Richardson Matt
a English and African and African Diaspora Studies , University of Texas at Austin , Austin , Texas , USA.
J Lesbian Stud. 2014;18(3):237-51. doi: 10.1080/10894160.2014.896622.
This article examines the music and performance of Meshell Ndegeocello, arguing that they are part of a cross-Atlantic conversation that pushes the boundaries of Black feminist thought on masculinity and desire. From the time of her debut album in 1993, Ndegeocello has resisted categorization both in her public personae and in her music. Ndegeocello's refusal to be restricted in her stage performance and in her musical expression has created a rich text through which to read Black female masculinity. Her work has been particularly productive in rethinking (Black) feminist couplings of patriarchy with male anatomy. Ndegeocello's music challenges any one representation of female masculinity, mixing critiques of masculine privilege and violence with celebrations of pleasure and pansexual desire.
本文探讨了梅谢尔·恩迪戈切洛的音乐与表演，认为它们是跨大西洋对话的一部分，推动了黑人女性主义关于男性气质和欲望的思想边界。从1993年首张专辑发行之时起，恩迪戈切洛无论是在公众形象还是音乐方面都拒绝被归类。恩迪戈切洛在舞台表演和音乐表达上拒绝受限，创造了一个丰富的文本，从中可以解读黑人女性的男性气质。她的作品在重新思考父权制与男性身体结构的（黑人）女性主义结合方面尤其富有成效。恩迪戈切洛的音乐挑战了女性男性气质的任何单一表现形式，将对男性特权和暴力的批判与对愉悦和泛性欲望的颂扬交织在一起。
