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Diploma Thesis from the year 2007 in the subject American Studies - Literature, grade: 5.5, University of Basel (Englisches Seminar), course: Seminar Afro American Writing, language: English, abstract: The first book ever published by an Afro-American, was written by a woman. Since the publication of Phillis Wheatley’s Poems on Various Subjects, however, the literary discourse in African American literature has been dominated by male writers. Similar to white literature, Afro-American women had only a marginal position in the creation of their writing. At the beginning of the last century, Virginia Woolf wrote about the relationship between woman and fiction in A Room Of One's Own: “Imaginatively she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history “(66). This practical exclusion from the literary process, or as Abbandonato puts it, “female silencing” (1107), has provoked the emergence of an Afro-American feminist literature. In the last century, writers such as Nella Larsen, Maya Angelou and Toni Morrison, just to name a few, started to write against the grain of dominant racial and gender discourses. In this paper, the breaking down of this gender bias through techniques of resistance will be explored in two novels by their fellow writers, Zora Neale Hurston and Alice Walker.
Zora Neale Hurston brings us Black America’s folklore as only she can, putting the oral history on the written page with grace and understanding. This new edition of Mules and Men features a new cover and a P.S. section which includes insights, interviews, and more. For the student of cultural history, Mules and Men is a treasury of Black America’s folklore as collected by Zora Neale Hurston, the storyteller and anthropologist who grew up hearing the songs and sermons, sayings and tall tales that have formed and oral history of the South since the time of slavery. Set intimately within the social context of Black life, the stories, “big old lies,” songs, voodoo customs, and superstitions recorded in these pages capture the imagination and bring back to life the humor and wisdom that is the unique heritage of Black Americans.
Helene Cixous is widely regarded as one of the world's most influential feminist writers and thinkers. "White Ink" brings together her most revealing interviews, available in English for the first time. Spanning over four decades and including a new interview with the editor Susan Sellers, this collection presents a brilliant, running commentary on the subjects at the heart of Cixous' writing.Here, Cixous discusses her books and her creative process, her views on and insights into literature, philosophy, theatre, politics, aesthetics, faith and ethics, human relations and the state of the world. As she responds to interviewers' questions, Cixous is prompted to reflect on her roles and activities as poet, playwright, feminist theorist, professor of literature, philosopher, woman, Jew. Each interview is a remarkable performance, an event in language and thought where Cixous' celebrated intellectual and poetic force can be witnessed 'in action'. The accessibility of the interview format provides an excellent starting-point for readers new to Cixous, while those already familiar with her work will find unexpected insights and fresh elucidations of her thought.
Critical Theory Today is the essential introduction to contemporary criticial theory. It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness. This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.
For bell hooks, the best cultural criticism sees no need to separate politics from the pleasure of reading. Yearning collects together some of hooks's classic and early pieces of cultural criticism from the '80s. Addressing topics like pedagogy, postmodernism, and politics, hooks examines a variety of cultural artifacts, from Spike Lee's film Do the Right Thing and Wim Wenders's film Wings of Desire to the writings of Zora Neale Hurston and Toni Morrison. The result is a poignant collection of essays which, like all of hooks's work, is above all else concerned with transforming oppressive structures of domination.
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“Strikingly dramatic, yet simple and unrestrained . . . an unusual and intensely interesting book richly packed with strange information.” —New York Times Book Review Based on Zora Neale Hurston’s personal experiences in Haiti and Jamaica, where she participated as an initiate rather than just an observer of voodoo practices during her visits in the 1930s, this travelogue into a dark world paints a vividly authentic picture of the ceremonies, customs, and superstitions of voodoo.
This study consists of two parts. The first part offers an overview of feminism's theory of differences. The second part deals with the textual analysis of poems about 'mothering' by women from India, the Caribbean and Africa. Literary criticism has dealt with the representation of 'mothering' in prose texts. The exploration of lyrical texts has not yet come. Since the late 1970s, the acknowledgement of and the commitment to difference has been foundational for feminist theory and activism. This investigation promotes a differentiated, 'locational' feminism (Friedman). The comprehensive theoretical discussion of feminism's different concepts of 'gender', 'race', 'ethnicity' and 'mothering' builds the foundation for the main part: the presentation and analysis of the poems. The issue of 'mothering' foregrounds the communicative aspect of women's experience and wants to bridge the gap between theory and practice. This study, however, does not intend to specify 'mothering' as a universal and unique feminine characteristic. It underlines a metaphorical use and discusses the concepts of 'nurturing', 'maternal practice' and 'social parenthood'. Regarding the extensive material, this study understands itself as an explorative not concluding investigation placed at the intersections of gender studies, postcolonial and classical literary studies. Most of all, it aims at initiating a dialogue and interchange between scholars and students in the Western and the 'Third World'.
A beautiful, arresting short story by Toni Morrison—the only one she ever wrote—about race and the relationships that shape us through life, with an introduction by Zadie Smith. Twyla and Roberta have known each other since they were eight years old and spent four months together as roommates in the St. Bonaventure shelter. Inseparable at the time, they lose touch as they grow older, only to find each other later at a diner, then at a grocery store, and again at a protest. Seemingly at opposite ends of every problem, and in disagreement each time they meet, the two women still cannot deny the deep bond their shared experience has forged between them. Written in 1980 and anthologized in a number of collections, this is the first time Recitatif is being published as a stand-alone hardcover. In the story, Twyla’s and Roberta’s races remain ambiguous. We know that one is white and one is black, but which is which? And who is right about the race of the woman the girls tormented at the orphanage? Morrison herself described this story as “an experiment in the removal of all racial codes from a narrative about two characters of different races for whom racial identity is crucial.” Recitatif is a remarkable look into what keeps us together and what keeps us apart, and about how perceptions are made tangible by reality.