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16 American cultural norms. While such efforts may have been laudable, too often an effort to disrupt patriarchy was not part of the effort to disrupt white supremacy. Black women writers challenged Black Power/Black Arts Movement politics by asserting the need to acknowledge multiple hierarchies of oppression, including those based on race, gender, class and sexual orientation. As part of the effort to tease out the particular nature of black women’s oppression and their responses to oppressive forces, we must look closely at the larger liberation struggle in which they were situated. The Black Power movement can appear as an anomaly – a brief period of unparalleled militancy (read as violence) in an otherwise non-violent quest by African Americans for full inclusion in the U.S. body politic and social sphere. However, the vision of African Americans as long-suffering, patient oppressed people strips them of agency and frames any gains in the arena of civil rights as the work of beneficent whites. This view completely ignores active, militant struggle dating as far back as the slave era – from on-board slave revolts (such as the case of the Amistad) to successful and failed plantation revolts (Demark Vesey, Nat Turner) to black women who murdered their children in order to save them a lifetime of servitude. Clearly, black resistance to overwhelming oppression is not a twentieth century phenomenon. This does not mean that all resistance has been the same or is synonymous. Indeed, the types
Object Description
Title | "As shelters against the cold": women writers of the Black Arts and Chicano movements, 1965-1978 |
Author | Ryder, Ulli Kira |
Author email | uryder@usc.edu; uryder@gmail.com |
Degree | Doctor of Philosophy |
Document type | Dissertation |
Degree program | American Studies & Ethnicity |
School | College of Letters, Arts and Sciences |
Date defended/completed | 2008-08-27 |
Date submitted | 2008 |
Restricted until | Restricted until 27 October 2010. |
Date published | 2010-10-27 |
Advisor (committee chair) | McKenna, Teresa |
Advisor (committee member) |
Sanchez, George J. Johnson, Dana |
Abstract | This dissertation examines the work of women writers in the Black Arts and Chicano movements during the years 1965-1978. I argue that understanding the intersectional nature of the women's experiences is crucial for understanding their literary output. Further, I argue that Chicanas and African American women of this era challenged homogenous notions of community and racial identity and that we can trace the development of the Third World feminism and multiculturalism that came to the fore in the 1980s to this earlier period. Thus, this study also impacts the way we conceptualize identity formation and the creation of the literary canon. Investigating the ways in which these women integrated nationalist and feminist rhetoric and activism in their work is crucial for a full understanding of this critical period in U.S. history. At stake is an understanding of how Chicana and African American women in the United States have formed identities and communities; struggled for liberation and equality; and become part of the U.S. literary canon. |
Keyword | Black Power; Black Arts movement; Chicano movement; civil rights; racial identity formation; womanism; borderlands theory; feminism; Third World feminism; nationalism; intersectionality |
Geographic subject (country) | USA |
Coverage date | 1965/1978 |
Language | English |
Part of collection | University of Southern California dissertations and theses |
Publisher (of the original version) | University of Southern California |
Place of publication (of the original version) | Los Angeles, California |
Publisher (of the digital version) | University of Southern California. Libraries |
Provenance | Electronically uploaded by the author |
Type | texts |
Legacy record ID | usctheses-m1698 |
Contributing entity | University of Southern California |
Rights | Ryder, Ulli Kira |
Repository name | Libraries, University of Southern California |
Repository address | Los Angeles, California |
Repository email | cisadmin@lib.usc.edu |
Filename | etd-Ryder-2415 |
Archival file | uscthesesreloadpub_Volume40/etd-Ryder-2415.pdf |
Description
Title | Page 21 |
Contributing entity | University of Southern California |
Repository email | cisadmin@lib.usc.edu |
Full text | 16 American cultural norms. While such efforts may have been laudable, too often an effort to disrupt patriarchy was not part of the effort to disrupt white supremacy. Black women writers challenged Black Power/Black Arts Movement politics by asserting the need to acknowledge multiple hierarchies of oppression, including those based on race, gender, class and sexual orientation. As part of the effort to tease out the particular nature of black women’s oppression and their responses to oppressive forces, we must look closely at the larger liberation struggle in which they were situated. The Black Power movement can appear as an anomaly – a brief period of unparalleled militancy (read as violence) in an otherwise non-violent quest by African Americans for full inclusion in the U.S. body politic and social sphere. However, the vision of African Americans as long-suffering, patient oppressed people strips them of agency and frames any gains in the arena of civil rights as the work of beneficent whites. This view completely ignores active, militant struggle dating as far back as the slave era – from on-board slave revolts (such as the case of the Amistad) to successful and failed plantation revolts (Demark Vesey, Nat Turner) to black women who murdered their children in order to save them a lifetime of servitude. Clearly, black resistance to overwhelming oppression is not a twentieth century phenomenon. This does not mean that all resistance has been the same or is synonymous. Indeed, the types |