u00ebniet e pushtetit jan\u00eb t\u00eb koduara ashtu se si ne e shohim nj\u00ebri tjetrin; njer\u00ebzit e skllav\u00ebruar dikur d\u00ebnoheshin vet\u00ebm pse thjesht\u00eb shikonin pronar\u00ebt e tyre t\u00eb bardh\u00eb. Nocioni i hooks i p\u00ebrb\u00ebr\u00eb nga m\u00ebnyra konfrontuese dhe rebele e t\u00eb parit t\u00eb gj\u00ebrave b\u00ebri nj\u00eb \u2018qark t\u00eb shkurt\u00ebr\u2019 tek v\u00ebshtrimi burr\u00ebror ose v\u00ebshtrimi i bardh\u00eb, q\u00eb donte t\u2019i b\u00ebnte spektatore pasive grat\u00eb e zeza q\u00eb shiheshin disi si \u201ct\u00eb tjera\u201d. Ajo vler\u00ebsonte fuqin\u00eb e kritik\u00ebs ose b\u00ebrjes s\u00eb artit nga perspektiva sfiduese e zez\u00eb.<\/p>\n\n\n\n
Un\u00eb hasa n\u00eb pun\u00ebn e saj n\u00eb mesin e viteve t\u00eb 90-ta, gjat\u00eb nj\u00eb epoke t\u00eb frytshme t\u00eb studimeve kulturore t\u00eb zezak\u00ebve, ku revistat alternative javore dukeshin si monografi akademike rigoroze. P\u00ebr hooks, pjes\u00ebmarrja me shkrime n\u00eb sfer\u00ebn publike ishte vet\u00ebm nj\u00eb jet\u00ebsim i mendjes ndaj shqet\u00ebsimeve aktuale, qoft\u00eb n\u00ebse subjekti i saj ishte Maddonna, Spike Lee ose n\u00eb nj\u00eb pjes\u00eb e paharrueshme si \u201cF\u00ebmij\u00ebt\u201d e Larry Clark. Ajo po shkruante n\u00eb nj\u00eb koh\u00eb kur studimet serioze kulturore- g\u00ebrmimi i n\u00ebnteksteve, k\u00ebrkimi p\u00ebr t\u00eb dh\u00ebna ishte ende nj\u00eb sip\u00ebrmarrje pa vler\u00eb. Si nj\u00eb lexuese amerikane aziatike, isha e dashuruar se si kritik\u00ebt si hooks t\u00ebrhiqeshin nga prejardhja dhe miq\u00ebsit\u00eb e tyre, jo p\u00ebr t\u00eb rrafshuar jet\u00ebn e tyre n\u00eb di\u00e7ka universale, por p\u00ebr t\u00eb na kujtuar t\u00eb gjith\u00ebve se t\u00eb gjith\u00eb ne indeksojm\u00eb nj\u00eb gam\u00eb t\u00eb gjer\u00eb shpesh kontradiktore shijesh dhe p\u00ebrvojash. Kritika e saj sugjeronte nj\u00eb tru pulsues dhe t\u00eb palodhsh\u00ebm q\u00eb mundohet t\u00eb kuptoj se si puna artistike e b\u00ebnte t\u00eb ndihej. Ajo ishte model i nj\u00eb intelekti q\u00eb ndiqte jehon\u00ebn e larg\u00ebt t\u00eb supremacis\u00eb s\u00eb t\u00eb bardh\u00ebve dhe rezistenc\u00ebs s\u00eb zezak\u00ebve p\u00ebrgjat\u00eb koh\u00ebs, duke pikasur trash\u00ebgimit\u00eb e tyre n\u00eb pun\u00ebn e Quentin Tarantinos ose t\u00eb Forest Whitaker tek Waiting to Exhale.<\/p>\n\n\n\n
Megjithat\u00eb puna e saj- n\u00eb librat si Reel to Real ose Art on My Mind q\u00eb mbijetuan dekada t\u00eb rileximit dhe n\u00ebnvizimit- ishin model se si t\u00eb jetojm\u00eb dhe thjesht\u00eb t\u00eb frymojm\u00eb n\u00eb bot\u00eb. Ajo ishte e zellshme n\u00eb l\u00ebvdatat e saj- ve\u00e7an\u00ebrisht kur b\u00ebhej fjal\u00eb p\u00ebr Daughters of the Dust t\u00eb Julie Dash, nj\u00eb film q\u00eb iu referua shum\u00eb her\u00eb p\u00ebrgjat\u00eb pun\u00ebs s\u00eb saj- ajo nuk humbi kurr\u00eb at\u00eb se si duhet t\u00eb ndihemi t\u00eb mahnitur p\u00ebrpara nj\u00eb vepre arti emocionuese. Ajo nuk mund t\u00eb mohonte entuziazmin pasi dritat zbehen dhe ne b\u00ebhemi gati p\u00ebr t\u2019iu dor\u00ebzuar performanc\u00ebs. Por, ajo b\u00ebri k\u00ebrkesa p\u00ebr bot\u00ebn. Ajo besonte se kritika vie nga nj\u00eb vend i dashur, nga nj\u00eb d\u00ebshir\u00eb p\u00ebr t\u00eb humbur veten n\u00eb gj\u00ebrat q\u00eb meritojn\u00eb.<\/p>\n\n\n\n
Zbulimi i Historis\u00eb s\u00eb Zezak\u00ebve n\u00eb Freedom Lots<\/p>\n\n\n\n
Ajo iu afrua njer\u00ebzve, dhe kjo ishte ajo q\u00eb gjenerata jon\u00eb donte t\u00eb b\u00ebnte me pun\u00ebn intelektuale. Ajo shkroi libra p\u00ebr f\u00ebmij\u00eb, shkroi ese q\u00eb njer\u00ebzit lexojn\u00eb n\u00eb klasa t\u00eb kolegjeve apo edhe n\u00ebp\u00ebr burgje. P\u00ebrzgjedhja e Reel to Real m\u00eb b\u00ebri t\u00eb mendoj se \u00e7far\u00eb libri mund t\u00eb jet\u00eb. Ishte nj\u00eb koleksion i eseve t\u00eb saj mbi filmat, diseksione t\u00eb mprehta t\u00eb Paris is Burning apo Leaving Las Vegas. Por pjesa n\u00eb mes p\u00ebrb\u00ebhej nga intervista me film-b\u00ebr\u00ebsit si Wayne Wang dhe Arthur Jafa, ku lexuesi has\u00eb n\u00eb nj\u00eb dimension tjet\u00ebr kritik t\u00eb personalitetit t\u00eb hooks- kurioze, empatike dhe n\u00eb k\u00ebrkim t\u00eb bashk\u00ebluft\u00ebtar\u00ebve. \u201cP\u00ebrfaq\u00ebsimi \u00ebsht\u00eb i r\u00ebnd\u00ebsish\u00ebm\u201d \u00ebsht\u00eb nj\u00eb fraz\u00eb boshe n\u00eb koh\u00ebt e sotme dhe \u00ebsht\u00eb leht\u00eb t\u00eb harrojm\u00eb se edhe n\u00eb vitet e 80-ta dhe 90-ta kjo nuk mjaftonte. Ajo ishte m\u00eb e mprehta n\u00eb rezistimin e p\u00ebrthyerjeve banale t\u00eb gatshme p\u00ebr treg t\u00eb zezak\u00ebve ose grave q\u00eb p\u00ebrfaq\u00ebsojn\u00eb nj\u00eb p\u00ebrparim t\u00eb leht\u00eb e t\u00eb pak\u00ebt. Nj\u00eb nga shkrimet e saj m\u00eb t\u00eb famshme dhe nd\u00ebr t\u00eb fundit \u00ebsht\u00eb nj\u00eb ese e vitit 2016 mbi vet\u00eb-komodifikimin e Beyonce, ku provokoi zem\u00ebrim tek fansat e k\u00ebng\u00ebtares. Sidoqoft\u00eb, n\u00ebse k\u00ebt\u00eb ese e kuptojm\u00eb n\u00eb nj\u00eb kontekst m\u00eb t\u00eb gjer\u00eb t\u00eb jet\u00ebs s\u00eb hooks dhe projektit intelektual t\u00eb saj, ekzistojn\u00eb disa pjes\u00eb t\u00eb mbushura me dashuri dhe admirim ndaj Beyonce.<\/p>\n\n\n\n
Kjo ka qen\u00eb nj\u00eb koh\u00eb ve\u00e7an\u00ebrisht e v\u00ebshtir\u00eb pasi humb\u00ebm kritik\u00ebt q\u00eb u rrit\u00ebn n\u00eb vitet e 80-ta dhe 90-ta, gjigant\u00ebt si hooks, Greg Tate dhe Dave Hickey. hooks ishte nj\u00eb kritike e shk\u00eblqyer- padyshim vdekja e saj do t\u00eb inspiroj\u00eb shum\u00eb rishikime t\u00eb publikimeve si Ain\u2019t I a Woman, Black Looks ose Outlaw Culture. Ajo ishte gjithashtu edhe poete dhe shkrimtare e memoareve e mahnitshme. N\u00eb vitin 1982 ajo publikoi nj\u00eb poezi t\u00eb titulluar in the matter of the egyptians n\u00eb revist\u00ebn Hambone, revist\u00eb kjo q\u00eb punoi s\u00eb bashku me partnerin e at\u00ebhersh\u00ebm, Nathaniel Mackey. Poezi vijon k\u00ebshtu:<\/p>\n\n\n\n
ancestral bodies (trupat e paraardh\u00ebsve) buried in sand (t\u00eb varrosur n\u00eb r\u00ebr\u00eb) sun treasured flowers (lule t\u00eb shp\u00ebrblyera nga dielli) press in a memory book (t\u00eb shtypura n\u00eb librin e kujtimeve) they pass through loss (ato kalojn\u00eb p\u00ebrmes humbjes) and come to this still tenderness (dhe arrijn\u00eb n\u00eb k\u00ebt\u00eb but\u00ebsi t\u00eb qet\u00eb) swept clean by scarce winds (t\u00eb fshira nga er\u00ebrat e shenjta)<\/p>\n\n\n\n
surfacing in the watery passage (duke dal\u00eb n\u00eb sip\u00ebrfaqe t\u00eb ujit) beyond death (p\u00ebrtej vdekjes)<\/p>\n\n\n\n
Ne vitin 2004, hooks u kthye n\u00eb Kentucky p\u00ebr t\u00eb ligj\u00ebruar n\u00eb kolegjin Berea, ku edhe themeloi institutin bell hooks. P\u00ebrgjat\u00eb dy dekadave, kritika e publikuar e hooks kaloi nga filmi dhe let\u00ebrsia tek marr\u00ebdh\u00ebniet, seksualiteti dhe m\u00ebnyrat se si pjes\u00ebtar\u00ebt e komunitetit q\u00ebndrojn\u00eb t\u00eb p\u00ebrgjegjsh\u00ebm ndaj nj\u00ebri tjetrit. Bashk\u00ebjetesa ishte gjithmon\u00eb tem\u00eb n\u00eb pun\u00ebn e hooks, duke b\u00ebr\u00eb intimitetin nj\u00eb subjekt dhe jo kontekst. Sikurse edhe aktivistja dhe organizatorja e ndjer\u00eb aziatiko-amerikane Grace Lee Boggs, e cila iu p\u00ebrkushtua kopshtaris\u00eb n\u00eb komunitet n\u00eb vitet e pleq\u00ebris\u00eb, shkrimet e hooks t\u00eb shekullit t\u00eb 20 e nj\u00eb mbi dashurin\u00eb si nj\u00eb \u201cveprim, nj\u00eb emocion pjes\u00ebmarr\u00ebs\u201d dhe rrug\u00ebtimit t\u00eb p\u00ebrbashk\u00ebt ishin profetike, nj\u00eb kthim n\u00eb baz\u00eb p\u00ebr \u00e7do gj\u00eb q\u00eb ka r\u00ebnd\u00ebsi. Sistemi shoq\u00ebror dhe politik rreth nesh \u00ebsht\u00eb i dizajnuar t\u00eb na shkat\u00ebrroj ndjenj\u00ebn ton\u00eb t\u00eb vler\u00ebsimit dhe t\u00eb na b\u00ebj\u00eb t\u00eb ndihemi t\u00eb vegj\u00ebl. Sidoqoft\u00eb revolucioni fillon brenda secilit nga ne, me k\u00ebrkesat q\u00eb i parashtrojm\u00eb bot\u00ebs, n\u00eb luft\u00ebn e p\u00ebrditshme kund\u00ebr nihilizmit.<\/p>\n\n\n\n
\u201cN\u00ebse do t\u00eb m\u00eb k\u00ebrkohej t\u00eb definoj veten nuk do t\u00eb filloja me rac\u00ebn, s\u2019do filloja me t\u00eb qenurit e zez\u00eb; nuk do t\u00eb filloja me gjinin\u00eb; nuk do t\u00eb filloja me feminizmin. Do t\u00eb filloja me zhveshjen e asaj se \u00e7ka n\u00eb m\u00ebnyr\u00eb fondamentale formon jet\u00ebn time, q\u00eb jam nj\u00eb k\u00ebrkuese p\u00ebrgjat\u00eb rrug\u00ebtimit tim. Un\u00eb mendoj p\u00ebr feminizmin, mendoj p\u00ebr luft\u00ebn kund\u00ebr racizmit si pjes\u00eb t\u00eb saj. Por, ku q\u00ebndroj shpirt\u00ebrisht n\u00eb m\u00ebnyr\u00eb t\u00eb q\u00ebndrueshme \u00ebsht\u00eb n\u00eb rrug\u00ebn e dashuris\u00eb\u201d, tha hooks p\u00ebr nj\u00eb magazin\u00eb budiste n\u00eb t\u00eb 90-ta e hershme.<\/p>\n\n\n\n
David Remnick<\/strong><\/p>\n\n\n\n E p\u00ebrktheu: Bardha Nikoliqi<\/p>\n\n\n\n Tekstin origjinal mund ta gjeni n\u00eb: https:\/\/www.newyorker.com\/culture\/postscript\/the-revolutionary-writing-of-bell-hooks <\/p>\n","protected":false},"featured_media":3397,"template":"","class_list":["post-3396","lexo-post","type-lexo-post","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\n