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Womanist and Black Feminist Responses to Tyler Perry’s Productions
Pause, Auntie Momma! Reading Religion in Tyler Perryâs Fat Drag
edited_book
Author(s):
LeRhonda S. Manigault-Bryant
Publication date
(Print):
July 02 2014
Publisher:
Palgrave Macmillan
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There is no author summary for this book yet. Authors can add summaries to their books on ScienceOpen to make them more accessible to a non-specialist audience.
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GLUT4 biology
Author and book information
Book Chapter
DOI:
10.1057/9781137429568.0018
SO-VID:
7692bb40-16f2-43c6-a4cf-92c2f4e04de9
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Book chapters
Introduction
âA People That Would Take Care of Ourselvesâ
Tyler Perry Reads Scripture
âIt Ainât Where You Cominâ from, Honeyâ
The Politics of Performance
Talking Back and Taking My âAmensâ with Me
Afterword
âDo You Want to Be Well?â The Gospel Play, Womanist Theology, and Tyler Perryâs Artistic Project
Theology, Spirituality, and Black Popular Religious Imaginations
Mad Black Bitches and Ladylike Saints
(Re)Mediating Black Womanhood
Signifying Love and Embodied Relationality
Tyler Perry and the (Mis)Representation of Religious Morality
Jesus Will Fix It, After While
Black Women as Religio-Cultural Capital
Screening God
Madea vs. Medea
Filmography
Pause, Auntie Momma! Reading Religion in Tyler Perryâs Fat Drag
Theorizing Intersecting Identities and (Re)Envisioning Black Womanhood
pp. 1
Introduction
pp. 15
Filmography
pp. 27
Tyler Perry Reads Scripture
pp. 41
Signifying Love and Embodied Relationality: Toward a Womanist Theological Anthropology
pp. 57
Jesus Will Fix It, After While: The Purpose and Role of Gospel Music in Tyler Perry Productions
pp. 73
Screening God
pp. 91
“A People That Would Take Care of Ourselves”: Tyler Perry’s Vision of Community and Gender Relations
pp. 107
“It Ain’t Where You Comin’ from, Honey”: Class, Social Mobility, and Marriage in Tyler Perry’s Madea’s Family Reunion
pp. 125
Mad Black Bitches and Ladylike Saints: Representations of African American Womanhood in Tyler Perry Films
pp. 147
(Re)Mediating Black Womanhood: Tyler Perry, Black Feminist Cultural Criticism, and the Politics of Legitimation
pp. 165
Pause, Auntie Momma! Reading Religion in Tyler Perry’s Fat Drag
pp. 187
Madea vs. Medea: Agape and the Militarist or Murderous Maternal
pp. 203
Tyler Perry and the (Mis)Representation of Religious Morality
pp. 217
“Do You Want to Be Well?” The Gospel Play, Womanist Theology, and Tyler Perry’s Artistic Project
pp. 235
Talking Back and Taking My “Amens” with Me: Tyler Perry and the Narrative Colonization of Black Women’s Stories
pp. 251
Afterword
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