Building on what Gunter H. Lenz describes as the “always two-directional processes of transculturation,” this piece brings together two classic works, Gayl Jones's Corregidora and Carlos Diegues's Brazilian film, Xica da Silva (1975), specifically addressing the hemispheric connections in cross-cultural literary and cinematic representations of black female sexuality, colonialism and slavery in the Americas. The essay presents a critical comparison of the legacy of slave concubinage and black female resistance, noting how Jones's Corregidora helps to undermine the Brazilian myth of racial democracy, while Xica da Silva deepens Gayl Jones's Pan-African vision of the quilombos, or maroon societies, and problematizes sexuality by magnifying the complex mix of abjection and desire, which deeply engages Jones's novel. By furthering an already existing discussion yet promoting a new critical paradigm for a hemispheric postcolonialism, this work seeks to fortify the nexus of Africana Studies, Comparative American Studies and Hemispheric Studies, but with a distinct postcolonial focus on the historic and cultural intersections of U.S. and Latin America, working within the purview of postcolonial studies in particular.

中文翻译：

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“半球后殖民主义：美洲黑人女性的性与奴役”

在冈特·H·伦茨（Gunter H. Lenz）所描述的“总是双向换文化过程”的基础上，该作品汇集了盖尔·琼斯（Gayl Jones）的科雷基多拉（Corregidora）和卡洛斯·迪格斯（Carlos Diegues）的巴西电影《西卡·达席尔瓦（Xica da Silva）（1975）》中的两部经典作品，专门探讨了美洲黑人女性性，殖民主义和奴隶制的跨文化文学和电影作品。这篇文章对奴隶制奴隶制和黑人女性抵抗的遗产进行了批判性比较，指出琼斯的《科雷基多拉》如何帮助破坏巴西的种族民主神话，而西卡·达席尔瓦则深化了盖尔·琼斯的泛非视野，描述了黑社会，栗色社会，并通过放大宽恕和欲望的复杂混合来解决性问题，这深深地吸引了琼斯的小说。