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171
construct and not a biological one, the rule of hypodescent is slow to disappear.
It is present in everyday speech (“the black community”) and is often still
promoted by black nationalists.
13 H. Rap Brown, Die Nigger Die! (Chicago: Lawrence Hill Books, 2002) 2.
14 For example, James Brown’s “Say it Loud – I’m Black and I’m Proud!”
became a rallying cry for many of this generation, as was the phrase “Black is
Beautiful.” Even Jesse Jackson’s “I Am Somebody” campaign touched a nerve
for people of African descent who responded to the very powerful rhetoric of
hope, beauty and self-worth inherent in such sentiments. My claim here is not
that this rhetoric wasn’t useful or even necessary but I want to call attention to
the ways in which some people of African descent might be put off by, or left out
of, these racially-based constructions of community and activism.
15 Nikki Giovanni, “Poem for Black Boys” The Black Poets ed. Dudley Randall
(New York: Bantam, 1971) 325.
16 “Mau Mau,” Encyclopaedia Britannica. Online at
http://www.britannica.com/eb/article-9051470/Mau-Mau. Accessed June 2007.
17 Amiri Baraka, “Black Art,” The Black Poets ed. Dudley Randall (New York:
Bantam, 1971) 223.
18 Raúl Homero Villa, Barrio-Logos: Space and Place in Urban Chicano
Literature and Culture (Austin: University of Texas Press, 2000) 7.
19 Barriology, it can be argued, privileges urban knowledge over rural knowledge
thus centers the urban experiences of many Chicanos.
20 Villa 9.
21 Pérez-Torres, “Chicano Ethnicity, Cultural Hybridity, and the Mestizo Voice,”
Mixing Race, Mixing Culture ed. Monika Kaup and Debra J. Rosenthal (Austin:
University of Texas Press, 2002) 165.
22 Pérez-Torres 181.
23 Cherrie Moraga, “Queer Aztlán,” in Latino/a Thought: Culture, Politics, and
Society ed. Francisco H. Vázquez and Rodolfo D. Torres (New York & Oxford:
Rowman & Littlefield Publishers, 2003) 262.
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 176 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 171 construct and not a biological one, the rule of hypodescent is slow to disappear. It is present in everyday speech (“the black community”) and is often still promoted by black nationalists. 13 H. Rap Brown, Die Nigger Die! (Chicago: Lawrence Hill Books, 2002) 2. 14 For example, James Brown’s “Say it Loud – I’m Black and I’m Proud!” became a rallying cry for many of this generation, as was the phrase “Black is Beautiful.” Even Jesse Jackson’s “I Am Somebody” campaign touched a nerve for people of African descent who responded to the very powerful rhetoric of hope, beauty and self-worth inherent in such sentiments. My claim here is not that this rhetoric wasn’t useful or even necessary but I want to call attention to the ways in which some people of African descent might be put off by, or left out of, these racially-based constructions of community and activism. 15 Nikki Giovanni, “Poem for Black Boys” The Black Poets ed. Dudley Randall (New York: Bantam, 1971) 325. 16 “Mau Mau,” Encyclopaedia Britannica. Online at http://www.britannica.com/eb/article-9051470/Mau-Mau. Accessed June 2007. 17 Amiri Baraka, “Black Art,” The Black Poets ed. Dudley Randall (New York: Bantam, 1971) 223. 18 Raúl Homero Villa, Barrio-Logos: Space and Place in Urban Chicano Literature and Culture (Austin: University of Texas Press, 2000) 7. 19 Barriology, it can be argued, privileges urban knowledge over rural knowledge thus centers the urban experiences of many Chicanos. 20 Villa 9. 21 Pérez-Torres, “Chicano Ethnicity, Cultural Hybridity, and the Mestizo Voice,” Mixing Race, Mixing Culture ed. Monika Kaup and Debra J. Rosenthal (Austin: University of Texas Press, 2002) 165. 22 Pérez-Torres 181. 23 Cherrie Moraga, “Queer Aztlán,” in Latino/a Thought: Culture, Politics, and Society ed. Francisco H. Vázquez and Rodolfo D. Torres (New York & Oxford: Rowman & Littlefield Publishers, 2003) 262. |
