References
- Bester, Rory. 2001. Senzeni Marasela from the “Fresh” Series. Cape Town: South African National Gallery.
- Coly, Ayo A. 2019. Postcolonial Hauntologies: African Women’s Discourses on the Female Body. Lincoln: University of Nebraska Press.
- Crais, Clifton, and Pamela Scully. 2009. Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography. Johannesburg: Wits University Press; Princeton: Princeton University Press.
- Crous, Marisa. “Blinded by Whiteness: The Domestic Worker Uniform and Why it’s Still a Symbol of Oppression.” W24, 20 April 2018. https://www.w24.co.za/SelfCare/Wellness/Mind/blinded-by-whiteness-the-domestic-worker-uniform-and-why-its-still-a-symbol-of-oppression-20180420
- Derrida, Jacques. 1994. Specters of Marx: The State of Debt, the Work of Mourning, & the New International. New York: Routledge.
- Driver, Dorothy. 2013. “Najbulo Ndebele’s the Cry of Winnie Mandela and the Reconstruction of Gender and Nation.” In The Cry of Winnie Mandela (Section Called “Articles for Discussion”) by Njabulo Ndebele, 206–259. Johannesburg: Picador Africa. (First published in Cross/Cultures: Readings in the Post/Colonial Literatures in English, vol. 105. Amsterdam and New York: Rodopi, 2009: 1–38.)
- Elbourne, Elizabeth. 2002. Blood Ground: Colonialism, Missions, and the Contest for Christianity in the Cape Colony and Britain, 1799–1853. Montreal: McGill-Queen’s University Press.
- Gilman, Sander. 1985. “Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in late 19th-century art, Medicine, and Literature.” Critical Inquiry 12: 204–242. doi:10.1086/448327.
- Gordon-Chipembere, Natasha. 2011. “Under Cuvier’s Microscope: The Dissection of Michelle Obama in the Twenty-First Century.” In Representation and Black Womanhood: The Legacy of Sarah Baartman, edited by Natasha Gordon-Chipembere, 165–180. Basingstoke: Palgrave MacMillan.
- Gouws, Amanda. 2019. “Little is Left of the Feminist Agenda that Swept South Africa 25 Years Ago.” The Conversation, August 5. https://theconversation.com/little-is-left-of-the-feminist-agenda-that-swept-south-africa-25-years-ago-121212?utm_medium=email&utm_campaign=Latest%20from%20The%20Conversation%20for%20August%208%202019%20-%201380912986&utm_content=Latest%20from%20The%20Conversation%20for%20August%208%202019%20-%201380912986+CID_667409b6ae10e7e0659343ba7ac4be49&utm_source=campaign_monitor_africa.
- Greslé, Yvette. 2014. “Senzeni Marasela” (interview). Africanah.Org. October 5. https://africanah.org/senzeni-marasela/.
- Hirsch, Marianne. 1997. Family Frames: Photography, Narrative and Postmemory. Cambridge, MA: Harvard University Press.
- Holmes, Rachel. 2007. The Hottentot Venus: The Life and Death of Saartjie Baartman, Born 1789–Buried 2002. London: Bloomsbury.
- Hyslop, Jonathan. 2011. “Gandhi 1869–1915: The Transnational Emergence of a Public Figure.” In The Cambridge Companion to Gandhi, edited by Judith M. Brown and Anthony Parel, 30–50. Cambridge and New York: Cambridge University Press.
- Khan, Sharlene. 2017. “‘Covering Sarah’ Exorcises Pain.” The Conversation, March 17. https://theconversation.com/under-the-influence-of-covering-sarah-exorcising-the-trauma-of-colonialism-and-racism-71284
- Lindfors, Bernth. 2014. Early African Entertainments Abroad: From the Hottentot Venus to Africa’s First Olympians. Madison: University of Wisconsin Press.
- Magubane, Zine. 2001. “Which Bodies Matter? Feminism, Postructuralism, Race, and the Curious Theoretical Odyssey of the ‘Hottentot Venus’.” Gender & Society 15 (6): 816–814.
- Morrison, Toni. (1970) 1999. The Bluest Eye. Reprint. London: Vintage.
- Morrison, Toni. 1992. Playing in the Dark: Whiteness and the Literary Imagination. Cambridge, MA: Harvard University Press.
- Ndebele, Njabulo. 2013. The Cry of Winnie Mandela. Johannesburg: Picador Africa. (First published by David Philip Publishers in 2003.)
- Ntombela, S. 2012. “Do Clothes Make a (wo)Man? Exploring the Role of Dress in Shaping South African Domestic Workers’ Identities.” In Dress, identity, materiality, edited by R. Moletsane, C. Mitchell and A. Smith. Cape Town: HSRC Press.
- Parker, Roszika. 1984. The Subversive Stitch: Embroidery and the Making of the Feminine. London: Routledge.
- Qureshi, Sadiah. 2004. “Displaying Sara Baartman, the ‘Hottentot Venus.” History of Science 42 (2): 233–257. doi:10.1177/007327530404200204.
- Schmahmann, Brenda. 2004. Through the Looking Glass: Representations of Self by South African Women Artists. Johannesburg: David Krut Publishing.
- Schmahmann, Brenda. 2012. “Developing Images of Self: Childhood, Youth and Family Photographs in Works by Three South African Women Artists.” African Arts 45 (4): 8–21. doi:10.1162/AFAR_a_00024.
- Schmahmann, Brenda. 2017. “The Cache Sexe and the Tablier: Two Feminist Artworks from Apartheid South Africa.” Textile 15 (4): 412–427. doi:10.1080/14759756.2017.1337379.
- Schmahmann, Brenda. 2018. “When Senzeni Met Dolly.” Darling: Toffee Gallery. https://issuu.com/thetoffeegallery/docs/catalogue_senzenimarasela2
- Sharpley-Whiting, T. Denean. 1999. Black Venus: Sexualised Savages, Primal Fears and Primitive Narratives in French. Durham, NC: Duke University Press.
- Tobias, Philip. 2002. “Saartjie Baartman: Her Life, Her Remains, and the Negotiations for Their Repatriation from France to South Africa.” South African Journal of Science 98: 107–110.
- Wright, Alison E. 2013. “The Hottentot Venus: An Alternative Iconography.” The British Art Journal 14 (1): 59–70.
- Youé, Chris. 2007. “Sara Baartman: Inspection/Dissection/Resurrection.” Canadian Journal of African Studies 41 (3): 559–567.