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A survey of the topics in gender and history of Puerto Rican women. Organized chronologically and covering the 19th and 20th centuries, it deal with issues of slavery, emancipation, wage work, women and politics, women's suffrage, industrialization, migration and Puerto Rican women in New York.
Pioneering novelist and short-story writer Nicholasa Mohr broke onto the literary scene of ethnic autobiography in the early 1970s, but it took another decade for other Puerto Rican women writers in the United States to follow the path that she cut. From the late 1970s on, a dynamic group of these writers have expanded the landscape of American literature. Kissing the Mango Tree is the first and only book to examine the works of the most popular Puerto Rican women writers from the perspective of feminist literary criticism. Rivera reconstructs the ethno-feminist aesthetic of Judith Ortiz Cofer, Sandra María Esteves, Nicholasa Mohr, Aurora Levins Morales, Rosario Morales, Esmeralda Santiago, and Luz María Umpierre-Herrera. In separate chapters dedicated to each of these writers, the author locates their works within the framework of feminist theory and literature, seeing them as "women with macho asserting their creative powers to record their own versions of their memories, to own their own bodies. . . They transform the way we look at the process of growing up and becoming a woman, at the relationship with our mothers and our daughters, at the fluidity of our lives, at our notions of nationhood . . ." This groundbreaking study is accompanied by a complete bibliography of the six writers' works and secondary sources of feminist, Latino, and ethno-poetic criticism and theory.
Sterilization remains one of the most popular forms of fertility control in the world, but it has received little acknowledgment for decreasing birthrates on account of its dubious use as a means of population control, especially in developing countries. In Matters of Choice, Iris Lopez presents a comprehensive analysis of the dichotomous views that have portrayed sterilization either as part of a coercive program of population control or as a means of voluntary, even liberating, fertility control by individual women. Drawing upon her twenty-five years of research on sterilized Puerto Rican women from five different families in Brooklyn, Lopez untangles the interplay between how women make fertility decisions and their social, economic, cultural, and historical constraints. Weaving together the voices of these women, she covers the history of sterilization and eugenics, societal pressures to have fewer children, a lack of adequate health care, patterns of gender inequality, and misinformation provided by doctors and family members. Lopez makes a stirring case for a model of reproductive freedom, taking readers beyond victim/agent debates to consider a broader definition of reproductive rights within a feminist anthropological context.
In this revised and expanded second edition of The Puerto Rican Woman, Acosta-Belen has collected the most current interdisciplinary studies covering a variety of perspectives on the status of the Puerto Rican woman. Among the areas examined are the socialization and educational processes in Puerto Rico and how they differ for men and women; statistical data focusing on the relationship of education to the placement of men and women in the Puerto Rican labor market; and the status of Puerto Rican women in the United States, their declining participation in the work force, and the increasing number of Puerto Rican families headed by women.
Magic, sexual tension, high comedy, and intense drama move through an enchanted yet harsh autobiography, in the story of a young girl who leaves rural Puerto Rico for New York's tenements and a chance for success.
The topic of this book may seem unusual to some since there may be those who believe that Puerto Rican women may not have entered the jazz milieu during its early history. Nevertheless, an aim of the book is to dispel this and other false generalizations. The contents of this volume will document how Puerto Rican women were not only present in early jazz but how they played trailblazing and innovative roles and contributed to the emergence of the genre in the States and abroad. This work will present information that is confirmable through a variety of sources. The book may not be the definitive work on the subject but will serve as a starting point to: -document the success and achievement of several Puerto Rican women from the jazz age -consider the different strategies used for success in jazz and film by women -illustrate the evolution of various careers -consider the different personal circumstances under which success was achieved -consider how women in contemporary jazz and film can learn from their predecessors -provide women: older, young, and youthful, examples of success with documentary evidence on how to achieve Book Organization The book is organized into sections that cover a brief history of significant Puerto Rican women in music and the performing arts followed by biographical descriptions of pioneering women in jazz and film. The book also contains a brief discussion on Puerto Rican women in jazz today followed by a discussion surrounding issues affecting women in the arts today. Throughout the text there is commentary on the situations facing women, especially, male chauvinism, colonialism, racism, and anti-women prejudice in jazz. Every effort was made to include only facts that are easily confirmable. Unsupported tales or questionable events are avoided to ensure that the material contained in the volume can be used for teaching purposes and for curriculum development when credit is given to this work. In the process of developing the central theme of this volume, special effort was made to document those experiences where Puerto Rican women collaborate with members of the African American community to confirm how the cross-cultural collaboration resulted beneficial to both ethnic peoples. The book will detail the many instances where members of the African-American community assisted the fledgling Puerto Rican artists achieve success and stardom. Figures such as Helen Elise Smith, David J. Martin, Will Marion Cook, Ada ‘Bricktop’ Smith, Dr. Laurence Clifton Jones, and other distinguished African-Americans are described. My hope is that this information will be added to historic works in African-American Studies.
"Puerto Rican Women and Work: Bridges in Transnational Labor" is the only comprehensive study of the role of Puerto Rican women workers in the evolution of a transnational labor force in the twentieth century. This book examines Puerto Rican women workers, both in Puerto Rico and on the U.S. mainland. It contains a range of information--historical, ethnographic, and statistical. The contributors provide insights into the effects of migration and unionization on women's work, taking into account U.S. colonialism and globalization of capitalism throughout the century as well as the impact of Operation Bootstrap. The essays are arranged in chronological order to reveal the evolutionary nature of women's work and the fluctuations in migration, technology, and the economy. This one-of-a-kind collection will be a valuable resource for those interested in women's studies, ethnic studies, and Puerto Rican and Latino studies, as well as labor studies.
Licia Fiol-Matta traces the careers of four iconic Puerto Rican singers—Myrta Silva, Ruth Fernández, Ernestina Reyes, and Lucecita Benítez—to explore how their voices and performance style transform the possibilities for comprehending the figure of the woman singer. Fiol-Matta shows how these musicians, despite seemingly intractable demands to represent gender norms, exercised their artistic and political agency by challenging expectations of how they should look, sound, and act. Fiol-Matta also breaks with conceptualizations of the female pop voice as spontaneous and intuitive, interrogating the notion of "the great woman singer" to deploy her concept of the "thinking voice"—an event of music, voice, and listening that rewrites dominant narratives. Anchored in the work of Lacan, Foucault, and others, Fiol-Matta's theorization of voice and gender in The Great Woman Singer makes accessible the singing voice's conceptual dimensions while revealing a dynamic archive of Puerto Rican and Latin American popular music.
The postwar migration of Puerto Rican men and women to Chicago brought thousands of their children into city schools. These children's classroom experience continued the colonial project begun in their homeland, where American ideologies had dominated Puerto Rican education since the island became a US territory. Mirelsie Velázquez tells how Chicago's Puerto Ricans pursued their educational needs in a society that constantly reminded them of their status as second-class citizens. Communities organized a media culture that addressed their concerns while creating and affirming Puerto Rican identities. Education also offered women the only venue to exercise power, and they parlayed their positions to take lead roles in activist and political circles. In time, a politicized Puerto Rican community gave voice to a previously silenced group--and highlighted that colonialism does not end when immigrants live among their colonizers. A perceptive look at big-city community building, Puerto Rican Chicago reveals the links between justice in education and a people's claim to space in their new home.
Focusing on multigenerational Puerto Rican women and girls, Emily R. Aguiló-Pérez masterfully illustrates how Barbie dolls impact femininity, body image, and cultural identity. Since her debut in 1959, Barbie has transcended boundaries and transformed into a global symbol of femininity, capturing the imaginations of girls all around the world. An American Icon in Puerto Rico offers a captivating study of that iconic influence by focusing on a group of multigenerational Puerto Rican women and girls. Through personal narratives and insights, author Emily R. Aguiló-Pérez unveils the emotional attachment that these women and girls have formed with the doll during their formative years. This connection serves as a powerful lens to explore the intricate relationships girls have with their Barbie dolls and the complex role Barbie plays in shaping their identities. Aguiló-Pérez boldly confronts the challenges and contradictions that arise, offering a compelling analysis of how playing with Barbie dolls can impact a girl's perception of femininity, body image, race, and even national identity. Through these nuanced explorations, she unearths the potential pitfalls of these influences, encouraging readers to reflect on their own relationships with the iconic doll. By weaving together personal anecdotes, historical context, and sociocultural analysis, Aguiló-Pérez masterfully illustrates how these women and girls navigate the diverse landscapes of femininity, body image, and cultural identity, with Barbie serving as both a facilitator and a reflection of their growth. In doing so, she redefines the significance of Barbie in the lives of Puerto Rican women and girls, prompting readers from all around the world to reevaluate their perceptions of femininity and embrace a more inclusive understanding of beauty, body image, and self-expression.