Tesis: "Black women's literature"

1

Pipes, Candice L. "It's Time To Tell: Abuse, Resistance, and Recovery in Black Women's Literature". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1278001806.

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2

Naidoo, Y. "Speaking our minds : Black women's fiction, cultural politics and literary forms". Thesis, University of Nottingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339685.

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3

Schiller, Beate. "Between afrocentrism and universality : detective fiction by black women". Master's thesis, Universität Potsdam, 2004. http://opus.kobv.de/ubp/volltexte/2005/547/.

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This paper focuses on mysteries written by the Afro-American women authors Barbara Neely and Valerie Wilson Wesley. Both authors place a black woman in the role of the detective - an innovative feature not only in the realm of female detective literature of the past two decades but also with regard to the current discourse about race and class in US-American society.

This discourse is important because detective novels are considered popular literature and thus a mass product designed to favor commercial instead of literary claims. Thus, the focus is placed on the development of the two protagonists, on their lives as detectives and as black women, in order to find out whether or not and how the genre influences the depiction of Afro-American experiences. It appears that both of these detective series represent Afro-American culture in different ways, which confirms a heterogenic development of this ethnic group. However, the protagonist's search for identity and their relationships to white people could be identified as a major unifying claim of Afro-American literature.

With differing intensity, the authors Neely and Wesley provide the white or mainstream reader with insight into their culture and confront the reader's ignorance of black culture. In light of this, it is a great achievement that Neely and Wesley have reached not only a black audience but also a growing number of white readers.
Im Mittelpunkt dieser Arbeit stehen die Detektivserien der afroamerikanischen Autorinnen Barbara Neely und Valerie Wilson Wesley. Die Blanche White Mysteries von Neely und die Tamara Hayle Mysteries von Wesley repräsentieren mit der Einführung der schwarzen Hausangestellten Blanche White als Amateurdetektivin und der schwarzen Privatdetektivin Tamara Hayle nicht nur hinsichtlich der innerhalb der letzten zwanzig Jahre erschienen Welle von Kriminalautorinnen mit weiblichen Detektiven eine Innovation, sondern auch bezüglich der mit diesen Hauptfiguren verbundenen Auseinandersetzungen mit Klassenstatus und Rassismus.

Die bisher erschienen Detektivromane beider Serien werden in dieser Arbeit im Hinblick auf ihre Präsentation der Erfahrungen der Afroamerikaner in den USA der 1990er Jahre untersucht. Da Detektivromane der Populärliteratur zugerechnet werden und entsprechend ihrer Befriedigung von Massenansprüchen "produziert" werden, war die Fragestellung, ob in den genannten Detektivserien diese Hinwendung zur Mainstreamkultur mit einer verringerten Darstellung der afroamerikanischen Probleme und Lebensweise verbunden ist. Bei der Analyse der Serien wurde deshalb der Entwicklung der Protagonistinnen als Detektivinnen und als schwarze Frauen sowie der Wirkung ihrer Erzählerstimme besondere Aufmerksamkeit geschenkt.

Die beiden Serien repräsentieren die afroamerikanische Kultur auf unterschiedlichen Erfahrungsstufen, woran erkennbar ist, dass die afroamerikanische Bevölkerung in den USA keine homogene Gruppe darstellt. Ausschlaggebend für das Erreichen des Anspruchs der Afroamerikaner an ihre Literatur scheint die Auseinandersetzung mit Fragen der Identitätsfindung der schwarzen Protagonistinnen und der Beziehungen zwischen Schwarzen und Weißen zu sein. Den Autorinnen gelingt es in unterschiedlichem Maße den weißen und somit Mainstream-Lesern nicht nur einen Einblick in ihre Kultur zu vermitteln, sondern vielmehr, sie direkt mit ihrer Ignoranz gegenüber dieser schwarzen Kultur zu konfrontieren. Neelys und Wesleys große Leistung ist, dass die Stimmen ihrer Protagonistinnen sowohl ein zahlreiches schwarzes als auch ein wachsendes weißes Publikum erreichen.

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4

Gress, Priti Chitnis. "Tar Baby and the Black Feminist Literary Tradition". W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626111.

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5

Jones, Esther L. "Traveling discourses subjectivity, space and spirituality in black women's speculative fictions in the Americas /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155665383.

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6

Shaw, Barbara Lorraine. "(Re)mapping the black Atlantic violence, affect, and subjectivity in contemporary Caribbean women's migration literature /". College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7172.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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7

Eaton, Kalenda C. "Talkin' bout a revolution Afro-politico womanism and the ideological transformation of the black community, 1965-1980 /". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1093540674.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains 185 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2007 Aug. 26.

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8

Wolfe, Andrea P. "Black mothers and the nation : claiming space and crafting signification for the black maternal body in American women's narratives of slavery, reconstruction, and segregation, 1852-2001". CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1560845.

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“Black Mothers and the Nation” tracks the ways that texts produced by United States women throughout the nineteenth and twentieth centuries position the black maternal body as subversive to the white patriarchal power structure for which it labored and that has acted in many ways to abject it from the national body. This study points to the ways in which the black mother’s subversive potential has been repeatedly, violently, and surreptitiously circumscribed in some quarters even as it succeeds in others. Several important thematic threads run throughout the chapters of this study, sometimes appearing in clear relationship to the texts discussed and sometimes underwriting their analysis in less obvious ways: the functioning of the black maternal body to both support the construction of and undermine white womanhood in slavery and in the years beyond; the reclamation of the maternal body as a site of subversion and nurturance as well as erotic empowerment; the resistance of black mother figures to oppressive discourses surrounding their bodies and reproduction; and, finally, the figurative and literal location of the black mother in a national body politic that has simultaneously used and abjected it over the course of centuries. Using these lenses, this study focuses on a grouping of women’s literature that depicts slavery and its legacy for black women and their bodies. The narratives discussed in this study explore the intersections of the issues outlined above in order to get at meaningful expressions of black maternal identity. By their very nature as representations of historical record and regional and national realities, these texts speak to the problematic placement of black maternal bodies within the nation, beginning in the antebellum era and continuing through the present; in other words, these slavery, Reconstruction, and segregation narratives connect personal and physical experiences of maternity to the national body.
The subordination of embodied power : sentimental representations of the black maternal body in Harriet Beecher Stowe's Uncle Tom's cabin and Harriet Jacobs's Incidents in the life of a slave girl -- Recuperating the body : the black mother's reclamation of embodied presence and her reintegration into the black community in Pauline Hopkins's Contending forces and Toni Morrison's Beloved -- The narrative power of the black maternal body : resisting and exceeding visual economies of discipline in Margaret Walker's Jubilee and Sherley Anne Williams's Dessa Rose -- Mapping black motherhood onto the nation : the black maternal body and the body politic in Lillian Smith's Strange fruit and Alice Randall's The wind done gone -- Michelle Obama in context.
Access to thesis permanently restricted to Ball State community only
Department of English

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9

Williams, Algie Vincent. "Patterns in the Parables: Black Female Agency and Octavia Butler's Construction of Black Womanhood". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126489.

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English
Ph.D.
This project argues that Octavia's Butler's construction of the black woman characters is unique within the pantheon of late eighties African-American writers primarily through Butler's celebration of black female physicality and the agency the black body provides. The project is divided into five sections beginning with an intensive examination of Butler's ur-character, Anyanwu. This character is vitally important in discussing Butler's canon because she embodies the attributes and thematic issues that run throughout the author's work, specifically, the author's argument that black woman are provided opportunity through their bodies. Chapter two addresses the way black women's femininity is judged: their sexual activity. In this chapter, I explore one facet of Octavia Butler's narrative examination of sexual co-option and her subsequent implied challenge to definitions of feminine morality through the character Lilith who appears throughout Butler's Xenogenesis trilogy. Specifically, I explore this subject using Harriet Jacobs' seminal autobiography and slave narrative, Incidents in the Life of a Slave Girl as the prism in which I historically focus the conversation. In chapter three, I move the discussion into an exploration of black motherhood. Much like the aforementioned challenge to femininity vis-à-vis sexual morality, Octavia Butler often challenges and interrogates the traditional definition of motherhood, specifically, the relationship between mother and daughter. I will focus on different aspects of that mother/daughter relationship in two series, the Patternist sequence, which includes, in chronological order, Wild Seed, Mind of my Mind and Patternmaster. Chapter four discusses Butler's final novel, Fledgling, and how the novel's protagonist, Shori not only fits into the matrix of Butler characters but represents the culmination of the privileging of black female physicality that I observe in the author's entire canon. Specifically, while earlier characters are shown to create opportunities and venues of agency through their bodies, in Shori, Butler posits a character whose existence is predicated on its blackness and discusses how that purposeful racial construction leads to freedom.
Temple University--Theses

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10

Hughes-Tafen, Denise C. "Throwing Black women's voices from the Global South into an Appalachian classroom". Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1125437397.

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11

Louw, Nicolette. "Grace and The townships h Housewife : excavating South African Black women's magazines from the 1960s". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/4064.

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Thesis (MA (English))--University of Stellenbosch, 2009.
ENGLISH ABSTRACT: Grace and The Townships Housewife, two black women’s magazines published in South Africa between 1964 and 1969, have slipped into obscurity. This thesis aims to write them back into the history of the black press, black journalism and literature in South Africa. The study is significant in that no research has as yet been conducted on these two magazines. The first chapter excavates Grace and The Townships Housewife from obscurity by providing information on the magazines’ publication, staff, editors, content, target audience and writers. A salient characteristic of both magazines’ content that the study discusses is the ambiguous attitude of readers and writers towards modernity and tradition (and the negotiation of new identities) as they move from the country to the city. Some readers’ embrace and others’ rejection of early signs of feminism and womanism in the magazines also display this ambiguous attitude. The chapter foregrounds the various ambiguities and often colliding voices that infuse much of the magazines’ content. The absence of explicit reference to apartheid in Grace’s and The Townships Housewife’s content provides another focal point of this chapter and is discussed in relation to the concepts of ‘minstrelsy’ and ‘mimicry’. Considering specifically the position of the black woman in apartheid South Africa, the second chapter compares the representation of white women in South African white women’s magazines Die Huisgenoot, Sarie Marais and Fair Lady to the way in which black women are represented in Grace and The Townships Housewife in the 1960s. The role of the latter two magazines in positively representing black women during apartheid South Africa, and thus standing in direct opposition to the identities ascribed to black people in colonial and apartheid ideology, is a primary focus of this chapter. The representation of black women in the 1960s is elaborated on in the next chapter which explores the shift in the representation of black women from Drum magazine (during its heyday in the 1950s), with its predominantly male staff, to the representation of black women in Grace and The Townships Housewife (in the 1960s), with their predominantly female staff. I hypothesise on the possible agencies at work within this shift in women’s representation. Despite the magazines’ adherence at times to white standards of beauty (an aspect which the thesis engages with throughout), the ‘creation’ of black women within the pages of Grace and The Townships Housewife (as the previous two chapters articulate), often resonates with Black Consciousness’s philosophy of black pride. This last chapter explores the possible connection between Grace and The Townships Housewife, on the one hand, and the early beginnings of an emergent black consciousness in South Africa in the late 1960s, on the other hand. It also discusses the sexism associated with black consciousness philosophy in relation to these two magazines, but the focus falls on how black female readers of Grace and The Townships Housewife negotiate imposed ‘female identities’ (for example, mother, housewife and supporter) towards greater agency.
AFRIKAANSE OPSOMMING: Grace en The Townships Housewife, twee tydskrifte gemik op swart vroue en wat in Suid-Afrika gepubliseer is tussen 1964 en 1969, is vandag onbekend. Die doel van dié tesis is om hierdie twee tydskrifte terug te skryf in die geskiedenis van swart joernalistiek en literatuur in Suid-Afrika. Dit is ’n waardevolle studie aangesien geen navorsing oor hierdie twee tydskrifte nog gedoen is nie. Dit is ook ’n ingewikkelde proses wat gepaard gaan met baie spekulasie, aangesien dit alreeds te lank gevat het vir hierdie tydskrifte om ontdek te word – dit is nie meer moontlik om die meeste van die bydraers tot hierdie twee tydskrifte op te spoor nie. Die eerste hoofstuk ‘grawe’ Grace en The Townships Housewife as t’ ware weer ‘op’ deur inligting te voorsien oor hierdie tydskrifte se uitgewers, personeel, redaktrises, inhoud, teikengroepe en skrywers. Die dubbelsinnige houdings wat lesers in die tydskrifte toon teenoor tradisie en moderniteit soos wat hulle beweeg van plattelandse gebiede na stedelike gebiede, is kenmerkend van hierdie tydskrifte en word in hierdie hoofstuk bespreek. Hierdie dubbelsinnigheid word ook weerspieël in lesers en skrywers se ambivalente houdinge teenoor die bemagtiging van vroue. Die verskeie dubbelsinnighede en dikwels botsende stemme in meeste van die twee tydskrifte se inhoud is ’n belangrike punt wat hierdie tesis uitlig. Die afwesigheid van direkte verwysings na apartheid in beide tydskrifte is nog ’n kenmerkende eienskap van die tydskrifte wat in hierdie hoofstuk ondersoek word. Met die fokus op die posisie van die swart vrou in apartheid Suid-Afrika, vergelyk die tweede hoofstuk die voorstelling van wit vroue in Suid-Afrikaanse wit vrouetydskrifte (Die Huisgenoot, Sarie Marais en Fair Lady) met dié van swart vroue in Grace en The Townships Housewife in die 1960s. ’n Primêre fokus van hierdie hoofstuk is die rol wat Grace en The Townships Housewife speel in die positiewe voorstelling van swart vroue tydens apartheid, in direkte kontras tot die voorstellinge van swart vroue in apartheid ideologie. Die volgende hoofstuk brei verder uit op die voorstelling van die swart vrou in die 1960s: hier word gekyk na die skuif wat plaasvind in die voorstelling van swart vroue van die Drum-tydskrif in die 1950s met sy hoofsaaklik manlike personeel, na die voorstelling van swart vroue in 1960s Grace en The Townships Housewife, met hoofsaaklik vroulike personeel. Die moontlike faktore verantwoordelik vir so ’n verandering in voorstelling word oorweeg. Alhoewel die inhoud van Grace en The Townships Housewife gereeld ‘wit’ standaarde van skoonheid ondersteun, toon die voorstelling van swart vroue in hierdie twee tydskrifte ook dikwels ooreenkomste met swart bewustheid filosofie se fokus op swart trots. Hierdie laaste hoofstuk ondersoek die moontlike verbintenis tussen Grace en The Townships Housewife, aan die een kant, en die vroeë begin van swart bewustheid in Suid-Afrika in die laat sestigerjare. Die dikwels seksistiese houdinge wat met swart bewustheid filosofie geassosieer word, word in hierdie hoofstuk bespreek aan die hand van voorbeelde uit Grace en The Townships Housewife. Dit is egter nie die fokus van hierdie studie nie: die fokus val op hoe swart vroue lesers van Grace en The Townships Housewife opgelegde rolle van moederskap, huisvrou en ondersteuners stuur tot posisies van groter mag.

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12

Minto, Deonne Nicole. "Sisters in the spirit transnational constructions of diaspora in late twentieth-century black women's literature of the Americas /". College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/6790.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007
Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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13

Mathis, Rondrea Danielle. "'She Shall Not Be Moved': Black Women's Spiritual Practice in Toni Morrison's The Bluest Eye, Beloved, Paradise, and Home". Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5737.

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‘She Shall Not Be Moved’: Black Women’s Spiritual Practice in Toni Morrison’s The Bluest Eye, Beloved, Paradise, and Home argues that from The Bluest Eye, Morrison’s debut novel, to her 2012 novel, Home, Morrison brings her female characters to voice, autonomy, and personal divinity through unconventional spiritual work. The project addresses the history of Black women’s activist and spiritual work, Toni Morrison’s engagement with unconventional spiritual practice, and closes with a personal interrogation of the author’s connection to Black women’s spiritual practice.

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14

Perro, Ebony Le'Ann. "Coming of (R)age: Constructing Counternarratives of Black Girlhood from the Angry Decade to the Age of Rage". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/196.

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This dissertation assesses rage and its utility for fictional Black girls and adolescents in asserting their humanity, accessing their voices, and developing strategies of resistance that contribute to their identity formation. Through analyses of six novels: 1) God Bless the Child, 2) Breath, Eyes, Memory, 3) The Hate U Give, 4) The Bluest Eye, 5) Daddy Was a Number Runner, and 6) The Poet X, this research presents rage as a canonical theme in Black women’s coming-of-age narratives and presents connections between rage, rights, and resistance. The connections, revealed through stimuli and adaptations associated with rage, frame an argument for North Americas as an arbiter of anger. The novels construct an “arc of anger” that places them in conversation about Black girl rage and presents a tradition of Black women crafting Black girl protagonists who are conduits for counternarratives of rage. This dissertation also examines how history, memory, and culture contribute to Black girls’ frustrations and knowledge bases. By looking to works published between the angry decade (the 1960s) and the age of rage (the 2010s), the research presents ways Black women novelists and their characters return to rage to combat social institutions and critique social constructions of Black girlhood and womanhood.

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15

Angle, Erica. "Unspeakable thoughts unspoken: Black feminism in Toni Morrison's Beloved". CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1118.

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16

Serls, Tangela La'Chelle. "The Spirit of Friendship: Girlfriends in Contemporary African American Literature". Scholar Commons, 2017. https://scholarcommons.usf.edu/etd/7442.

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The Spirit of Friendship: Girlfriends in Contemporary African American Literature examines spiritual subjectivities that inspire girlfriends in three contemporary novels to journey towards actualization. It examines the girlfriend bond as a space where the Divine Spirit can flourish and assist girlfriends as they seek to become actualized. This project raises epistemological questions as it suggests that within the girlfriend dynamic, knowledge that is traditionally subjugated is formed and refined. Finally, girlfriend epistemology is considered in light of Black Girl Magic, a contemporary social and cultural movement among Black women.

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17

Wiggins, Rebecca Wiltberger. "MEETING AT THE THRESHOLD: SLAVERY’S INFLUENCE ON HOSPITALITY AND BLACK PERSONHOOD IN LATE-ANTEBELLUM AMERICAN LITERATURE". UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/83.

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In my dissertation, I argue that both white and black authors of the late-1850s and early-1860s used scenes of race-centered hospitality in their narratives to combat the pervasive stereotypes of black inferiority that flourished under the influence of chattel slavery. The wide-spread scenes of hospitality in antebellum literature—including shared meals, entertaining overnight guests, and business meetings in personal homes—are too inextricably bound to contemporary discussions of blackness and whiteness to be ignored. In arguing for the humanizing effects of playing host or guest as a black person, my project joins the work of literary scholars from William L. Andrews to Keith Michael Green who argue for broader and more complex approaches to writers’ strategies for recognizing the full personhood of African Americans in the mid-nineteenth century. In the last fifteen to twenty years, hospitality theory has reshaped social science research, particularly around issues of race, immigration, and citizenship. In literary studies, scholars are only now beginning to mine the ways that theorists from diverse backgrounds—including continental philosophers such as Derrida and Levinas, womanist philosopher and theologian N. Lynne Westerfield, and post-colonial writers and scholars such as Tahar Ben Jelloun—can expand the reading of nineteenth century literature by examining the discourse and practice of hospitality. When host and guest meet at the threshold they must acknowledge the full personhood of the other; the relationship of hospitality is dependent on beginning in a state of equilibrium grounded in mutual respect. In this project I argue that because of the acknowledgement of mutual humanness required in acts of hospitality, hospitality functions as a humanizing narrative across the spectrum of antebellum black experience: slave and free, male and female, uneducated and highly educated. In chapter one, “Unmasking Southern Hospitality: Discursive Passing in Harriet Beecher Stowe’s Dred,” I examine Stowe’s use of a black fugitive slave host who behaves like a southern gentleman to undermine the ethos of southern honor culture and to disrupt the ideology that supports chattel slavery. In chapter two, “Transformative Hospitality and Interracial Education in Webb’s The Garies and Their Friends,” I examine how the race-centered scenes of hospitality in Frank J. Webb’s 1857 novel The Garies and Their Friends creates educational opportunities where northern racist ideology can be uncovered and rejected by white men and women living close to, but still outside, the free black community of Philadelphia. In the final chapter, “Slavery’s Subversion of Hospitality in Jacobs’s Incidents in the Life of a Slave Girl,” I examine how Linda Brent’s engagement in acts of hospitality (both as guest and host) bring to light the warping influence of chattel slavery on hospitality in Harriet Jacobs’s Incidents in the Life of a Slave Girl. In conclusion, my project reframes the practices of antebellum hospitality as yet another form of nonviolent everyday resistance to racist ideology rampant in both the North and the South. This project furthers the ways that American literature scholars understand active resistance to racial oppression in the nineteenth century, putting hospitality on an equal footing with other subversive practices, such as learning to read or racial passing.

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18

Watkins, Angela Denise. "Mambos, priestesses, and goddesses: spiritual healing through Vodou in black women's narratives of Haiti and New Orleans". Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5875.

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My dissertation titled "Mambos, Priestesses, and Goddesses: Spiritual Healing Through Vodou in Black Women's Narratives of Haiti and New Orleans" reclaims the practice of Vodou as an integral African spiritual tradition through fiction by black women writers. I discuss how the examination of Vodou necessitates the revision of colonial history, serves as an impetus for reevaluating the literary representation of the black female migrant subject, and gives voice to communities silenced by systemic oppression. I parallel novels by contemporary women writers such as Erna Brodber, Jewell Parker Rhodes and Edwidge Danticat with Zora Neale Hurston's ethnographic research in the early twentieth century in order to examine how Vodou is utilized as a literary trope that challenges racist, stereotypical representations of African spirituality in American popular culture. It is also an examination of the shared socio-cultural history between Haiti and New Orleans that coincides with political and environmental changes. Although Vodou has been disparaged as primitive magic, my work demonstrates its profound social, cultural, and political significance; and its important transformations from a nineteenth-century practice to a twenty-first century strategy of survival.

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19

Nicholas, Alice Lynn. "LIBERATORY EXPRESSIONS: BLACK WOMEN, RESISTANCE AND THE CODED WORD, AN AFRICOLOGICAL EXAMINATION". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/564310.

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African American Studies
Ph.D.
Word coding can be traced to the ancient Kemetic practice of steganography (referring to hiding place or hidden message). Unless the reader is aware of the meaning, the Coded Word can often appear as just art. Afrocentric scholarship however, also incorporates the idea of functionality. Aesthetics, throughout African history, and to this day, serve a purpose. The beautiful quilts sewn by enslaved Black women served dual functions, as bed coverings and as symbols of resistance and liberation. The decorative wrought-ironwork found on gates and doors throughout the United States serves as a Sankofic reminder and protector. The highly coded language in the aesthetics of the Black Power/Black Arts Movement, shifted paradigms. Though the practice of word coding remains an active part of contemporary Black culture, there is a disconnection between the action and the aim (or function); a direct result of the destructive efforts of colonization. Today’s racially charged and oftentimes dangerous climate calls for a reexamination of word coding as a liberatory tool. I created the theory of the Coded Word to analyze three novels by Black women who are unique in their forms of word coding, just as they are characteristically distinct in their forms of expression. The findings for the three novels have resulted in the first three entries into the Glossary of the Coded Word, a resource to be used by Black people in resistance to oppression and in the struggle for liberation of all Black people.
Temple University--Theses

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20

Brassaw, Mandolin R. "Divine heresy : women's revisions of sacred texts /". Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/9153.

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Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 219-226). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

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21

Harwell, Raena Jamila. "This Woman's Work: The Sociopolitical Activism of Bebe Moore Campbell". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/138885.

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African American Studies
Ph.D.
In November 2006, award-winning novelist, Bebe Moore Campbell died at the age of 56 after a short battle with brain cancer. Although the author was widely-known and acclaimed for her first novel, Your Blues Ain't Like Mine (1992) there had been no serious study of her life, nor her literary and activist work. This dissertation examines Campbell's activism in two periods: as a student at the University of Pittsburgh during the 1960s Black Student Movement, and later as a mental health advocate near the end of her life in 2006. It also analyzes Campbell's first and final novels, Your Blues Ain't Like Mine and 72 Hour Hold (2005) and the direct relationship between her novels and her activist work. Oral history interview, primary source document analysis, and textual analysis of the two novels, were employed to examine and reconstruct Campbell's activist activities, approaches, intentions and impact in both her work as a student activist at the University of Pittsburgh and her work as a mental health advocate and spokesperson for the National Alliance for Mental Illness. A key idea considered is the impact of her early activism and consciousness on her later activism, writing, and advocacy. I describe the subject's activism within the Black Action Society from 1967-1971 and her negotiation of the black nationalist ideologies espoused during the 1960s. Campbell's first novel Your Blues Ain't Like Mine and is correlated to her emerging political consciousness (specific to race and gender) and the concern for racial violence during the Black Liberation period. The examination of recurrent themes in Your Blues reveals a direct relationship to Campbell's activism at the University of Pittsburgh. I also document Campbell's later involvement in the National Alliance on Mental Illness (NAMI), her role as a national spokesperson, and the local activism that sparked the birth of the NAMI Urban-Los Angeles chapter, serving black and Latino communities (1999-2006). Campbell's final novel, 72 Hour Hold, is examined closely for its socio-political commentary and emphasis on mental health disparities, coping with mental illness, and advocacy in black communities. Campbell utilized recurring signature themes within each novel to theorize and connect popular audiences with African American historical memory and current sociopolitical issues. Drawing from social movement theories, I contend that Campbell's activism, writing, and intellectual development reflect the process of frame alignment. That is, through writing and other activist practices she effectively amplifies, extends, and transforms sociopolitical concerns specific to African American communities, effectively engaging a broad range of readers and constituents. By elucidating Campbell's formal and informal leadership roles within two social movement organizations and her deliberate use of writing as an activist tool, I conclude that in both activist periods Campbell's effective use of resources, personal charisma, and mobilizing strategies aided in grassroots/local and institutional change. This biographical and critical study of the sociopolitical activism of Bebe Moore Campbell establishes the necessity for scholarly examination of African American women writers marketed to popular audiences and expands the study of African American women's contemporary activism, health activism, and black student activism.
Temple University--Theses

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Sy, Kadidia. "Women's relationships female friendship in Toni Morrison's Sula and Love, Mariama Bâ's So long a letter and Sefi Atta's Everything good will come /". unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04212008-135356/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from file title page. Renee Schatteman, committee chair; Chris Kocela, Margaret Harper, committee members. Electronic text (158 [i.e. 156] p.) : digital, PDF file. Description based on contents viewed 23 June 2008. Includes bibliographical references (p. 146-156).

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Spong, Kaitlyn M. "“Your love is too thick”: An Analysis of Black Motherhood in Slave Narratives, Neo-Slave Narratives, and Our Contemporary Moment". ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2573.

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In this paper, Kait Spong examines alternative practices of mothering that are strategic nature, heavily analyzing Patricia Hill Collins’ concepts of “othermothering” and “preservative love” as applied to Toni Morrison’s 1987 novel, Beloved and Harriet Jacob’s 1861 slave narrative, Incidents in the Life of a Slave Girl. Using literary analysis as a vehicle, Spong then applies these West African notions of motherhood to a modern context by evaluating contemporary social movements such as Black Lives Matter where black mothers have played a prominent role in making public statements against systemic issues such as police brutality, heightened surveillance, and the prison industrial complex.

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Monbeig, Fanny. "Représentation et performance de genre et de « race » dans la littérature féminine noire (africaine-américaine, caribéenne, française)". Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30038.

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L'esclavage constitue le chronotope de "Tituba" de M. Condé et de "Beloved" de T. Morrison. Il est un héritage paradigmatique dans les autres œuvres de ces auteures, ainsi que chez Alice Walker et Gisèle Pineau, déterminant les rapports raciaux contemporains. La fragmentation du corps esclave convoque le motif de la couture, entre tissage conteur, re-membrement du corps social, et reconfiguration d'une tâche traditionnellement féminine. La mise en exergue du pouvoir performatif des mots des maîtres rappelle l’historicité et la dimension politique de l'invention du racisme dans le régime plantocratique. L'exemple de la beauté féminine et de sa racialisation illustre l'intrication complexe de la construction du genre et de la race. Mais le récit du passé esclavagiste, s'il peut éclairer et expliquer le présent, n'est fait qu'au prix d'un combat douloureux contre divers processus de refoulements, individuels et collectifs. Si "Beloved" et "La couleur Pourpre" rappellent le rôle essentiel de la réminiscence, "Paradis", "Morne Câpresse" et "Heremakhonon" mettent en scène des hypertrophies mémorielles problématiques ou drolatiques. La critique de la prétention historienne à l'objectivité y participe d'une remise en cause globale de la scientificité et de l'héritage des Lumières. Les ambivalences de la postmémoire s'opposent à la sacralisation contemporaine de la littérature mémorielle ou testimoniale, et la hantise postcoloniale se donne à voir sous un jour nouveau, ironique. L'analyse des maternités dialectiques dans "Beloved", "Tituba" ou "Rosie Carpe" permet de réfléchir le lien entre narration de la nation, racialisation de la maternité et contrôle du corps des femmes. Une lecture des œuvres du corpus à l'aune du concept d'intersectionnalité permet d'envisager une déconstruction globale de la féminité libérée de l'injonction à la sexualité reproductive. Au croisement du pouvoir de donner la vie et de son refus, le personnage de la sage-femme est récurrent. Souvent accusée de sorcellerie, elle nourrit une mythologie féminine qui peut retourner le stigmate magique. Fruit de rivalités dans les champs médicaux et religieux, la figure de la sorcière chez Toni Morrison, Maryse Condé ou Marie NDiaye est une invention interculturelle dont la force performative et parodique ébranle les catégories littéraires. Issus du traumatisme de l'esclavage, les romans étudiés esquissent les contours d'utopies concrètes. Leur dimension totalitaire et séparatiste cependant se révèle dans le visage grimaçant de l'espérance eschatologie contemporaine : la secte. Si la projection dans le futur semble ainsi dérisoire, le retour en un espace premier, refuge utérin et remontée dans le temps, s'abîme dans l'impossibilité du retour en Afrique. La Négritude césairienne est ainsi mise à distance, tandis que les espoirs de la Créolité semblent battus en brèche par une littérature récusant l'utopie post-raciale. Les migrations contemporaines et les douleurs de la condition exilique sont narrées sans idéalisation de la mobilité, tandis que les stratégies narratives des auteures diffèrent, tout en se retrouvant dans un désir de révéler en même temps que de dépasser la ligne de couleur
Slavery is the chronotope of "Tituba" by M. Condé and "Beloved" by T. Morrison. Slavery is a paradigmatic heritage in other novels by these authors, as well as in Alice Walker's and Gisèle Pineau's art ; it determines the contemporary racial relationships. The splitting up of the slave's body calls to mind the pattern of sewing, narrative weaving, re-membering of the social body, and reinventing a traditionally feminine work. The highlighting of performative power of the master's words reminds us the historicity and the politic aspect of the invention of racism in the plantation system. The example of women's beauty and its racialization illustrates the complicated co-construction of gender and race. The writing of past history of slavery points out and explains the present time, but it requires a painful fight against various processes of individual and collective repression. "Beloved" and "The Color Purple" remind us of the importance of rememory, while "Paradise", "Morne Câpresse" and "Heremakhonon" tell about memory in excess. The criticism of historian claim for objectivity belongs to a global questioning of science on the one hand, and of the heritage of Enlightenment on the other. The ambivalences of postmemory confront the contemporary sacralization of memorial and testimonial literature. Postcolonial haunting is seen in a nex light, quite ironic. The analysis of dialectic motherhood in "Beloved", "Tituba" or "Rosie Carpe" allows us to conceptualise the link between national storytelling, racialization of motherhood and political control of women's bodies. Reading and analysing the novels with the concept of intersectionality shows a global deconstruction of womanhood, freed from the stress of reproductive sexuality. At the crossroad of women's power to give birth and death, the midwife is a recurring character. The midwife is often accused of being a witch, and she belongs to a feminine mythology that can turn the stigma around. The witch is born from rivalry in both religious and medical fields. In Toni Morrison's, Maryse Condé's or Marie Ndiaye's novels, the witch is an intercultural invention ; her parodic and performative strength undermines literary categories. Born from the trauma of slavery, the novels outline the pattern of concrete utopias. The totalitarian and separatist aspect of these utopias appears in the grinning face of the contemporary eschatological hope: the sect. Therefore any hope of a better future seems to be ridiculous ; when the return to a primary space, turning back in time, is dying in the impossible way back to Africa. The "Négritude" of Aimé Césaire is dismissed, and so are the hopes of "Créolité", by a literature that rejects post-racial utopia. There is not any idealization of movement in these novels, which tell contemporary migrations and pains of exile condition. Although the narrative strategies are different, they all intend to expose and overcome the color line

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Gqola, Pumla Dineo. "Black woman, you are on your own : images of black women in Staffrider short stories, 1978-1982". Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/19249.

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This dissertation examines the dominant images of Black women presented in the first five years of Staffrider magazine. It limits itself mainly to the analysis of short stories written in the English language. Since most of the contributors were men, many of the stories analysed here are by male Writers. A few poems by Black women have been analysed in addition to the short stories. The thesis focuses on and answers the question of whether 'positive' characterisation of Black people, seen as central to Black Consciousness writing, includes women or not. The analyses take into account race, class and gender and are informed by the theories of womanism and Black feminism(s). As much of the literature shows an overt bias in favour of the ideology of Black Consciousness, the first chapter serves an introductory function. It concentrates on an examination of the ideology of Black Consciousness and an interrogation of the literature to which it gave rise. Briefly sketching the development of BC, it examines the nature of BC literature. This entails both an study of the characteristics of the literature as well as an examination of the place of Black women in Black Consciousness discourse and literature.

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Schindler, Melissa Elisabeth. "black women writers and the spatial limits of the African diaspora". Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163890.

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My dissertation contends that diaspora, perhaps the most visible spatial paradigm for theorizing black constructions of identity and self, is inherently limited by the historical conditions of its rise as well as the preoccupations with which it has been most closely associated. I propose that we expand our theoretico-spatio terms for constructions of blackness to include the space of the home, the space of the plantation and the space of the prison (what I call the space of justice). These three spaces point to literary themes, characters, and beliefs that the space of diaspora alone does not explain. Each chapter analyzes the work of three or four writers from the United States, Brazil and Mozambique. These writers include: Paulina Chiziane, Conceição Evaristo, Octavia E. Butler, Toni Morrison, Zora Neale Hurston, Carolina Maria de Jesus, Bernice McFadden, Wanda Coleman, Ifa Bayeza and Asha Bandele.

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Adams, Brenda Byrne. "Patterns of healing and wholeness in characterizations of women by selected black women writers". Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/720157.

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Some Black women writers--Zora Neale Hurston, Toni Cade Bambara, Paule Marshall, Gloria Naylor, and Alice Walker--of American fiction have written characterizations of winning women. Their characterizations include women who are capable of taking risks, making choices, and taking responsiblity for their choices. These winning women are capable of accepting their own successes and failures by the conclusions of the novels. They are characterized as dealing with devastating and traumatic personal histories in a growth-enhancing manner. Characterizations of winning women by these authors are consistently revealed through five developmental stages: conditioning, awareness, interiorizing, reintegrating, and winning. These stages contain patterns that are consistent from author to author.While conditioning and awareness of the negative influcences of conditioning are predictable, this study introduces the concept of interiorizing and reintegrating as positive steps toward becoming a winning woman. Frequent descriptions of numbness and disorientation mark the most obvious stages of interiorizing. It is not until the Twentieth Century that we see women writers using this interiorizing process as a necessary step toward growth. Surviving interiorizing, as these winning women do, leads to the essential stage of reintegrating.Interiorizing is a complete separation from social interaction; reintegrating is a gradual reattachment to social process. First, elaborate descriptions of bathing rituals affirm the importance of a woman's body to herself. Second, reintegrating involves food rituals which signal social reconnection. Celebration banquets and family recipes offer an important reminder to the winning woman that the future is built on the past. Taking the best of what has been learned from the past into the future provides strength and stability.The characterization of a winning woman stops with potential rather than completion. A winning woman must still take risks, make choices, and bear the consequences of her choices. The winning woman does not accept a diminished life of harmful conformity. She is characterized as discovering how to use choice and power. Novels included in this study are: Zora Neale Hurston's Their Eyes Are Watching God; Toni Cade Bambara's The Salt Eaters; Paule Marshall's Brownstone, Brown Girl; The Chosen Place, the Timeless People; and Praisesong for the Widow; Gloria Naylor's The Women of Brewster Place, Linden Hills; and Alice Walker's Meridian, and The Color Purple.
Department of English

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Shaw, John Brendan. "Touching History to Find “a Kind of Truth”: Black Women’s Queer Desires in Post-Civil Rights Literature, Film, and Music". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468845503.

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Marshall, Courtney Denine. "Sisters in crime black femininity, law, and literature in American culture /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971758521&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Maye, Sylvia Renee. "Fade to Black". University of Dayton / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1354302272.

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Cardaretti, Cristiane Vieira da Graça. "Frances E. W. Harper and Pauline E. Hopkins: the uplifting of black women through literature". Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5322.

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A presente dissertação tem como objetivo apresentar duas influentes autoras afro-americanas do século XIX, Frances E. W. Harper e Pauline E. Hopkins. Ambas as autoras, através de seus romances Iola Leroy, or, Shadows Uplifted (1892) e Contending Forces: a Romance Illustrative of Negro Life North and South (1900) respectivamente, entrelaçam ficção e história com o propósito de criar novas alternativas de discurso, afastando-se, portanto, do oficial. Ademais, o presente trabalho propõe demonstrar como Frances Harper e Pauline Hopkins fazem uso do espaço literário com a finalidade de escrever a história do oprimido, permitindo, principalmente, que as mulheres afro-americanas dessem voz as suas experiências e as suas próprias histórias. Assim sendo, a literatura produzida por Frances e Harper e Pauline Hopkins será analisada como forma de empoderamento da comunidade afro-americana, principalmente como forma de aquisição de poder para as Mulheres Afro-Americanas.
The present thesis aims at presenting two influential nineteenth-century African American writers, Frances E. W. Harper and Pauline E. Hopkins. Both authors, throughout their novels Iola Leroy, or, Shadows Uplifted (1892) and Contending Forces: a Romance Illustrative of Negro Life North and South (1900) respectively, interweave fiction and history in order to create new alternative discourses, thereby, diverging from the official one. Moreover, the present work also aims at demonstrating how Frances Harper and Pauline Hopkins made use of the literary space as a way to inscribe the history of the oppressed, allowing mainly black women to voice their experiences and their own hi(her)stories. Likewise, the literature produced by Frances Harper and Pauline Hopkins will be analyzed as a means of empowerment for African-American Women

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Wilson, Bonita M. "Hunger: Black Women Recasting the Shadows that Obscure Intellectual Tradition". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/167.

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Alwazzan, Aminah. "The Strong Voices of Black Women and Men in the Selected Poetry of Langston Hughes". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/161.

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This thesis discusses Langston Hughes’ poetry and details the African-American experience in a discriminatory society which was an essential theme of the Harlem Renaissance. The Harlem Renaissance was a cultural and artistic movement which enriched American life. Hughes’ body of work covers the entire range of the human experience, especially the experience of ordinary people. He believed that the role of the artist was to cover and illuminate every aspect of people’s lives. Part of this expansive philosophy towards art included giving a voice to African-American women and men who experienced both racist and patriarchal oppression.

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Ross-Stroud, Catherine Trites Roberta Seelinger. "Non-existent existences race, class, gender, and age in adolescent fiction; or Those whispering Black girls /". Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3106763.

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Thesis (Ph. D.)--Illinois State University, 2003.
Title from title page screen, viewed October 12, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, Janice Neuleib. Includes bibliographical references (leaves 217-236) and abstract. Also available in print.

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Piper, Gemmicka F. "Black intimacy in the popular imagination: re-examining African American women’s fiction from 1965-2000". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6622.

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Contemporary African American fiction repeatedly explores intimacy. These explorations have been most sustained in black women’s writing. Although female authors share an interest in romantic interactions, their portrayals reveal wide-ranging attitudes about this theme. Some accounts depict intimacy as a barrier to female advancement. In other texts, feminine success hinges on maintaining a committed relationship. These distinct outlooks not only reflect competing gender discourses within late 20th, early 21st century America but also significant developments in black women’s literature. In this dissertation, I analyze how fictional depictions of heterosexual intimacy reveal crucial facts about black women’s writing. I argue that various subgenres captured under the heading, popular black women’s literature, include narratives about male-female relationships that complicate the efforts celebrated as the black women’s literary renaissance of the 1970s. By focusing on the span from 1965-2000, I suggest that at the same moment when Toni Morrison, Alice Walker, and Gloria Naylor were expressing post-civil rights era black femininity in fictions filled with deteriorating heterosexual intimacy, other black women writers were using popular fiction to expose different possibilities for male-female interconnection. These authors exist in the same socio-cultural milieu as their high modernist peers; however, their writings reflect different reactions to decisions about where intimacy fits in the construction of black identity. My dissertation contains four chapters, and each chapter engages roughly a decade and considers different dimensions of black female popular literature. Looking at the mid-1960s to the mid-1970s roots of this genre’s interest in intimacy, chapter one establishes Toni Cade Bambara as a founding figure. Chapter two studies the black romance novel from the late 1970s to the mid-1980s concentrating on pioneers, Rosalind Welles and Sandra Kitt. Dealing with Terry McMillan’s rise to fame between the late 1980s and the mid-1990s, chapter three examines chick lit, the site where capitalist feminism and black relationship concerns converge. The final chapter uses Terri Woods’ work to interpret ghetto fiction of the late-1990s. Popular black women’s literature notes the dynamic nature of black cultural identity and responds to that dynamism with portraits of intimacy that register shifting intra-racial realities within the broader context of evolutions in inter-racial democracy. By identifying intimacy as a telling theme in post-civil rights era experience, my research points out the variegated textures of black civic exertion in both literary and political terms.

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Boada-Montagut, Irene. "'Women write black' : a comparative study of contemporary Irish and Catalan short stories". Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263244.

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Munoz, Cabrera Patricia. "Journeying: narratives of female empowerment in Gayl Jones's and Toni Morrison's ficton". Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210259.

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This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency.

Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.

My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature.

Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination.

In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.

Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).

Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

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Bell, Monita Kaye Wyss Hilary E. "Getting hair "fixed" Black Power, transvaluation, and hair politics /". Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Bell_Monita_45.pdf.

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Bruno, Ana Luiza Pereira. "A representação da mulher negra em Machado de Assis (leituras de Mariana e Sabina) /". Araraquara : [s.n.], 2012. http://hdl.handle.net/11449/93175.

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Orientador: Wilton Marques
Banca: Lucia Barbosa
Banca: Maria Dolores Aybar
Resumo: Nossa pesquisa de mestrado tem como propósito analisar a representação da mulher negra na obra de Machado de Assis a partir da leitura de dois textos literários: o conto "Mariana", publicado em 1871 e o poema Sabina, presente na coletânea de versos Americanas, publicada em 1875. O trabalho se pauta no paradigma de leitura proposto por críticos como Antonio Candido e Roberto Schwarz - que entendem a existência de um projeto machadiano e de uma estreita relação entre a literatura e o processo social. O intuito, deste modo, é rediscutir o suposto absenteísmo machadiano, no que toca à questão da escravidão e problematizar a relação escravidão/mulher negra a fim de propor uma leitura da representação da condição humana da mulher negra realizada por Machado de Assis
Abstract:This research aims to analyze the representation of black woman in the work of Machado de Assis from the reading of two literary texts: the short story "Mariana" published in 1871 and the poem Sabina, from the collection Americanas, published in 1875. This work is based on the reading paradigm proposed by critics such as Antonio Candido and Roberto Schwarz - who understand the existence of a "Machado" project and a close relationship between literature and social process. Therefore, the aim is to revisit the alleged absenteeism of Machado de Assis regarding the issue of slavery, and to analyze the relation between slavery and black woman in order to propose a reading of the representation of the human condition of black women made by Machado de Assis
Mestre

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Bragg, Beauty Lee Woodard Helena. "The body in the text : female engagements with Black identity /". Ann Arbor, MI : UMI, 2004. http://www.lib.utexas.edu/etd/d/2004/braggbl21867/braggbl21867.pdf#page=3.

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Di, Carmine Roberta. "Cinematic images, literary spaces : the presence of Africa in Italian cinema and Italophone literature /". view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120620.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 226-232). Also available for download via the World Wide Web; free to University of Oregon users.

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Sarnosky, Yolonda P. "Black female authors document a loss of sexual identity Jacobs, Morrison, Walker, Naylor, and Moody /". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1999.
Source: Masters Abstracts International, Volume: 45-06, page: 2836. Typescript. Abstract appears on leaf [ii]. Includes bibliographical references (leaves 65-67).

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Adadevoh, Anthonia. "Personified Goddesses: An archetypal pattern of female protagonists in the works of two black women writers". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2013. http://digitalcommons.auctr.edu/dissertations/763.

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This dissertation investigates the works of two Black female writers: Flora Nwapa(African and Nigerian) and Zora Neale Hurston (African American). Although theycome from different geographical regions, both writers use the same rchetypal patterns to create strong female protagonists. By characterizing protagonists in their novels from an African religious cultural perspective, both authors dismantle the stereotypical images of how black women are typically portrayed in fiction. Using Jung's theory of the collective unconscious and archetypal criticism the study finds that both authors create black female protagonists who are wise, resilient, decisive, courageous, independent, and risk-taking; the women who, through their self-discovery journeys, are neither defined by nor in oppositional relationships with the males in their lives. The study compares how the qualities of two archetypal goddesses, Uhamiri of the Igbo cosmology and Oya of the Yoruba cosmology, are personified through the personalities of the two female protagonists in Nwapa's Efuru and Hurston's Their Eyes Were Watching God, respectively. Using strong mythical females as templates, this research explores the ways in which the authors have defined their female characters, thus providing an alternative strategy for defining and analyzing black female characters in fiction. The study asserts that literary interpretation of Africana women should include the cultural realities associated with the African religious framework in order to capture the full essence of their humanity. In addition, African feminist thought, unlike Western feminist theory, provides a more realistic model of discourse on Africana women's selfidentity. Examining Africana women from these perspectives, as opposed to analyzing them based on European standards, is an effective method of discrediting stereotypical images that continue to plague the portrayal of black women in fiction. When black women in fiction are explored from this vantage point, the literary work sends a message of cultural authenticity and preservation that elevates Africana women, expanding their functions and positions in society beyond traditional roles.

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44

Pérez, Fernández Irene. "In search of new spaces: contemporary black British and Asian British women writers". Doctoral thesis, Universidad de Oviedo, 2009. http://hdl.handle.net/10803/83470.

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La tesis doctoral es un estudio de la obra literaria de novelistas contemporáneas británicas pertenecientes a la diáspora africana, caribeña y asiática que emigró al Reino Unido en la segunda mitad del siglo XX. El corpus literario bajo análisis engloba las siguientes autoras y obras: Andrea Levy, Small Island (2005), Monica Ali, Brick Lane (2001), Zadie Smith, White Teeth (2000), Diana Evans, 26ª (2006) y Jackie Kay, Trumpet (1999). La tesis analiza la representación y codificación espacial en la obra de dichas autoras partiendo de los postulados teóricos que consideran el espacio como constructo social que esconde implicaciones de clase, raza y género (Lefebvre, 2005, Soja 1996, Massey, 1996, 2005). La tesis estudia el espacio en los tres niveles en los que se encuentra operativa la relación cuerpo-identidad-espacio (Keith and Pile, 1993). Estos tres niveles son, por un lado, el espacio individual de cuerpo, por otro, la familia y la comunidad y, por último la sociedad. El estudio de estas obras literarias da cuenta de la necesidad de negociar nuevas formas de entender la identidad y la realidad espacial británica, a la vez que pone de manifiesto su carácter multicultural.

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45

Knebel, Maren. "Developing critical consciousness representations of race and gender in two Afro-German works /". Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=1128.

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46

Eunice, Jaime L. "Review of instruments to measure breastfeeding beliefs and intent among nulliparous black college women". Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/379.

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United States breastfeeding rates are below Healthy People 2020 national goals, with African American women at the lowest rates. According to the theory of planned behavior, intention is a strong determinant of actual behavior. The purpose of this review is to uncover how researchers can best measure attributes that influence the intention to breast feed in the African American college aged population of nulliparous women. Tools to measure breastfeeding knowledge, attitudes, beliefs, cultural and social norms will be identified. Searches of health databases and Google Scholar located peer-reviewed journals using keywords such as Black, African American, instrument, female and student. The literature was searched and this review found that there are no published sources that specifically study the Black female college student population. However, numerous tools that have been used in research with other modern, Western university students groups may also be used with this population. Factors determined to be important to intention included exposure, knowledge, individual attitudes toward breastfeeding, with a focus on psychosocial embarrassment and social norms. The findingssupport researchers by suggesting future interventions, and development of tools that can be used to measure effectiveness.
B.S.N.
Bachelors
Nursing
Nursing

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47

Nako, Nontsasa. "Possessing the secret of black womanhood : reading African women in Alice Walker's Possessing the Secret of Joy, The Color Purple, and Warrior Marks". Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/6747.

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Speaking for or about others has featured consistently in current feminist debates as it is becoming clear that the assumed homogeneity of women within social groups is not realistic. It has become clear that difference can no longer be analysed in terms of race, gender and sexuality alone. Other factors such as history, nationality, and culture demand more attention than they have been previously accorded, which makes many alliances across national boundaries subject to redefinition and reconceptualisation. This thesis looks at the attendant dangers of ignoring the differences within alliances based on race and gender. I analyse Alice Walker's representation of African women and female circumcision in her novels Possessing the Secret of Joy and The Color Purple and her documentary film Warrior Marks and its accompanying book of the same name the text, to argue that when national and cultural differences are sacrificed for sisterhood and solidarity based on a superficial universalisation of racial and gender oppression, the totalising, discursive tendencies that many critics objected to in second wave mainstream feminism are replicated. Walker differentiates between African women as objects of her discourse and the Western women as its audience. In her representation of Africa and Africans, particularly African women, she is not self-reflexive enough to explore the impact of her ideological location in the West on her identity. Thus, she does not create enough distance between her cultural and ideological upbringing to be able to escape the charge of ethnocentrism. Because she reads African women from her location in American culture, her work is best read within the African American literature on Africa and Africans dating back three centuries. That the sisterhood that Walker's work advances between African American and African women is informed by unequal power relations between the West and Third World is made clear by her deployment of her womanist ethic in two of her novels, The Color Purple and Possessing the Secret of Joy. A comparison of the two novels shows that Walker overemphasises the differences between Africans and African-Americans in order to assert the superiority of African American identity to African identity. From her politics in both these novels it becomes clear female circumcision provides Walker with an opportunity to air her Africanist/neo-colonialist attitudes. Her texts on African women, in Possessing the Secret of Joy in particular, evinces her indebtedness to the imperialist tradition of writing about Africa as it is a projection rather than a perception. And like most imperialist texts, it tells us more about her pathologies and obsessions as a representing subject than about the Africans she seeks to portray. The position that she creates for herself in the novel is problematic because it is predicated on the essentialist notion of race and gender, and on a slippery identification process that casts her as both subject and object. This thesis does not look at the practice of female circumcision in Africa, but at Walker's representation of the practice. This is mainly because Walker’s representation of Africans is part of a larger discourse on African women: for Walker female circumcision provides vehicle for her to participate in this discourse.

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Bruno, Ana Luiza Pereira [UNESP]. "A representação da mulher negra em Machado de Assis (leituras de Mariana e Sabina)". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93175.

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Made available in DSpace on 2014-06-11T19:26:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-24Bitstream added on 2014-06-13T20:54:39Z : No. of bitstreams: 1 bruno_alp_me_arafcl.pdf: 470073 bytes, checksum: 4cc97142023016b27919e5a2f2cf6a8c (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Nossa pesquisa de mestrado tem como propósito analisar a representação da mulher negra na obra de Machado de Assis a partir da leitura de dois textos literários: o conto “Mariana”, publicado em 1871 e o poema Sabina, presente na coletânea de versos Americanas, publicada em 1875. O trabalho se pauta no paradigma de leitura proposto por críticos como Antonio Candido e Roberto Schwarz – que entendem a existência de um projeto machadiano e de uma estreita relação entre a literatura e o processo social. O intuito, deste modo, é rediscutir o suposto absenteísmo machadiano, no que toca à questão da escravidão e problematizar a relação escravidão/mulher negra a fim de propor uma leitura da representação da condição humana da mulher negra realizada por Machado de Assis
This research aims to analyze the representation of black woman in the work of Machado de Assis from the reading of two literary texts: the short story “Mariana” published in 1871 and the poem Sabina, from the collection Americanas, published in 1875. This work is based on the reading paradigm proposed by critics such as Antonio Candido and Roberto Schwarz - who understand the existence of a “Machado” project and a close relationship between literature and social process. Therefore, the aim is to revisit the alleged absenteeism of Machado de Assis regarding the issue of slavery, and to analyze the relation between slavery and black woman in order to propose a reading of the representation of the human condition of black women made by Machado de Assis

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49

Tracey, Karen Kaiser. "The hobby horse's stumbling block". Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9976.

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Sengupta, Sheila L. "La Réconciliation des Féminismes : L’amélioration du statut de la femme africaine". Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1307478844.

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Tesis sobre el tema "Black women's literature"

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