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Daughters of the Diaspora features the creative writing of 20 Hispanophone women of African descent, as well as the interpretive essays of 15 literary critics. The collection is unique in its combination of genres, including poetry, short stories, essays, excerpts from novels and personal narratives, many of which are being translated into English for the first time. They address issues of ethnicity, sexuality, social class and self-representation and in so doing shape a revolutionary discourse that questions and subverts historical assumptions and literary conventions. Miriam DeCosta-Willis's comprehensive Introduction, biographical sketches of the authors and their chronological arrangement within the text, provide an accessible history of the evolution of an Afra-Hispanic literary tradition in the Caribbean, Africa and Latin America. The book will be useful as textbook in courses in Africana Studies, Women's Studies, Caribbean, Latina and Latin American Studies as well as courses in literature and the humanities.
This fresh and compelling book will motivate Black women to get in position to receive divine reparations from the Kingdom of God. Concise, clear and stimulating, this book explains the spiritual principle of recompense as it helps prepare women for destiny. Get ready to be greatly used by God in these end-times in the areas of economic justice, nation building and church restoration.
Nearly three decades after her pioneering anthology, Daughters of Africa, Margaret Busby curates an extraordinary collection of contemporary writing by 200 women writers of African descent, including Zadie Smith, Bernardine Evaristo and Chimamanda Ngozi Adichie. A glorious portrayal of the richness and range of African women's voices, this major international book brings together their achievements across a wealth of genres. From Antigua to Zimbabwe and Angola to the USA, overlooked artists of the past join key figures, popular contemporaries and emerging writers in paying tribute to the heritage that unites them, the strong links that endure from generation to generation, and their common obstacles around issues of race, gender and class. Bold and insightful, brilliant in its intimacy and universality, this landmark anthology honours the talents of African daughters and the inspiring legacy that connects them-and all of us.
Based on long-term ethnographic fieldwork among Tongan migrant mothers and adult daughters in Australia, anthropologist Makiko Nishitani provides a unique account of how gifts, money, and information flow along the connections of kin and kin-like relationships. Desire, Obligation, and Familial Love challenges the conventional discourse on migration, which typically characterizes intergenerational changes from tradition to modernity, from relational to individual, and from obligation to autonomy and freedom. Rather, through an intimate examination of Tongan women’s everyday engagement with kinship relationships, Nishitani highlights how migrant women and their daughters born outside Tonga together create a field of relationships with kin and kin-like people, and navigate between individualistic, personal desires and familial duties and obligations. Their negotiations are not limited to a local frame of reference, but encompass vast distances, including relationships with relatives in places like Australia, New Zealand, the United States, and the “home” island nation. Tongan women manage these relationships across diverse modes of communication: face-to-face interactions in homes and at church, lengthy telephone conversations on fixed phone lines in kitchens, and interactions on social media accessed on living room computers shared between neighboring households. Relationships between migrant mothers and second-generation daughters are suffused with warmth and empathy, as well as tensions and misunderstandings. Nishitani’s work demonstrates the critical contemporary relevance of classical anthropological kinship studies and gift theories as tools that can help us to understand transnationalism in the “digital” age. Through reflections on feminist geography, social theory of technology, Bourdieu’s field theory, and media studies, Nishitani makes a convincing call for anthropologists to use relationships rather than geographical places as a site of anthropological fieldwork in order to understand the sociality of diasporic people. Filled with rich, intimate portrayals of diasporic women’s everyday lives and the everyday politics of familial relationships, Desire, Obligation, and Familial Love will appeal to students and scholars of the anthropology of migration, of communication technologies and social media, and of gender and familial relationships, as well as to those interested in fieldwork methodology, transnational and migration studies, and Pacific studies.
This book explores the unstudied nature of diaspora among young Korean, Japanese and Chinese women living and studying in the West. Why do women move? What are the actual conditions of their transnational lives? How do they make sense of their transnational lives through the experience of the media? Are they becoming cosmopolitan subjects? Exploring the key questions within their particular socio-economic and cultural contexts, this book analyzes the contradictions of cosmopolitan identity formation and challenges the general assumptions of cosmopolitanism. It considers the highly visible, fastest growing, yet little studied phenomenon of women’s transnational migration and the role of the media in everyday life, offering detailed empirical data on the nature of the women’s diaspora. Drawing on a wide range of perspectives from media and communications, sociology, cultural studies and anthropology, the book provides an empirically grounded and theoretically insightful investigation into this evolving phenomenon.
Examines the ways in which the inclusion of African diasporic religious practices serves as a transgressive tool in narrative discourses in the Americas. Oshun’s Daughters examines representations of African diasporic religions from novels and poems written by women in the United States, the Spanish Caribbean, and Brazil. In spite of differences in age, language, and nationality, these women writers all turn to variations of traditional Yoruba religion (Santería/Regla de Ocha and Candomblé) as a source of inspiration for creating portraits of womanhood. Within these religious systems, binaries that dominate European thought—man/woman, mind/body, light/dark, good/evil—do not function in the same way, as the emphasis is not on extremes but on balancing or reconciling these radical differences. Involvement with these African diasporic religions thus provides alternative models of womanhood that differ substantially from those found in dominant Western patriarchal culture, namely, that of virgin, asexual wife/mother, and whore. Instead we find images of the sexual woman, who enjoys her body without any sense of shame; the mother, who nurtures her children without sacrificing herself; and the warrior woman, who actively resists demands that she conform to one-dimensional stereotypes of womanhood.
Strong female voice, a clear-eyed narrator examining self and family. Ash from the Eyjafjallajökull volcano fills the skies. Flights are grounded throughout Europe. Dessie, a cosmopolitan flight attendant from Canada, finds herself stranded in Addis Ababa -- her birth place. Grieving her mother's recent death, Dessie heads to see her grandfather, the Shaleqa -- compelled as much by duty as her own will. But Dessie's conflicted past stands in her way. Just as the volcano's eruption disordered Dessie's work life, so too does her mother's death cause seismic disruptions in the fine balance of self-deceptions and false histories that uphold her family. As Dessie reacquaints herself with her grandfather's house, familiar yet strangely alien to her diasporic sensibilities, she pieces together the family secrets: the trauma of dictatorship and civil war, the shame of unwed motherhood, the abuse met with silence that gives shape to the mystery of her mother's life. Reminiscent of the deeply immersive writing of Taiye Selasi and Arundhati Roy, Rebecca Fisseha's Daughters of Silenceis psychologically astute and buoyed both by metaphor and by the vibrant colours of Ethiopia. It's an impressive debut.