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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. -
This Bridge Called My Back Writings by Radical Women of Color Editors: Cherrie Moraga Gloria Anzaldua Foreword: Toni Cade Bambara
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. Yung Second Edition, Sixth Printing. ISBN 0-913175-03-X, paper. ISBN 0-913175-18-8, cloth. This bridge called my back : writings by radical women of color / editors, Cherrie Moraga, Gloria Anzaldua ; foreword, Toni Cade Bambara. — 1st ed. — Watertown, Mass. : Persephone Press, cl981.[*] xxvi, 261 p. : ill. ; 22 cm. Bibliography: p. 251-261. ISBN 0-930436-10-5 (pbk.) : S9.95 1. Feminism—Literary collections. 2. Radicalism—Literary collections. 3. Minority women—United States—Literary collections. 4. American literature —Women authors. 5. American literature—Minority authors. 6. American literature—20th century. I. Moraga, Cherrie II. -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
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. -
An Annotated Bibliography of Books, Dvds, and Internet Resources on LGBTQ/Two- Spirit Native Americans and First Nations People
Page 1 of 20 An Annotated Bibliography of Books, DVDs, and Internet Resources on LGBTQ/Two- Spirit Native Americans and First Nations People Compiled by Peter Brunette. Approved by the GLBTRT Resources Committee. Last revised November 8, 2016. Table of Contents Introduction 2 I. General Nonfiction 4 II. Memoirs 8 III. Literary Anthologies 9 IV. Fiction 10 V. Poetry 11 VI. Drama 14 VII. Films 14 VIII. Internet Resources 16 Index 18 Page 2 of 20 Introduction This bibliography includes resources about gay men, lesbians, bisexuals, transgender persons, and two-spirit persons who identify as Native American in the United States and First Nations people in Canada. The books listed in this bibliography have all been published in print, but some may be available as e-books. The sections of this bibliography contain general nonfiction, memoirs, literary anthologies, novels and short story collections, plays, and films. A section on internet resources, including local two- spirit organizations in the United States and Canada, has also been included. Each book and film has a link to the OCLC WorldCat record where you can discover what libraries hold the item. We plan to update this resource in the future. If you have any suggestions or updates, please contact the GLBTRT Resources Committee. A note on terminology: Indigenous identities are deeply complex, and concepts of gender and sexual diversity have many names. Different tribes and communities have different terms and understandings--for example, winkte (Lakota) and nádleehé (Navajo)--that do not always translate into Eurowestern concepts of sexuality and gender. With these tribal- specific concepts in mind, this resource does not prescribe a universal umbrella term, but offers the inclusive acronym LGBTQ and the contemporary term two-spirit. -
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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. -
Lerud Dissertation May 2017
ANTAGONISTIC COOPERATION: PROSE IN AMERICAN POETRY by ELIZABETH J. LERUD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Elizabeth J. LeRud Title: Antagonistic Cooperation: Prose in American Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the English Department by: Karen J. Ford Chair Forest Pyle Core Member William Rossi Core Member Geri Doran Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017. ii © 2017 Elizabeth J. LeRud iii DISSERTATION ABSTRACT Elizabeth J. LeRud Doctor of Philosophy Department of English June 2017 Title: Antagonistic Cooperation: Prose in American Poetry Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. -
La Nueva Chicana: Women and the Movement
5 La Nueva Chicana: Women and the Movement Rise Up! To Woman Rise up! Rise up to life, to activity, to the beauty of truly living; but rise up radiant and powerful, beautiful with qualities, splendid with virtues, strong with energies.1 1 HIS poem was written not during the heyday of the Chicano Movement, but in 1910 by Tejana socialist labor leader and politi- cal activist Sara Estela Ramirez.2 She would not live to participate in El Primer Congreso Mexicanista held the following year. Ram- irez's ideas, however, would resonate in the words of her com- paneras. Composed of South Texas residents, this Congreso was the first civil rights assembly among Spanish-speaking people in the United States. With delegates representing community organi- zations and interests from both sides of the border, its platform ad- dressed discrimination, land loss, and lynching. Women delegates, such as Jovita Idar, Soldedad Pefia, and Hortensia Moncaya, spoke to the concerns of Tejanos and Mexicanos. Regarding education, Soledad Pena referred to "our duty ... to educate woman; to in- struct her and to ... give her due respect." Out of this congress arose a women's organization, Liga Femenil Mexicanista, and for a short period two sisters Andrea and Teresa Villareal published a newspaper, La Mujer Moderna.3 As the poem shows, strands of feminist ideology or incipient feminist ideology can be located at various junctures in the history Copyright © 2008. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. -
Dedication of Light to Amiri Baraka
Dedication of Light to Amiri Baraka You dream of meeting certain people. Amiri Baraka was on my bucket list. When I decided to create a Black Arts Movement Conference at UC Merced, the truth was it was an opportunity to meet my Heroes and Sheroes. Marvin X, the west coast co-founder of the Black Arts Movement asked Amiri to come to UC Merced, and he immediately said yes, as did Ishmael Reed, Eugene Redmond, Jerry Varnardo, Jimmy Garrett, Umar Bin Hassan, Askia Toure, Genny Lim, Emory Douglas, Billy X. Jennings, Adilah Barnes, Tarika Lewis, Avotcja, Charlotte “Mama C” O’Neal, Nathan Hare, Cecil Brown, and a host of other Black Arts Movement and Black Power luminaries. Why did they come to a small city in California’s San Joaquin Valley? This may seem farfetched, but it was about community. A feeling of belonging to something greater, a distant space in time that spoke of revolution, the liberation of a colonized people, and the need to connect. Many of the writers, activists, and artists had not seen each other in over forty years but connected through the pain, the hope, and the belief that they had a mission, the liberation of African Americans from oppression. Askia Toure spoke to students at UC Merced stating, “We let you down. It is up to you to fulfill what we tried to do.” Toure spoke as a freedom fighter, one who in the past went underground to survive. With Toure in this fight were Amiri Baraka, Sonia Sanchez, Larry Neal, and men and women who believed that they were in the midst of a revolution. -
Beyond Inclusion: an In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich
Yale College Education Studies Program Senior Capstone Projects Student Research Spring 2020 Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich Sarah Mele Yale College, New Haven Connecticut Abstract: This capstone will analyze interventions into university pedagogy based on the teaching practices of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich. It begins with a historical introduction to the role of these four women in university activism in the late 1960s and early 1970s inside and outside the classroom. Analysis of the development of Black Studies and university pedagogy since this time reveals gaps in the fulfillment of the student-driven movement’s goal that are still extremely relevant to questions of institutional power and access today. Next, this paper provides concrete pedagogical and methodological strategies for present day university teaching grounded in the work of these four revolutionary women. This portion will pull from archival research of teaching materials, notes, and correspondence as well as subsequent scholarship on pedagogy. Suggested Citation: Mele, S. (2020). Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich (Unpublished Education Studies capstone). Yale University, New Haven, CT. This capstone is a work of Yale student research. The arguments and research in the project are those of the individual student. They are not endorsed by Yale, nor are they official university positions or statements. Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich Sarah Mele 4/18/20 EDST 400 1 Abstract This capstone will analyze interventions into university pedagogy based on the teaching practices of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich. -
Global Feminism, Comparatism, and the Master's Tools
15 Compared to What? Global Feminism, Comparatism, and the Master's Tools SUSAN SNIADER LANSER And rain is the very thing that you, just now, do not want, for you are thinking of the hard and cold and dark and long days you spent working in North America (or, worse, Europe), earning some money so that you could stay in this place (Antigua) where the sun always shines and where the climate is deliciously hot and dry ...and since you are on your holiday, since you are a tourist, the thought of what it might be like for someone who had to live day in, day out in a place that suffers constantly from drought ...must never cross your mind. And you leave, and from afar you watch as we do to ourselves the very things you used to do to us. And you might feel that there was more to you than that, you might feel that you had understood the meaning of the Age of Enlightenment (though, as far as I can see, it has done you very little good); you loved knowl edge, and wherever you went you made sure to build a school, a library (yes, and in both of these places you distorted or erased my history and glorified your own). As for what we were like before we met you, I no longer care. No periods of time over which my ancestors held sway, no doc umentation of complex civilisations, is any comfort to me. Even if I really came from people who were living like monkeys in trees, it was better to be that than what happened to me, what I became after I met you. -
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.