And When You Leave, Take Your Pictures with You Racism in the Women's Movement
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" We Are Family?": the Struggle for Same-Sex Spousal Recognition In
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fmrn any type of computer printer, The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reprodudion. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e-g., maps, drawings, &arb) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to tight in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and Mite photographic prints are available for any photographs or illustratims appearing in this copy for an additional charge. Contact UMI directly to order. Bell 8 Howell Information and Leaning 300 North Zeeb Road, Ann Arbor, MI 48106-1346 USA 800-521-0600 "WE ARE FAMILY'?": THE STRUGGLE FOR SAME-SEX SPOUSAL RECOGNITION IN ONTARIO AND THE CONUNDRUM OF "FAMILY" lMichelIe Kelly Owen A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Sociology and Equity Studies in Education Ontario Institute for Studies in Education of the University of Toronto Copyright by Michelle Kelly Owen 1999 National Library Bibliothiique nationale l*B of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services sewices bibliographiques 395 Wellington Street 395. -
A Study of Feminine and Feminist Subjectivity in the Poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980 Little, Philippa Susan
Images of Self: A Study of Feminine and Feminist Subjectivity in the Poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980 Little, Philippa Susan The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1501 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Images of Self: A Study of Feminine and Feminist Subjectivity in the Poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980. A thesis supervised by Dr. Isobel Grundy and submitted at Queen Mary and Westfield College, in fulfilment of the requirements for the degree of Ph. D. by Philippa Susan Little June 1990. The thesis explores the poetry (and some prose) of Plath, Sexton, Atwood and Rich in terms of the changing constructions of self-image predicated upon the female role between approx. 1950-1980.1 am particularly concerned with the question of how the discourses of femininity and feminism contribute to the scope of the images of the self which are presented. The period was chosen because it involved significant upheaval and change in terms of women's role and gender identity. The four poets' work spans this period of change and appears to some extent generally characteristic of its social, political and cultural contexts in America, Britain and Canada. -
The Radical Feminist Manifesto As Generic Appropriation: Gender, Genre, and Second Wave Resistance
Southern Journal of Communication ISSN: 1041-794X (Print) 1930-3203 (Online) Journal homepage: http://www.tandfonline.com/loi/rsjc20 The radical feminist manifesto as generic appropriation: Gender, genre, and second wave resistance Kimber Charles Pearce To cite this article: Kimber Charles Pearce (1999) The radical feminist manifesto as generic appropriation: Gender, genre, and second wave resistance, Southern Journal of Communication, 64:4, 307-315, DOI: 10.1080/10417949909373145 To link to this article: https://doi.org/10.1080/10417949909373145 Published online: 01 Apr 2009. Submit your article to this journal Article views: 578 View related articles Citing articles: 4 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsjc20 The Radical Feminist Manifesto as Generic Appropriation: Gender, Genre, And Second Wave Resistance Kimber Charles Pearce n June of 1968, self-styled feminist revolutionary Valerie Solanis discovered herself at the heart of a media spectacle after she shot pop artist Andy Warhol, whom she I accused of plagiarizing her ideas. While incarcerated for the attack, she penned the "S.C.U.M. Manifesto"—"The Society for Cutting Up Men." By doing so, Solanis appropriated the traditionally masculine manifesto genre, which had evolved from sov- ereign proclamations of the 1600s into a form of radical protest of the 1960s. Feminist appropriation of the manifesto genre can be traced as far back as the 1848 Seneca Falls Woman's Rights Convention, at which suffragists Elizabeth Cady Stanton, Lucretia Coffin Mott, Martha Coffin, and Mary Ann McClintock parodied the Declara- tion of Independence with their "Declaration of Sentiments" (Campbell, 1989). -
Notes for the Downloaders
NOTES FOR THE DOWNLOADERS: This book is made of different sources. First, we got the scanned pages from fuckyeahradicalliterature.tumblr.com. Second, we cleaned them up and scanned the missing chapters (Entering the Lives of Others and El Mundo Zurdo). Also, we replaced the images for new better ones. Unfortunately, our copy of the book has La Prieta, from El Mundo Zurdo, in a bad quality, so we got it from scribd.com. Be aware it’s the same text but from another edition of the book, so it has other pagination. Enjoy and share it everywhere! Winner0fThe 1986 BEFORECOLTJMBUS FOTJNDATION AMERICANBOOK THIS BRIDGE CALLED MY BACK WRITINGS BY RADICAL WOMEN OF COLOR EDITORS: _ CHERRIE MORAGA GLORIA ANZALDUA FOREWORD: TONI CADE BAMBARA KITCHEN TABLE: Women of Color Press a New York Copyright © 198 L 1983 by Cherrie Moraga and Gloria Anzaldua. All rights reserved. No part of this book may be reproduced without permission in writing from the publisher. Published in the United States by Kitchen Table: Women of Color Press, Post Office Box 908, Latham, New York 12110-0908. Originally published by Peresphone Press, Inc. Watertown, Massachusetts, 1981. Also by Cherrie Moraga Cuentos: Stories by Latinas, ed. with Alma Gomez and Mariana Romo-Carmona. Kitchen Table: Women of Color Press, 1983. Loving in the War Years: Lo Que Nunca Paso Por Sus Labios. South End Press, 1983. Cover and text illustrations by Johnetta Tinker. Cover design by Maria von Brincken. Text design by Pat McGloin. Typeset in Garth Graphic by Serif & Sans, Inc., Boston, Mass. Second Edition Typeset by Susan L. -
Cultivating the Daughters of Bilitis Lesbian Identity, 1955-1975
“WHAT A GORGEOUS DYKE!”: CULTIVATING THE DAUGHTERS OF BILITIS LESBIAN IDENTITY, 1955-1975 By Mary S. DePeder A Thesis Submitted in Partial Fulfillment of the requirements for the Degree of Master of Arts in History Middle Tennessee State University December 2018 Thesis Committee: Dr. Susan Myers-Shirk, Chair Dr. Kelly A. Kolar ACKNOWLEDGMENTS I began my master’s program rigidly opposed to writing a thesis. Who in their right mind would put themselves through such insanity, I often wondered when speaking with fellow graduate students pursuing such a goal. I realize now, that to commit to such a task, is to succumb to a wild obsession. After completing the paper assignment for my Historical Research and Writing class, I was in far too deep to ever turn back. In this section, I would like to extend my deepest thanks to the following individuals who followed me through this obsession and made sure I came out on the other side. First, I need to thank fellow history graduate student, Ricky Pugh, for his remarkable sleuthing skills in tracking down invaluable issues of The Ladder and Sisters. His assistance saved this project in more ways than I can list. Thank-you to my second reader, Dr. Kelly Kolar, whose sharp humor and unyielding encouragement assisted me not only through this thesis process, but throughout my entire graduate school experience. To Dr. Susan Myers- Shirk, who painstakingly wielded this project from its earliest stage as a paper for her Historical Research and Writing class to the final product it is now, I am eternally grateful. -
Sexual Controversies in the Women's and Lesbian/Gay Liberation Movements
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 1985 Politics and pleasures : sexual controversies in the women's and lesbian/gay liberation movements. Lisa J. Orlando University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Orlando, Lisa J., "Politics and pleasures : sexual controversies in the women's and lesbian/gay liberation movements." (1985). Masters Theses 1911 - February 2014. 2489. Retrieved from https://scholarworks.umass.edu/theses/2489 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. POLITICS AND PLEASURES: SEXUAL CONTROVERSIES IN THE WOMEN'S AND LESBIAN/GAY LIBERATION MOVEMENTS A Thesis Presented By LISA J. ORLANDO Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of MASTER OF ARTS September 1985 Political Science Department Politics and Pleasures: Sexual Controversies in the Uomen's and Lesbian/Gay Liberation Movements" A MASTERS THESIS by Lisa J. Orlando Approved by: Sheldon Goldman, Member Philosophy \ hi (UV .CVvAj June 21, 19S4 Dean Alfange, Jj' Graduate P ogram Department of Political Science Lisa J. Orlando © 1982, 1983, 1984, 1985 All Rights Reserved iii ACKNOWLEDGEMENTS I would like to thank the following friends who, in long and often difficult discussion, helped me to work through the ideas presented in this thesis: John Levin, Sheila Walsh, Christine Di Stefano, Tom Keenan, Judy Butler, Adela Pinch, Gayle Rubin, Betsy Duren, Ellen Willis, Ellen Cantarow, and Pam Mitchell. -
Download Download
Conditions By Various Authors Conditions By various authors, with an emphasis on writing by lesbians. Contents 01 The Moon Is No Muse — Enid Dame .................................................1 Copyright © 1977 by Conditions 02 Bushpaths — Wilmette Brown ............................................................3 All rights reserved. No part of this book can be copied, reproduced, or used in any way without written permission from Conditions. At the time of publication, 03 Grinning Underneath — Maureen Brady ...........................................5 all rights revert to the authors. Illustrations © 2020 by Keira Zanbak 04 Assumption in the Algarve: 1974 — Jacqueline Lapidus .................12 Book design by Keira Zanbak 05 Waiting for release — Sukey Durham ..............................................16 Conditions is edited by Elly Bulkin, Jan Clausen, Irena Klepfisz, and Rima Shore. We work collectively to select and edit material which will reflect women’s per- ceptions of themselves, each other, the conditions of their lives, and of the world 06 A Trip to the Anza-Borrego Desert — Susan Krieger ....................19 around them. This collective process is a difficult one. We have found that the four of us do not 07 Dead Heat — Lorraine Sutton ............................................................31 always agree or identify with viewpoints expressed by the women we publish, or with each other. 08 An Interview With Adrienne Rich — Elly Bulken .........................33 Because we do not proceed from a single conception of what Conditions should be, we feel it is especially important to receive critical and personal reactions to the writing we publish. 09 Contributors’ Notes .............................................................................53 The Moon Is No Muse Enid Dame The moon is no muse. She’s got enough to do hauling oceans back and forth across the world. -
Santoss73364.Pdf
Copyright by Sônia Beatriz dos Santos 2008 The Dissertation Committee for Sônia Beatriz dos Santos Certifies that this is the approved version of the following dissertation: Brazilian Black Women‟s NGOs and Their Struggles in the Area of Sexual and Reproductive Health: Experiences, Resistance, and Politics Committee: João Costa Vargas, Supervisor Charles R. Hale Chiquita Collins Dorothy Roberts Edmund T. Gordon Sharmila Rudrappa Brazilian Black Women‟s NGOs and Their Struggles in the Area of Sexual and Reproductive Health: Experiences, Resistance, and Politics by Sônia Beatriz dos Santos, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2008 Dedication TO MY FAMILY, specially my dear Paulo, Eliane, Márcia, Mônica, Tia Maria, Tia Lindaura, Tia Tereza, Tio Bertinho, Caio, Ana Beatriz e Roberto; and in memory of my grandmother Felismina da Paixão, my mother Olinda Arminda Rosa dos Santos and my father Orlando dos Santos. To CRIOLA. Acknowledgements I would first like to express my gratitude to the women and men – staff members, collaborators associated to CRIOLA, ACMUN, MARIA MULHER E GRUPO DE MULHERES FELIPA DE SOUSA who contributed to this dissertation by donating their time, energy, testimonies, histories, feelings and emotions, by patiently teaching me about their lives and experiences, and by introducing me to others and help me to navigating throughout the Black feminist networks. Their great generosity helped me to conduct the study and fieldwork. I could not make without them. -
By Dagmar Schultz AUDRE LORDE – HER STRUGGLES and HER Visionsi in This Presentation I Will Try to Explain How Audre Lorde Came
By Dagmar Schultz AUDRE LORDE – HER STRUGGLES AND HER VISIONSi In this presentation I will try to explain how Audre Lorde came to Germany, what she meant to me personally and to Orlanda Women’s Publishers, and what effect her work had in Germany on Black and white women. In 1980, I met Audre Lorde for the first time at the UN World Women’s Conference in Copenhagen in a discussion following her reading. I knew nothing about her then, nor was I familiar with her books. I was spellbound and very much impressed with the openness with which Audre Lorde addressed us white women. She told us about the importance of her work as a poet, about racism and differences among women, about women in Europe, the USA and South Africa, and stressed the need for a vision of the future to guide our political praxis. On that evening it became clear to me: Audre Lorde must come to Germany for German women to hear her, her voice speaking to white women in an era when the movement had begun to show reactionary tendencies. She would help to pull it out of its provinciality, its over-reliance, in its politics, on the exclusive experience of white women. At that time I was teaching at the Free University of Berlin and thus had the opportunity to invite Audre Lorde to be a guest professor. In the spring of 1984 she agreed to come to Berlin for a semester to teach literature and creative writing. Earlier, in 1981, I had heard Audre Lorde and Jewish poet Adrienne Rich speaking about racism and antisemitism at the National Women’s Studies Association annual convention. -
Susan Faludi How Shulamith Firestone Shaped Feminism The
AMERICAN CHRONICLES DEATH OF A REVOLUTIONARY Shulamith Firestone helped to create a new society. But she couldn’t live in it. by Susan Faludi APRIL 15, 2013 Print More Share Close Reddit Linked In Email StumbleUpon hen Shulamith Firestone’s body was found Wlate last August, in her studio apartment on the fifth floor of a tenement walkup on East Tenth Street, she had been dead for some days. She was sixtyseven, and she had battled schizophrenia for decades, surviving on public assistance. There was no food in the apartment, and one theory is that Firestone starved, though no autopsy was conducted, by preference of her Orthodox Jewish family. Such a solitary demise would have been unimaginable to anyone who knew Firestone in the late nineteensixties, when she was at the epicenter of the radicalfeminist movement, Firestone, top left, in 1970, at the beach, surrounded by some of the same women who, a reading “The Second Sex”; center left, with month after her death, gathered in St. Mark’s Gloria Steinem, in 2000; and bottom right, Church IntheBowery, to pay their respects. in 1997. Best known for her writings, Firestone also launched the first major The memorial service verged on radical radicalfeminist groups in the country, feminist revival. Women distributed flyers on which made headlines in the late nineteen consciousnessraising, and displayed copies of sixties and early seventies with confrontational protests and street theatre. texts published by the Redstockings, a New York group that Firestone cofounded. The WBAI radio host Fran Luck called for the Tenth Street studio to be named the Shulamith Firestone Memorial Apartment, and rented “in perpetuity” to “an older and meaningful feminist.” Kathie Sarachild, who had pioneered consciousnessraising and coined the slogan “Sisterhood Is Powerful,” in 1968, proposed convening a Shulamith Firestone Women’s Liberation Memorial Conference on What Is to Be Done. -
Face-To-Face, Day-To-Day, Racism CR
City University of New York (CUNY) CUNY Academic Works Women's Studies Quarterly Archives and Special Collections 1980 Face-to-Face, Day-to-Day, Racism CR Tia Cross Freada Klein Barbara Smith Beverly Smith How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/wsq/468 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Face-to-Face, 6. When were you first aware that there through political groups, or socially, what Day-to-Day, was such a thing as anti-Semitism? How old proportion of these interactions were with Racism CR were you? Recall an incident. How did you Black men? with Black women? feel? 9. What were your experiences as white By Tia Cross, Freada Klein, 7. What did you learn at home about women with Black men? What were the Barbara Smith, and Beverly Smith Black people and other people of color? racial-sexual dynamics of these relation 8. What did you learn about Jewish ships , that is, in what ways did they fuel The following consciousness-raising guide people? your own racism, and, on the other hand, lines were developed as a way of 9. How was what you learned about Black how did they affect your developing enabling feminists to explore and un people and what you learned about Jewish feminism? Were you making connections at derstand their own racist feelings and people connected? that time between the racial and sexual behavior through the use of a uniquely 10. -
Asian American Women's Voices
Est. 1981 2141 Mission St #300, San Francisco, CA 94110 (415) 863-6353 Asian American Women’s Voices 55 items for Women's History Month, 2021 Items are in very good condition unless otherwise described. All listings are subject to prior sale. Items may be returned for any reason within 30 days of receipt. Our web site, www.bolerium.com, has a search engine and secure ordering. You can sign up to receive an automatic email update of new acquisitions in chosen subject areas. All items are photographed on our website. TERMS: We reserve titles ordered by email ([email protected]), phone, or fax for 10 days. Individuals may remit by check, Visa, MasterCard, American Express or Discover. Credit cards are accepted for phone orders; please have your card number and expiration date available when ordering. Catalog prices do not include postage. For domestic media mail, add $3.50 for the first item and $1.00 per additional item. If you prefer delivery via other methods, we will strive to comply; actual postage cost will be charged. Foreign first class international or priority shipping will be charged at actual cost. California customers please add applicable sales tax. Libraries may request items to be shipped and billed, or we are happy to hold items awaiting Purchase Orders. Foreign customers may remit in US dollars with a check drawn upon a US- based bank, or by credit card. 1. Cheers to muses: contemporary works by Asian American women. San Francisco: Asian American Women Artists Association, 2007. ISBN: 0978735900. 125p., softcover, 9.5x8 inches, as new; profusely illustrated with color photos of works by the artists, many of them based in the Bay Area.