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129
poem serves as a reminder that unless oppression within the black
community is also challenged, the freedom gained will be incomplete.
Like African American women, Chicanas have been “defining
themselves at times in tandem with and at times in opposition to the
overall struggle.”40 Chicanas in the movement understood the ways in
which struggle based on racial solidarity could be productive and the ways
in which this formulation often excluded the particular needs of Chicanas
as women. Violence at the hands of men was not endemic just to the
black community; the Chicano community has also struggled with issues
of violence. Chicana writing reflects these problems. Tey Diana Rebolledo
and Eliana S. Rivero assert that:
In literature, Chicanas’ world perspectives are shaped and
determined by their immediate female kin and the values
they embody, and in addition male figures seem to take a
secondary place. Seldom do the father and grandfather
appear in a teaching or nurturing role. . . In quite a few
cases, the father figures appearing in poetry and prose are
not only authoritatively repressive, they are frankly abusive.
A common father image is that of a drunk returning home
late at night, hitting, screaming, disturbing the peace . . .41
The fathers in Chicana literature take out their frustrations on the women
(and girls) in their households. Thus, the women rely on each other for
comfort and support. Still in the wider culture, Chicanas are relegated to
second-class status. As Cherríe Moraga writes in “What Does it Take?:
For Sally Gearhart upon the death of Harvey Milk:”42 In the first section
she writes:
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 134 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 129 poem serves as a reminder that unless oppression within the black community is also challenged, the freedom gained will be incomplete. Like African American women, Chicanas have been “defining themselves at times in tandem with and at times in opposition to the overall struggle.”40 Chicanas in the movement understood the ways in which struggle based on racial solidarity could be productive and the ways in which this formulation often excluded the particular needs of Chicanas as women. Violence at the hands of men was not endemic just to the black community; the Chicano community has also struggled with issues of violence. Chicana writing reflects these problems. Tey Diana Rebolledo and Eliana S. Rivero assert that: In literature, Chicanas’ world perspectives are shaped and determined by their immediate female kin and the values they embody, and in addition male figures seem to take a secondary place. Seldom do the father and grandfather appear in a teaching or nurturing role. . . In quite a few cases, the father figures appearing in poetry and prose are not only authoritatively repressive, they are frankly abusive. A common father image is that of a drunk returning home late at night, hitting, screaming, disturbing the peace . . .41 The fathers in Chicana literature take out their frustrations on the women (and girls) in their households. Thus, the women rely on each other for comfort and support. Still in the wider culture, Chicanas are relegated to second-class status. As Cherríe Moraga writes in “What Does it Take?: For Sally Gearhart upon the death of Harvey Milk:”42 In the first section she writes: |
