Skip to Main Content
It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

ENG 101: English Composition I - Gray

Research Guide for Composition I with Professor Rhonda Gray

Photo of Beyonce

Beyoncé's "Formation" from the album Lemonade (2016)

Photo of Melissa Harris-Perry in Sister Citizen                Photo of Myisha Cherry

                Melissa Harris-Perry's Sister Citizen (2011)   Myisha Cherry's Anger Can Build a Better World (2020)


This guide is designed to help you locate research materials for your essays. It includes scholarly sources and popular media. If you have any trouble finding or accessing resources, please contact a librarian!

Black Lives Matter and Beyonce: An Examination of the Shadow of the Angry Black Woman Stereotype 

Myisha Cherry, Assistant Professor of Philosophy at the University of California, Riverside, argues that anger sparks action that can result in positive outcomes for historically marginalized groups in Anger Can Build a Better WorldHowever, the rhetoric of President’s Trump re-election campaign often paints protesters as anarchists and agitators that need to be removed from the national conversation about the global pandemic and police brutality. The framing of protestors as disposable troublemakers that dismisses their concerns culls from the historical framing of Black women as inherently angry. Melissa Harris-Perry, a Black feminist and political science scholar, reflects on how the Angry Black Woman stereotype strips Black women of their social and political rights in Sister Citizen: Shame, Stereotypes and Black Women in America (2011). Through a close reading of chapter 2 of Harris-Perry’s Sister Citizen, we will gain a clear understanding of how the Angry Black Woman stereotype is used to undermine the humanity of Black women historically and within today’s context. The reading provides the framework for an intersectional analysis of the representation of Beyoncé in the video Formation (2016) allowing us to examine the framing of anger and its relationship to liberation struggles.