Hottentot Venus bibliography
For a (very) quick reference, from Wikipedia:
Saartjie “Sarah” Baartman (1789 – December 29, 1815) was the most famous of at least two Khoikhoi women who were exhibited as sideshow attractions in 19th century Europe under the name Hottentot Venus—”Hottentot” as the then-current name for the Khoi people (see further discussion of this now offensive term), and “Venus” in reference to the Venus figurines.
You can also search this site (link above) for references throughout.
related
bibliography
Abrahams, Yvette. “Images of Sara Bartman: Sexuality, Race, and Gender in Early-Nineteenth-Century Britain,” in Ruth Roach Pierson, Nupur Chaudhuri, editors, Nation, Empire, Colony: Historicizing Gender and Race, Bloomington and Indianapolis: Indiana University Press (1998), 220-236.
Alexander, Elizabeth. The Venus Hottentot, Charlottesville: University Press of Virginia, 1990.
Altick, Richard D. “The Noble Savage Reconsidered,” in The Shows of London, Cambridge, Massachusetts: The Belknap Press (1978), 268 – 273.
Arnold, Marion. Women and Art in South Africa, New York: St. Martin’s Press, 1996.
Badou, Gérard. L’énigme de la Vénus Hottentote, Èditions Jean-Claude Lattés: 2000.
Bartra, Roger. The Artifical Savage: Modern Myths of the Wild Man, Ann Arbor: The University of Michigan Press (1997), 254, 256.
Brandes, Kerstin. “Re-Considering Saartjie Baartman: Configurations of the ‘Hottentot Venus’ in Contemporary Cultural Discourse, Politics, and Art,” in Helene von Oldenburg and Andrea Sick, editors, Virtual Minds. Congress of Fictitious Figures. Bremen (thealit) 2004, 4055. ISBN 3-930924-05-6
Chase-Riboud, Barbara. Hottentot Venus, New York: Doubleday, 2003.
Clifton Crais and Pamela Scully, Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography Princeton University Press, 2008.
Cuvier, Georges. “Extrait d’observations faites sur le cadavre d’une femme connue à Paris et à Londres sous le nom de Vénus Hottentotte,” Mémoires de Muséum d’Histoire naturelle 3 (1817), 259-274.
de Blainville, Henri. “Sur une femme e la race hottentote,” Bulletin des sciences par la société philomatique de Paris, (1816), 183-190.
de Lambet, Théaulon. The Hottentot Venus; or the Hatred of Frenchwomen [a one-act "vaudeville"], premiered in Paris on 19 November 1814; length of run unknown. Script in the Bibliothèque Nationale, Paris.
Di Filippo, Paul. The Steampunk Trilogy: Victoria, Hottentots, Walt and Emily, New York: Four Walls Eight Windows, 1995.
Duff, George, “The South African Exhibition in London [song lyrics],” in A South African Miscellany of History, Narration and Descriptive Sketches, Tales, Poetry, et. Part I (1852), 79-80.
Duke, Lynne. “S. Africans Seek to Bring Home Bones of a Bitter Past,” The Washington Post (February 7, 1996), A1, A15.
Edwards, Paul and James Walvin. Black Personalities in the Era of the Slave Trade, Baton Rouge: Louisiana State University Press (1983), 171 – 185.
Feest, Christian F., editor. Indians and Europe, University of Nebraska Press, 1989 (one mention of SB on p. 243)
Fusco, Coco. “The Other History of Intercultural Performance,” in English is Broken Here: Notes on Cultural Fusion in the Americas, New York: The New Press, 1995.
Gilman, Sander. Difference and Pathology: Stereotypes of Sexuality, Race and Madness, Ithaca: Cornell University Press, 1985.
__________. “Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth Century Art, Medicine, and Literature, in Gates Jr., Henry Louis, ed. “Race,” Writing, and Difference, Chicago: The University of Chicago Press, 1985.
George, Mary Dorothy. Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings at the British Museum, London: British Museum (1947), vol. VIII, entry 11578, 948; entry 11577, 949; vol. IX, entry 12749, 655.
Gould, Stephen Jay. The Mismeasure of Man, New York: W.W. Norton & Company, Inc., 1996.
__________. The Flamingo’s Smile: Reflections in Natural History, New York and London: W.W. Norton & Company, Inc., 1985.
__________. Natural History 91:10, October 1982.
Gray, Stephen. Hottentot Venus and Other Poems, 1979.
Janell Hobson. “The ‘Batty’ Politic: Toward an Aesthetic of the Black Female Body,” Hypatia 18:4 (October 2003).
Honour, Hugh. The Image of the Black in Western Art IV: From the American Revolution to World War I, Part 2. Black Models and White Myths, Houston: Menil Foundation, Inc. (1989), 52-54, 255.
“The Hottentot Venus and the Grenvilles,” The Satirist, or, Monthly Meteor, (1 November 1810), 424-427.
“The Hottentot Venus and the Grenvilles (Further Particulars),” The Satirist, or, Monthly Meteor, (1 December 1810), 550-554.
“The Humours of Bartlemy Fair [song lyrics],” The Universal Songster, Vol. I, London, (n.d.), 118-119.
Jones, Lisa. “Venus Envy,” The Village Voice, vol.36/28, New York (9 July 1991), 36.
Jordan, Glenn and Chris Weedon. Cultural Politics: Class, Gender, Race and the Postmodern World, Oxford, England and Cambridge, Massachusetts: Blackwell Publishers, 1995.
Journal des Dames et des Modes, 12 February 1815, in Racinet, M. Le Costume historique, Paris (1876), Tome ii, 255 bis.
Jullian, Philippe. The Triumph of Art Nouveau Paris Exhibition 1900, Paris: André Barret Editeur, 1976.
Kirby, Percival R. “A Further Note on the ‘Hottentot Venus’,” Africana Notes and News, vol. XI, no. 5, Johannesburg, South Africa, December 1954.
__________. “The ‘Hottentot Venus’ of the Musée de l’Homme, Paris,” South African Journal of Science, vol. 50, no. 12, July 1954.
__________. “More About the Hottentot Venus,” Africana Notes and News, vol. X, no. 4, Johannesburg, South Africa, September 1953.
__________. “The Hottentot Venus,” Africana Notes and News, vol. VI, no.3, Johannesburg, South Africa, June 1949.
Lindfors, Bernth, ed. Africans on Stage: Studies in Ethnological Show Business, Bloomington: Indiana University Press, 1998.
Lindfors, Bernth. “The Bottom Line: African Caricature in Georgian England,” World Literature Written in English, vol. 24, no. 1, 1984.
__________. “Courting the Hottentot Venus,” Africa: Rivista trimestrale di studi e documentazione dell’Istituto Italo-Africano, vol. XL, no. 1, March 1985.
__________. “Ethnological Show Business: Footlighting the Dark Continent,” in Thomson, Rosemarie Garland, ed. Freakery: Cultural Spectacles of the Extraordinary Body, New York: New York University Press (1996) 207 – 218.
Lysons, Daniel, “Collectanea; or a Collection of Advertisements and Paragraphs from the Newspapers, Relating to Various Subjects,” vol. 2, unpublished scrapbook in the British Library, London.
Magubane, Zine. “Which Bodies Matter? Feminism, Poststructuralism, Race, and the Curious Theoretical Odyssey of the “Hottentot Venus,” Gender & Society 15, no. 6 (2001), Sage Publications, 816-834.
Mathews, Mrs. Charles. Memoirs of Charles Mathews, Comedian, London: Richard Bentley, 1839, vol. IV, 136-39.
Mann, Sylvia. Introductory Note, Facsimile of Transformation Cards, Kent: Harry Margary, Lympne Castle, in association with Guildhall Library, London, 1978.
Moss, Thylias. Last Chance for the Tarzan Holler: Poems, Persea Books, 1999.
Musée de l’Homme en relief par les anaglyphes [stereographs featuring the body cast of the Hottentot Venus], Paris: Musée de l’Homme, 1939.
Parks, Suzan Lori. Venus: A Play, New York: Theatre Communications Group, 1997.
Qureshi, Sadiah. “Displaying Sara Baartman”, History of Science, 42 (2004), 234-257.
Read, Alan, ed. The Fact of Blackness: Frantz Fanon and Visual Representation, Seattle: Bay Press, 1996.
Roger, J.A. Nature Knows No Color-Line: Research Into the Negro Ancestry in the White Race, St. Petersburg, Florida: Helga M. Rogers, 1952.
Roquebert, Anne, et al. La sculpture ethnographique De la Vénus hottentote à la Tehura de Gauguin, Paris: Réunion des Musées Nationaux, 1994.
Saint-Hilaire, Etienne Geoffroy, unpublished manuscript, Musée de l’Homme, Paris, 1815.
__________ and Frédéric Cuvier, “Femme de Race Bochismann,” Histoire Naturelle des Mammifères, Paris: 1824.
Schiebinger, Londa. Nature’s Body: Gender in the Making of Modern Science, Boston: Beacon Press (1995), 160 – 171.
Sharpley-Whiting, T. Denean. Black Venus: Sexualized Savages, Primal Fears, and Primitive Narratives in French, Durham, North Carolina: Duke University Press, 1999.
Shohat, Ella. “Post-Third-Worldist Culture; Gender, Nation, and the Cinema,” in M. Jacqui Alexander and Chandra Talpade Mohanty, Feminist Genealogies, Colonial Legacies, Democratic Futures, New York and London: Routledge, 1997.
Skotnes, Pippa, ed. Miscast: Negotiating the Presence of the Bushmen, Cape Town, South Africa: University of Cape Town, 1996.
Solomon-Godeau, Abigail, “Representing Women: The Politics of Self-Representation,” in Diane Neumaier, ed., Reframings: New American Feminist Photographies, Philadelphia: Temple University Press, 1996.
Spitzka, Edward A. “A study of the brain of six eminent scientists and scholars belonging to the American Anthropometric Society together with a description of the skull of Professor E. D. Cope”, Transactions of the American Philosophical Society, 21 (1908), 175-308.
Terry, Jennifer and Jacqueline Urla, eds. Deviant Bodies: Critical Perspectives on Difference in Science and Popular Culture, Bloomington and Indianapolis: Indiana University Press (1995), 8 – 41.
Thackaray, W.M. Vanity Fair, Oxford Press 1983 edition, page 259, Chapter 21, “A quarrel About an Heiress” in the World’s Classics paperback edition, a small but not insignificant reference to the
Hottentot where George Osborne says “I’m not going to marry a Hottentot Venus.” The chapter is also worth looking at in terms of how the black female body is represented through the text and most horrifically, through the illustrations. (citation: Tiffany Gilmore)
Thomson, Rosemarie Garland. Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature, New York: Columbia University Press, 1997.
Toole-Stott, R. Circus and Allied Arts: A World Bibliography 1500 – 1962, volume 3, Derby, England: Harpur & Sons, 1962.
Williams, Carla. “The Erotic Image is Naked and Dark,” in Deborah Willis, ed., Picturing Us: African American Identity in Photography, The New Press: New York, 1994.
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