Difference between revisions of "3: Questions for Viewers"

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'''Continued from:''' [[2: The Man-Monster Lithograph]]
 
'''Continued from:''' [[2: The Man-Monster Lithograph]]
  
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=Ten Questions for Viewers of The Man-Monster Exhibit=
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:The goal of these questions is to help viewers locate the Man-Monster print in context of its time. Please leave your responses in the Comment box at the bottom of the page.
  
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(1) How does the Man Monster print visually characterize a black woman?
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===(1) How does the Man-Monster print visually characterize a black woman?===
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:See: [[2: The Man-Monster Lithograph]]
  
  
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(2) Does the caption of "Man Monster" contradict the visualization of Sewally/Jones in the print?
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===(2) Does the characterization "Man-Monster" contradict the visualization of Sewally/Jones in the print?===
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:See: [[2: The Man-Monster Lithograph]]
  
  
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(3) How does this print's representation of a black woman compare with other images of black women in American popular culture of the 19th century, from print culture to sentimental fiction to the minstrel stage?
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===(3) How does this print's representation of a black woman compare with other images of black women in American popular culture of the 19th century?===
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: Consider images from print culture, sentimental fiction, and the minstrel stage.  Here are some examples:
  
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Below: From E.W. Clay, ''Life in Philadelphia," 1829.
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[[File:Clay image008.png|575px]]
  
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TWO PRINTS OF BLACK FACE PERFORMERS
 
  
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(left) Minstrel show performers Rollin Howard (in wench costume) and George Griffin, c. 1855.
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Below: From E.W. Clay, "Life in Philadelphia, No. 11," 1828.
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[[File:Raster-1.jpeg|575px]]
  
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(right) E.W. Clay, from ''Life in Philadelphia'' series, 1829
 
  
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Below: From E.W. Clay, "Life in Philadelphia," No. 12, 1829.
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[[File:Raster-2.jpeg|575px]]
  
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(4) How expensive was this print? What class of people would be expected to buy it?
 
  
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Below:"Life in Philadelphia" [unnumbered], 1828.
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[[File:Raster.jpeg|575px]]
  
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(5) What might a buyer of this print like about it?
 
  
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Below: Minstrel show performers Rollin Howard (in wench costume) and George Griffin, c. 1855.
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[[File:Howard.Griffin.MED.MED.jpg]]
  
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(6) What does the history of this print's maker and publisher tell us about the character of his print?
 
  
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===(4) How expensive was the Man-Monster lithograph, and what class of people would be expected to buy it?===
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:The same firm that published the Man-Monster print the same year published a print illustrating the murdered prostitute Helen Jewett. A scholarly study of that 1836 murder says: "mass produced lithographs made Jewett's image available to anyone for a modest price."
  
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(7) How might we think about the Man-Monster print in relation to pornographic prints produced by the same printer (none of which are currently extant, other than the sexually explicit Jewett print)?
 
  
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===(5) What might a buyer of the Man-Monster print like about it?===
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:See: [[2: The Man-Monster Lithograph]]
  
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(8) How might the Man-Monster print relate to 19th century men’s interest in and anxiety about independent women, female sex workers, and sapphic desire?
 
  
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===(6) What does the history of the Man-Monster print's maker and publisher tell us about the character of his print?===
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:See: [[2: The Man-Monster Lithograph]]
  
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(9) Does this image provide insight into the history of transgendered bodies and identities?
 
  
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===(7) How might we think about the Man-Monster print in relation to the sexually suggestive Helen Jewett print produced by the same printer?===
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(10) Can you think of other questions that can help us understand this image?
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:See [[2: The Man-Monster Lithograph]]. By the way, none of this printer's explicitly pornographic prints are known to exist.
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Please leave your answers, thoughts, and comments in the Comment box on OutHistory.org below.
 
  
  
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===(8) How might the Man-Monster print relate to 19th century men’s interest in and anxiety about independent women, female sex workers, and sapphic desire?===
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<br/>
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<br/>
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===(9) Does the Man-Monster image provide insight into the history of transgendered bodies and identities?===
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<br/>
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<br/>
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===(10) Can you think of other questions that can help us understand this image in its original historical context?===
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: If so, we'd all love to hear them. Please leave your answers, thoughts, and comments in the Comment box below.
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<br/>
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<br/>
 
=Next: [[4: The Man-Monster's Legacy]]=
 
=Next: [[4: The Man-Monster's Legacy]]=
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Sources: [[More Information About Sewally and the Man-Monster Print]]
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__NOTOC__
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'''From the exhibit:''' [[Visualizing the Man-Monster: Peter Sewally/Mary Jones, New York City, 1836|Visualizing the Man-Monster]]
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__NoEditSection__

Latest revision as of 06:48, 23 July 2011

Continued from: 2: The Man-Monster Lithograph

Ten Questions for Viewers of The Man-Monster Exhibit

The goal of these questions is to help viewers locate the Man-Monster print in context of its time. Please leave your responses in the Comment box at the bottom of the page.

(1) How does the Man-Monster print visually characterize a black woman?

See: 2: The Man-Monster Lithograph


(2) Does the characterization "Man-Monster" contradict the visualization of Sewally/Jones in the print?

See: 2: The Man-Monster Lithograph


(3) How does this print's representation of a black woman compare with other images of black women in American popular culture of the 19th century?

Consider images from print culture, sentimental fiction, and the minstrel stage. Here are some examples:

Below: From E.W. Clay, Life in Philadelphia," 1829. Clay image008.png


Below: From E.W. Clay, "Life in Philadelphia, No. 11," 1828. Raster-1.jpeg


Below: From E.W. Clay, "Life in Philadelphia," No. 12, 1829. Raster-2.jpeg


Below:"Life in Philadelphia" [unnumbered], 1828. Raster.jpeg


Below: Minstrel show performers Rollin Howard (in wench costume) and George Griffin, c. 1855. Howard.Griffin.MED.MED.jpg


(4) How expensive was the Man-Monster lithograph, and what class of people would be expected to buy it?

The same firm that published the Man-Monster print the same year published a print illustrating the murdered prostitute Helen Jewett. A scholarly study of that 1836 murder says: "mass produced lithographs made Jewett's image available to anyone for a modest price."


(5) What might a buyer of the Man-Monster print like about it?

See: 2: The Man-Monster Lithograph


(6) What does the history of the Man-Monster print's maker and publisher tell us about the character of his print?

See: 2: The Man-Monster Lithograph


(7) How might we think about the Man-Monster print in relation to the sexually suggestive Helen Jewett print produced by the same printer?

See 2: The Man-Monster Lithograph. By the way, none of this printer's explicitly pornographic prints are known to exist.


(8) How might the Man-Monster print relate to 19th century men’s interest in and anxiety about independent women, female sex workers, and sapphic desire?



(9) Does the Man-Monster image provide insight into the history of transgendered bodies and identities?



(10) Can you think of other questions that can help us understand this image in its original historical context?

If so, we'd all love to hear them. Please leave your answers, thoughts, and comments in the Comment box below.



Next: 4: The Man-Monster's Legacy

Sources: More Information About Sewally and the Man-Monster Print


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