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105
upon the traditions of Europe but instead springs, almost organically,
from the souls of black people themselves. The writers, he says, strove to
“invest their work with the distinctive styles and rhythms and colors of
the ghetto.”7 This is a move away from earlier notions of an essential
blackness that was located in a southern, rural landscape. Unlike writers
of the 19th or early 20th century, Fuller contends that mid-20th century
writers had been altered by the Great Migration of the World War II era,
the Civil Rights movement, and the ghettoization of America’s cities.
While it can be argued with ample justification that Fuller’s articulation of
the Black Arts Movement was equally essentialist, what is important to
note is the shift away from the rural south and towards the urban north.
This shift mirrors the shift in the political world as the Civil Rights
Movement with its emphasis on the segregated American south was
supplanted by the ideology of Black Power that was located more in urban
northern and western cities.8 Lastly, Fuller identifies a “black mystique”
which is an intangible, but essential, part of black experience and artistic
production. In a word, black people have “style.” His long list of blacks
with “style” includes the Modern Jazz Quartet, football player Jim Brown,
“Satchel” Paige, Adam Clayton Powell, Ralph Ellison, and Duke Ellington,
among others.9 It is important to note that Fuller only lists heterosexual
black men. The black aesthetic, predicated on the hipness of black people
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 110 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 105 upon the traditions of Europe but instead springs, almost organically, from the souls of black people themselves. The writers, he says, strove to “invest their work with the distinctive styles and rhythms and colors of the ghetto.”7 This is a move away from earlier notions of an essential blackness that was located in a southern, rural landscape. Unlike writers of the 19th or early 20th century, Fuller contends that mid-20th century writers had been altered by the Great Migration of the World War II era, the Civil Rights movement, and the ghettoization of America’s cities. While it can be argued with ample justification that Fuller’s articulation of the Black Arts Movement was equally essentialist, what is important to note is the shift away from the rural south and towards the urban north. This shift mirrors the shift in the political world as the Civil Rights Movement with its emphasis on the segregated American south was supplanted by the ideology of Black Power that was located more in urban northern and western cities.8 Lastly, Fuller identifies a “black mystique” which is an intangible, but essential, part of black experience and artistic production. In a word, black people have “style.” His long list of blacks with “style” includes the Modern Jazz Quartet, football player Jim Brown, “Satchel” Paige, Adam Clayton Powell, Ralph Ellison, and Duke Ellington, among others.9 It is important to note that Fuller only lists heterosexual black men. The black aesthetic, predicated on the hipness of black people |
