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178
Anzaldúa thus expresses a form of intersectionality (“connection between
all these oppressions and figures”) that is specific to the Chicana
experience.11 Like Shange, she links symbols and mythology to women’s
empowerment and activism. Cherríe Moraga also values women-centered
myth-(re)making and connects this to a larger issue of nationalism.
However, Moraga’s nationalism differs significantly from the nationalism
of the Chicano Movement: “As a Chicana lesbian, I know that the struggle
I share with all Chicanos and Indigenous peoples is truly one of
sovereignty, the sovereign right to wholly inhabit oneself (cuerpo y alma)
and one’s territory (pan y tierra).”12 By (re)writing themselves into the
history and culture of Chicano/as, these women (and others) create a
basis for empowerment and self-identity that significantly counters
dominant masculinist constructions of Chicanas and Chicano/a history.
The contributions, then, of women who were involved in the Black
Arts/ Black Power and Chicano movements of the 1960s and 1970s is
obviously far-reaching. Exploring the experiences and writings these
women allows us to understand not only the long-lasting influence of the
movements but also the evolution of the American literary canon and its
attendant criticism. Perhaps more importantly, in the contemporary era,
we are faced with a myriad of challenges to equality, citizenship, and
freedom both from within the U.S. and abroad. We may be able to learn
from the successes (and failures) of the Black Arts/ Black Power
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 183 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 178 Anzaldúa thus expresses a form of intersectionality (“connection between all these oppressions and figures”) that is specific to the Chicana experience.11 Like Shange, she links symbols and mythology to women’s empowerment and activism. Cherríe Moraga also values women-centered myth-(re)making and connects this to a larger issue of nationalism. However, Moraga’s nationalism differs significantly from the nationalism of the Chicano Movement: “As a Chicana lesbian, I know that the struggle I share with all Chicanos and Indigenous peoples is truly one of sovereignty, the sovereign right to wholly inhabit oneself (cuerpo y alma) and one’s territory (pan y tierra).”12 By (re)writing themselves into the history and culture of Chicano/as, these women (and others) create a basis for empowerment and self-identity that significantly counters dominant masculinist constructions of Chicanas and Chicano/a history. The contributions, then, of women who were involved in the Black Arts/ Black Power and Chicano movements of the 1960s and 1970s is obviously far-reaching. Exploring the experiences and writings these women allows us to understand not only the long-lasting influence of the movements but also the evolution of the American literary canon and its attendant criticism. Perhaps more importantly, in the contemporary era, we are faced with a myriad of challenges to equality, citizenship, and freedom both from within the U.S. and abroad. We may be able to learn from the successes (and failures) of the Black Arts/ Black Power |
