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49
independence despite the existence of both Jim Crow and the patriotic fervor of
the World War II era. Indeed, for Malcolm Zoot culture (both the dress and
language) was a platform to challenge Euro-American hegemony. See Luis
Alvarez, The Power of the Zoot: Youth Culture and Resistance during World
War II (Berkeley, Los Angeles & London: University of Californai Press, 2008)
and Robin D. G. Kelley, “The Riddle of the Zoot: Malcolm Little and Black
Cultural Politics during World War II,” in Kelley Race Rebels: Culture, Politics,
and the Black Working Class (New York: Free Press, 1994).
25 See Jeffrey O. G. Ogbar, Black Power: Radical Politics and African American
Identity (Baltimore: The Johns Hopkins University Press, 2004).
26 Ogbar 12.
27 Ogbar 13.
28 Ogbar 19; 60.
29 See Gerald Horne, Fire This Time: The Watts Uprising and the 1960s
(Charlottesville & London: University Press of Virginia, 1995); C. Eric Lincoln,
The Black Muslims in America (New Jersey: Africa World Press, 1994); James
Smethurst, The Black Arts Movement: Literary Nationalism in the 1960s and
1970s (Chapel Hill: University of North Carolina Press, 2005).
30 C. Eric Lincoln, The Black Muslims in America (New Jersey: Africa World
Press, 1994) 63.
31 Lincoln 191. Upon the assassination of John F. Kennedy in 1963, Malcolm X
stated that the assassination was a case of “chickens coming home to roost.
Being an old farm boy myself, chickens coming home to roost never did make
me sad; they’ve always made me glad.” A little over a year later, Malcolm
revisited this theme in a speech at Harvard University in which he explained (but
did not apologize for) the reasons he made the statement initially. He explained
that the violence and racism that the United States puts out into the world has got
to come back to our shores. He stated, “The chickens that this country is
responsible for sending out . . . someday, and someday soon, have got to come
back home to roost.” See Archie Epps, ed. Malcolm X: Speeches at Harvard
(New York: Paragon, 1991)161-182.
32 For an extended description of his travels and their effect on him, see Malcolm
X’s autobiography, Alex Haley and Malcolm X, The Autobiography of Malcolm
X, (New York: Ballantine Books, 1988) 319-342.
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 54 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 49 independence despite the existence of both Jim Crow and the patriotic fervor of the World War II era. Indeed, for Malcolm Zoot culture (both the dress and language) was a platform to challenge Euro-American hegemony. See Luis Alvarez, The Power of the Zoot: Youth Culture and Resistance during World War II (Berkeley, Los Angeles & London: University of Californai Press, 2008) and Robin D. G. Kelley, “The Riddle of the Zoot: Malcolm Little and Black Cultural Politics during World War II,” in Kelley Race Rebels: Culture, Politics, and the Black Working Class (New York: Free Press, 1994). 25 See Jeffrey O. G. Ogbar, Black Power: Radical Politics and African American Identity (Baltimore: The Johns Hopkins University Press, 2004). 26 Ogbar 12. 27 Ogbar 13. 28 Ogbar 19; 60. 29 See Gerald Horne, Fire This Time: The Watts Uprising and the 1960s (Charlottesville & London: University Press of Virginia, 1995); C. Eric Lincoln, The Black Muslims in America (New Jersey: Africa World Press, 1994); James Smethurst, The Black Arts Movement: Literary Nationalism in the 1960s and 1970s (Chapel Hill: University of North Carolina Press, 2005). 30 C. Eric Lincoln, The Black Muslims in America (New Jersey: Africa World Press, 1994) 63. 31 Lincoln 191. Upon the assassination of John F. Kennedy in 1963, Malcolm X stated that the assassination was a case of “chickens coming home to roost. Being an old farm boy myself, chickens coming home to roost never did make me sad; they’ve always made me glad.” A little over a year later, Malcolm revisited this theme in a speech at Harvard University in which he explained (but did not apologize for) the reasons he made the statement initially. He explained that the violence and racism that the United States puts out into the world has got to come back to our shores. He stated, “The chickens that this country is responsible for sending out . . . someday, and someday soon, have got to come back home to roost.” See Archie Epps, ed. Malcolm X: Speeches at Harvard (New York: Paragon, 1991)161-182. 32 For an extended description of his travels and their effect on him, see Malcolm X’s autobiography, Alex Haley and Malcolm X, The Autobiography of Malcolm X, (New York: Ballantine Books, 1988) 319-342. |
