Beruflich Dokumente
Kultur Dokumente
Tia Castor
Ms. Jacobs
English 132
In Still I Rise by Maya Angelou, it speaks about a strong African American woman
who addresses those who clearly overlook and undervalue her and all black women. She is
speaking up for African American women, her ancestors, and as well as for herself. Feminist
criticism is essential to understanding the message of the poem and why the speaker formulates
literature. It also asks theoretical and historical questions about the representation of differences
such as gender, race, class, and nationality, and the way these differences shape each other.
Using this Angelou conveys the speakers assertiveness when she responds to critics who might
have historically judged her or other black women. She asks does her, Sassiness upset you? (5).
Meaning does what the unnamed listener see offend him/her because she is nowhere near what
people thought her to be. She next asks, Why are you beset with gloom? / Cause I walk like
Ive got oil wells/ Pumping in my living room (6-8). The speaker talks in such a way that
overshadows all the things people say about African American women. She isnt being arrogant
but forward in order to _____ the disrespect. Too many people might think that she as an African
woman, in particular, would be willing to be looked down upon but she is not. Feminist
criticism stresses that women are not passive. It supports the idea that being female is not a
Feminist criticism also helps readers understand that women have desire and are sexual
beings. The speaker in the poem insinuates at this and her pride in her sexuality when she says,
Does my sexiness upset you? / Does it come as a surprise / That I dance like Ive got diamonds /
At the meeting of my thighs? This set of questions shows that the speaker is OK with her
sexiness. She isnt afraid to show it and even sees it as something to treasure and value. This
doesnt mean that the speaker only views herself as a sex object but it points out that she has a
deep pride and acceptance of that part of herself. The poems refrain helps to make this point.
A real life issue that relates to Still I Rise would be the life and stories of Josephine
Baker. She was born a poor girl African American female in the heats of East St. Louis ghetto in
1906. The songs she produced and the way she danced made her sauvage, her provocative and
exuberant sexuality turned her into an international icon. Because she was an African
Aphrodite it made it difficult to make a living in American, so she had to leave to be able to be
accepted for how she was. Baker probably faced a lot of the criticism and strange looks that the
speaker in the poem responds to. People may have wanted her to keep her bowed head and
lowered eyes but she refused to live any other way except how she wanted. She owned her
sexuality at a time when many thought that that was easy for a black woman, though it probably
wasnt. Critic Robert Goldberg said that, Bakers life was one long struggle with this kind of
racist nonsense. Josephine Baker defied stereotypes and was assertive while also being
unapologetic about her sex appeal. Goldberg said of women like her: Heres the rule: If women
take off their clothes and shake it for a few dollars in a topless bar theyre being exploited. But if
they take off their clothes and shake and get filthy, stinking rich, then they are taking control of
their destiny and glorying in their sensuality. If that is the case, Baker can definitely have been
Castor 3
the inspiration and an example of who Angelou was writing about when she declared, and still,
I rise.
readers get a better understanding through the message of the poem and see why the speaker
replies as she does. Both Angelou and Baker faced criticism and stereotype as black women, but
they chose to embrace their humanity. Neither was afraid to convey their assertiveness, sexiness,
and their confidence as African American women. Their legacy put an imprint on the society and
Works Cited
Goldberg, Robert. TV Black Venus of the Roaring 20s. Wall Street Journal. 18 Mar 1991:
p. A12