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Libros sobre el tema "Audre Lorde"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 26 de abril de 2022

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1

Lorde, Audre. Conversations with Audre Lorde. Jackson: University Press of Mississippi, 2004.

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2

Lorde, Audre. The collected poems of Audre Lorde. New York: Norton, 1997.

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3

Veaux, Alexis De. Warrior poet: A biography of Audre Lorde. New York: W.W. Norton, 2004.

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4

Lorde, Audre. The Audre Lorde compendium: Essays, speeches, and journals. London: Pandora, 1996.

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5

Autobiographical representation in Pier Paolo Pasolini and Audre Lorde. Tübingen: Stauffenburg, 2001.

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6

Lorde, Audre. I am your sister: Collected and unpublished writings of Audre Lorde. New York: Oxford University Press, 2009.

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7

Women reading women writing: Self-invention in Paula Gunn Allen, Gloria Anzaldúa, and Audre Lorde. Philadelphia, PA: Temple University Press, 1996.

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8

Georgoudaki, Ekaterini. Race, gender and class perspectives in the works of Maya Angelou, Gwendolyn Brooks, Rita Dove, Nikki Giovanniand Audre Lorde. Thessaloniki: Aristotle University of Thessaloniki, 1991.

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9

Georgoudaki, Ekaterini. Race, gender, and class perspectives in the works of Maya Angelou, Gwendolyn Brooks, Rita Dove, Nikki Giovanni, and Audre Lorde. Thessaloniki, Greece: Aristotle University of the Thessaloniki, 1991.

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10

Birkle, Carmen. Women's stories of the looking glass: Autobiographical reflections and self-representations in the poetry of Sylvia Plath, Adrienne Rich, and Audre Lorde. München: W. Fink, 1996.

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11

How three Black women writers combined spiritual and sensual love: Rhetorically transcending the boundaries of language (Audre Lorde, Toni Morrison, and Dionne Brand). Lewiston, NY: Edwin Mellen Press, 2010.

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12

Higashida, Cheryl. Audre Lorde Revisited. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036507.003.0006.

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This chapter argues that Audre Lorde's essays and poetry from the 1980s develop an overlooked yet significant strand of second-wave Black feminism that reveals continuities with postwar anticolonial internationalism. Lorde's poetry and prose from the mid-1980s on, after the invasion of Grenada, reveal that independent Black nationhood becomes an important political goal for her, one not yet superseded by “free” mobility or exilic diasporic communities. Moreover, it is in Lorde's post-invasion prose and poetry that she most explicitly and consistently explores a nationalist internationalism, positing that African Americans are morally and politically bound to support Third World and indigenous struggles for national sovereignty and that anticolonial struggles illuminate and impact African Americans' situation in the United States as an oppressed people.
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13

Lorde, Audre y Roxane Gay. Selected Works of Audre Lorde. Norton & Company, Incorporated, W. W., 2020.

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14

Lorde, Audre. Collected Poems of Audre Lorde. Norton & Company, Incorporated, W. W., 2000.

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15

Lorde, Audre y Roxane Gay. The Selected Works of Audre Lorde. W. W. Norton & Company, 2020.

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16

Lorde, Audre. The Collected Poems of Audre Lorde. W. W. Norton & Company, 2000.

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17

Lorde, Audre. The Collected Poems of Audre Lorde. W. W. Norton & Company, 2000.

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18

Warrior poet : a biography of Audre Lorde. W.W. Norton & Co., 2004.

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19

Veaux, Alexis De. Warrior Poet: A Biography of Audre Lorde. W. W. Norton, 2006.

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20

Veaux, Alexis De. Warrior Poet: A Biography of Audre Lorde. W. W. Norton, 2006.

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21

Philosophy and Vulnerability: Catherine Breillat, Joan Didion, and Audre Lorde. Bloomsbury Publishing Plc, 2020.

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22

I Am Your Sister Collected And Unpublished Writings Of Audre Lorde. Oxford University Press, USA, 2011.

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23

Lorde, Audre. Audre Lorde : Selected Seminars and Interviews 1984-1992: Dream of Europe. Kenning Editions, 2020.

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24

Lorde, Audre y Mecca Jamilah Sullivan. Sister love: The letters of Audre Lorde and Pat Parker 1974-1989. A Midsummer Night's Press, 2018.

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25

Race, gender, and the activism of Black feminist theory: Working with Audre Lorde. Routledge, 2015.

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26

Parker, Emily Anne. Toward a “New and Possible Meeting”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190275594.003.0004.

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Audre Lorde understood giving isolated conceptual attention to sexual difference to be a tool of social control. I first discuss this claim in the context of Lorde’s philosophy of difference. I argue that Beauvoir’s The Ethics of Ambiguity and All Men Are Mortal offer in the figure of ambiguity a philosophy of difference that anticipates important aspects of that of Lorde: in these Beauvoirian texts ambiguity articulates an approach which is simultaneously ecological and political. However, to find this thread in Beauvoir’s oeuvre, it is necessary to read against images that she uses in both books to index ambiguity: Marianne de Sinclair (in All Men are Mortal) and Mademoiselle de Lespinasse (in The Ethics of Ambiguity). These images suggest the conceptual reduction of difference to sexual difference that Lorde warns against. I argue that Beauvoirian ambiguity has a power that can override the two figures that she uses to represent it.
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27

Keating, AnaLouise. “There is no arcane place for return”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037849.003.0004.

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This chapter offers a detailed example of how scholars and other readers can use differences to forge commonalities. Reading Mary Daly in conversation with Gloria Anzaldúa and Audre Lorde, this chapter examines the limitations in typical western concepts of the universal and demonstrates the possibility of negotiating between the universal and the particular without denying the importance of either. It argues that these negotiations are transformational in (at least) two ways: they enable us to redefine the universal in radically open-ended and inclusionary ways. And, these negotiations between universal and particular alter readers' self-perceptions and collective definitions. Finally, this chapter also addresses post-structuralist critiques of origin stories and revisionist mythmaking.
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28

Robolin, Stéphane. Constructive Engagements. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039478.003.0005.

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This chapter considers the outcomes of some interactions among black South African and African American writers discussed in preceding chapters, but “updated” here in the context of the 1980s. It explores how earlier transnational engagements led to a series of subsequent texts and interpersonal relationships as the global antiapartheid movement began to reach its apex. Those works—by Richard Rive, Michelle Cliff, Audre Lorde, and Gwendolyn Brooks—attest to the impress of earlier writers (Langston Hughes, Richard Wright, Keorapetse Kgositsile, and Bessie Head) and, by returning us to the matter of cultural influence, point to the considerable role South Africa and its writers played in shaping African American writerly imaginations. Furthermore, it is argued that Cliff's poem “Constructive Engagement” plays with the name of the Reagan-era U.S. foreign policy toward South Africa to powerful effect.
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29

Makewell, Jane Elizabeth. Knowing the enemy: An investigation of African American feminist aesthetics in the works of Toni Morrison, Alice Walker, Audre Lorde and Gloria Naylor. 1998.

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30

Allen, Jafari S. There's a Disco Ball Between Us. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021896.

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In There’s a Disco Ball Between Us, Jafari S. Allen offers a sweeping and lively ethnographic and intellectual history of what he calls “Black gay habits of mind.” In conversational and lyrical language, Allen locates this sensibility as it emerged from radical Black lesbian activism and writing during the long 1980s. He traverses multiple temporalities and locations, drawing on research and fieldwork conducted across the globe, from Nairobi, London, and Paris to Toronto, Miami, and Trinidad and Tobago. In these locations and archives, Allen traces the genealogies of Black gay politics and cultures in the visual art, poetry, film, Black feminist theory, historiography, and activism of thinkers and artists such as Audre Lorde, Marsha P. Johnson, Essex Hemphill, Colin Robinson, Marlon Riggs, Pat Parker, and Joseph Beam. Throughout, Allen renarrates Black queer history while cultivating a Black gay method of thinking and writing. In so doing, he speaks to the urgent contemporary struggles for social justice while calling on Black studies to pursue scholarship, art, and policy derived from the lived experience and fantasies of Black people throughout the world.
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31

Maxwell, Lida. Insurgent Truth. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190920029.001.0001.

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Insurgent Truth argues for the importance of outsider truth-telling to democratic politics and reads Chelsea Manning as an important contemporary outsider truth-teller. Outsider truth-tellers such as Manning tell or enact unsettling truths from a position of social illegibility. Often dismissed as in-credible by their societies, this book argues that their acts and writings reveal problems with dominant models of truth and truth-telling in politics, which often look to truth to offer a prepolitical stable common ground and align credibility with gendered, classed, and raced traits. Focusing on how outsider truth-tellers reveal this supposedly prepolitical common ground to reflect the power and reality of elites, Insurgent Truth argues that outsider truth-telling enacts an important, if risky democratic role in three ways: 1) revealing oppression and violence that the dominant class would otherwise not see; 2) revealing, in their truth-telling, the possibility of another way of living; and 3) disclosing an alternative form of stability via outsider solidarity. Insurgent Truth develops this argument through reading Chelsea Manning’s actions in conjunction with a cohort of other outsider truth-tellers: especially Virginia Woolf, Bayard Rustin, Audre Lorde, and Anna Julia Cooper.
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32

Tierney, Matt. Dismantlings. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501746413.001.0001.

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“For the master's tools,” the poet Audre Lorde wrote, “will never dismantle the master's house.” This book is a study of literary, political, and philosophical critiques of the utopian claims about technology in the Long Seventies, the decade and a half before 1980. Following Alice Hilton's 1963 admonition that the coming years would bring humanity to a crossroads, the book explores wide-ranging ideas from science fiction, avant-garde literatures, feminist and anti-racist activism, and indigenous eco-philosophy that may yet challenge machines of war, control, and oppression. It opposes the language of technological idealism with radical thought of the Long Seventies. This counter-lexicon retrieves seven terms for the contemporary critique of technology: Luddism, a verbal and material combat against exploitative machines; communion, a kind of togetherness that stands apart from communication networks; cyberculture, a historical conjunction of automation with racist and militarist machines; distortion, a transformative mode of reading and writing; revolutionary suicide, a willful submission to the risk of political engagement; liberation technology, a synthesis of appropriate technology and liberation theology; and thanatopography, a mapping of planetary technological ethics after Auschwitz and Hiroshima. The book restores revolutionary language of the radical Long Seventies for reuse in the digital present against emergent technologies of exploitation, subjugation, and death.
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33

Farber, Paul M. A Wall of Our Own. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655086.001.0001.

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The Berlin Wall is arguably the most prominent symbol of the Cold War era. Its construction in 1961 and its dismantling in 1989 are broadly understood as pivotal moments in the history of the last century. In A Wall of Our Own, Paul M. Farber traces the Berlin Wall as a site of pilgrimage for American artists, writers, and activists. During the Cold War and in the shadow of the Wall, figures such as Leonard Freed, Angela Davis, Shinkichi Tajiri, and Audre Lorde weighed the possibilities and limits of American democracy. All were sparked by their first encounters with the Wall, incorporated their reflections in books and artworks directed toward the geopolitics of division in the United States, and considered divided Germany as a site of intersection between art and activism over the respective courses of their careers. Departing from the well-known stories of Americans seeking post–World War II Paris for their own self-imposed exile or traveling the open road of the domestic interstate highway system, Farber reveals the divided city of Berlin as another destination for Americans seeking a critical distance. By analyzing the experiences and cultural creations of "American Berliner" artists and activists, Farber offers a new way to view not only the Wall itself but also how the Cold War still structures our thinking about freedom, repression, and artistic resistance on a global scale.
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