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"Women's studies programs and departments face ongoing fall-out from an economic crisis in higher education. Taking the form of budget-cuts, reduction of faculty lines and other resource allocations, for some programs and departments it has meant at best, a loss of disciplinary autonomy through consolidation, and at worst, academic foreclosure. Feminist Solidarity at the Crossroads articulates a politics of commitment, hope, and possibility wrought in the coming-together of a group of feminist women and men across racial, cultural, nation/state, sexual, and gender differences during a tough budgetary time threatening Women's Studies programs across the nation. This anthology affirms the continued necessity of bridge-building alliances in women's studies and contemplates with promise the theory and practice of feminist solidarity forged through the course of its production. While the essays in this book display a complex diversity of feminist thought and modes of intersectional strategies, they reflect a unity of comradery and a spirit of collectivity so necessary for these turbulent times."--Provided by publisher

Esta tesis estudia el biopic como estrategia fílmica narrativa y visual para el empoderamiento de las mujeres en el cine feminista afroamericano desde sus inicios a la actualidad. Los dos biopics seleccionados para un estudio en profundidad, Living with Pride: Ruth C. Ellis @ 100 (1999) y The Rosa Parks Story (2002), traen al frente las relevantes acciones llevadas a cabo por dos afroamericanas que se convirtieron en activistas sociales e influyentes figuras políticas y culturales. Sus vidas fueron silenciadas dentro de los discursos patriarcales y racistas dominantes que también impregnan la industria cinematográfica. Los biopics analizados pueden ser considerados ejemplos rompedores que proponen visiones alternativas de la comunidad negra, especialmente teniendo consideración sobre la complejidad de sus protagonistas. El estudio está estructurado en dos partes de tres capítulos cada una. La Parte I, "Luz sobre sombras: aproximación historiográfica al cine feminista afroamericano", comprende los capítulos teóricos que sirven de introducción a la historia del cine feminista afroamericano y sus significativas contribuciones en el desarrollo del cine estadounidense contemporáneo. El primer capítulo se centra en las precursoras, aquellas mujeres afroamericanas que tanto como directoras, guionistas, productoras, y distribuidoras jugaron una función decisiva en los orígenes de la industria cinematográfica en Estados Unidos. El segundo capítulo está dedicado a las directoras que emergieron en la segunda parte del siglo XX. Y el tercero pone el foco en el cambio al siglo XXI y en la amalgama de géneros cinematográficos nuevos que surgieron en aquel tiempo. Fue en aquel momento cuando el biopic comenzó a ganar en popularidad dentro del cine feminista afroamericano. Este tema será plenamente estudiado en la Parte II: "El biopic como género empoderador en la cinematografía feminista afroamericana." De temática variada, los biopics mostraban una intención común: dar voz a afroamericanas relevantes que fueron recurrentemente invisibilizadas en el curso de la historia hegemónica. Estos aspectos respeto del biopic cómo género en relación a la teoría y crítica fílmica feminista afroamericana serán estudiados a fondo en el capítulo 4. Los dos siguientes capítulos de esta segunda parte estarán dedicados a los dos casos de estudio seleccionados cómo ejemplos representativos del biopic feminista afroamericano. El capítulo 5 estará dedicado a analizar el biopic documental Living with Pride: Ruth C. Ellis @ 100 (1999) de la cineasta independiente Yvonne Welbon, y el capítulo 6 situará su foco en la TV-movie The Rosa Parks Story (2002), de la aclamada Julie Dash. Mis conclusiones finales resumirán como el biopic feminista afroamericano ofrece representaciones heterogéneas de las afroamericanas, rompiendo y desafiando, así, los estereotipos limitadores previamente difundidos por el cine dominante a lo largo del siglo XX. ; Esta tese estuda o biopic como estratexia fílmica narrativa e visual para o empoderamento das mulleres no cine feminista afroamericano dende os seus inicios até a actualidade. Os dous biopics seleccionados para un estudo en profundidade, Living with Pride: Ruth C. Ellis @ 100 (1999) e The Rosa Parks Story (2002), traen á fronte as relevantes accións levadas a cabo por dúas afroamericanas que se convertiron en activistas sociais e influentes figuras políticas e culturais. As súas vidas foron silenciadas dentro dos discursos patriarcais e racistas dominantes que tamén impregnan a industria cinematográfica. Os biopics analizados poden ser considerados exemplos rompedores que propoñen visións alternativas da comunidade negra, especialmente tendo consideración sobre a complexidade das súas protagonistas. O estudo está estruturado en dúas partes con tres capítulos cada unha. A Parte I, "Luz sobre sombras: aproximación historiográfica ao cinema feminista afroamericano", comprende os capítulos teóricos que serven de introducción á historia do cine feminista afroamericano e as súas significativas contribucións no desenvolvemento do cine estadounidense contemporáneo. O primeiro capítulo céntrase nas precursoras, aquelas mulleres afroamericanas que tanto como directoras, guionistas, produtoras, e distribuidoras xogaron unha función decisiva nas orixes da industria da imaxe nos Estados Unidos. O segundo capítulo está dedicado ás directoras que emerxeron na segunda parte do século XX. E o terceiro pon o foco no cambio ao século XXI e á amálgama de xéneros cinematográficos novos que xurdiron naquel tempo. Foi naquel momento cando o biopic comezou a gañar en popularidade dentro do cine feminista afroamericano. Este tema será plenamente estudado na Parte II: "O biopic como xénero empoderador na cinematografía feminista afroamericana." De temática variada, os biopics amosaban unha intención común: dar voz a afroamericanas relevantes que foron recurrentemente invisibilizadas no curso da historia hexemónica. Estes aspectos respecto do biopic como xénero en relación á teoría e crítica fílmica feminista afroamericana serán estudados a fondo no capítulo 4. Os dous seguintes capítulos desta segunda parte estarán dedicados aos dous casos de estudo seleccionados como exemplos representativos do biopic feminista afroamericano. O capítulo 5 estará dedicado a analizar o biopic documental Living with Pride: Ruth C. Ellis @ 100 (1999) da cineasta independente Yvonne Welbon, e o capítulo 6 situará o seu foco na TV-movie The Rosa Parks Story (2002), da aclamada Julie Dash. As miñas conclusións finais resumirán como o biopic feminista afroamericano ofrece representacións heteroxéneas das afroamericanas, rompendo e desafiando, así, os estereotipos limitadores previamente difundidos polo cine dominante ao longo do século XX. ; This thesis studies the biopic as a narrative and visual cinematic strategy for women's empowerment in African American feminist cinema from its origins to our day. The two biopics selected for an in-depth study, Living with Pride: Ruth C. Ellis @ 100 (1999) and The Rosa Parks Story (2002), bring to the forefront the relevant deeds carried out by two African American women who happened to be social activists as well as influential political and cultural figures. Their lives were silenced within the patriarchal and racist dominant discourses which also permeate the mainstream motion picture industry. Both fictional and documentary types, the analyzed biopics can be considered groundbreaking pictures which propose alternative visions of the Black community, especially with regards to the complexity of their female protagonists. The whole study will be structured in two parts containing three chapters each. Part I, "Light over Shadows: African American Women Filmmakers from the Early Motion Picture to Our Time", comprises the theoretical chapters that aim to be an introductory journey to the African American feminist film history and its meaningful contributions to contemporary US cinema. The first chapter centers on the "cinematic foremothers", those African American women who as directors, scriptwriters, producers, and distributors played a decisive role in the origins of the motion picture industry in the United States. The second chapter is devoted to the filmmakers that arouse in the second part of the 20th century. Chapter 3 deals with the turn of the 21st century and the amalgam of new film genres that emerged at that time. It was at that moment when the biopic started to gain in popularity within the African American feminist cinema as a binding genre that embraced many types of film categories. This topic will be fully studied in Part II: "The Biopic as an Empowering Genre in African American Feminist Cinema." Although varied in topics, these biopics share a common intention: to shed light and give voice to relevant women in African American history who have been recurrently invisibilized within the cinematic prevailing discourse. These theoretical aspects concerning the biopic genre in relation to Black feminist film theory and criticism will be studied in depth in chapter 4. The next two chapters in Part II will be devoted to the two cases of study selected as representative examples of the biopics by Black American feminist filmmakers on African American women. Chapter 5 will be then dedicated to Living with Pride: Ruth C. Ellis @ 100 (1999) by independent filmmaker Yvonne Welbon, and chapter 6 will place its focus on The Rosa Parks Story (2002) by the critically acclaimed filmmaker Julie Dash. My final conclusions will summarize how the African American feminist biopic offers heterogeneous empowering depictions of Black American women breaking with and defying the dichotomous submissive-threatening stereotypes spread by most of the 20th-century mainstream cinema.

"Black Feminist Sociology offers new writings by established and emerging scholars working in a Black feminist tradition. The book centers Black feminist sociology within the sociology canon and widens is to feature Black feminist sociologists both outside the U.S. and the academy. Inspired by a BFS lens, the essays are critical, personal, political and oriented toward social justice. Key themes include the origins of Black feminist sociology, expositions of BFS orientations to research that extend disciplinary norms, and contradictions of the pleasures and costs of such an approach both academically and personally. Authors explore their own sociological legacy of intellectual development to raise critical questions of intellectual thought and self-reflexivity. The book highlights the dynamism of BFS so future generations of scholars can expand upon and beyond the book's key themes"--

Barbara Winslow tells the critical history of the Seattle women's liberation movement during the 1960s and 1970s, outlining its successes and failures, emphasizing the foundational role that Black women played in the movement, and showing how it provides a model for contemporary feminist activism.

Introduction: Beyond the Symbol -- Daughter of the Caribbean -- In Pursuit of the Highest in All: The Making of a Young Intellectual -- Brooklyn Politics -- The First Victory -- Bringing Women's Rights and Civil Rights Together -- Unbought and Unbossed -- Fighting Shirley Chisholm -- Building the Chisholm Mystique -- Black Feminist Power Politics on Capitol Hill -- Guns, Butter, and Justice -- The Book: A Black Feminist Power Manifesto -- Institution Building: The Congressional Black Caucus and the National Women's Political Caucus -- Chisholm '72 -- The Challenges of Coalitions on the Chisholm Trail -- Winning Delegates on the Chisholm Trail -- The Chisholm Coalition on the National Stage: Miami '72 -- Coalition Politics in Congress, 1972-1976 -- Fighting the Tide, 1977-1982 -- Professor and Chair -- Epilogue: Bring a Folding Chair.

Front Cover -- Half-Title Page -- Copyright Page -- Title Page -- Table of Contents -- Part I-Why? -- An Activist in the Making -- On the Tail of Halley's Comet -- The Activist-Was She Born or Was She Made? -- The Bottoms-The Influence of Place -- Childhood-The Influence of Family -- Proud Shoes-The Influence of Heritage -- Shades-The Influence of Color -- Part II-The Reluctant Activist -- Trying to Get Away-Hunter College -- Activism Forged on the Anvil of the Great Depression -- First Steps -- A Cruel Blow -- Taking a Stand -- A Sharecropper's Life in the Balance -- Finally, a Decision -- Part III-The Activist in Training -- Howard Law -- Learning the Law -- Taking the Reins-Protests -- From Jim Crow to Jane Crow -- The Idea That Changed the World -- Part IV-Action -- The Forgotten Bet -- One Person Plus One Typewriter -- An Activist Dressed in Lawyer's Clothes -- Why on Earth Didn't You Tell Me? -- Part V-Jane Crow -- Change in Direction -- For the Gals Who Will Come After -- It Had Happened Before -- The Women's Movement -- It Took More Than the Civil Rights Act of 1964 -- National Organization for Women -- A Man Trapped in a Woman's Body -- Part VI-The Legacy of Activism -- An Unsung Force -- A Human of Worth -- Authors' Notes -- Acknowledgements -- Timeline of Pauli Murray's Life -- Endnotes -- Bibliography.

This study focuses on the political identity of African feminism. The purpose is to understand the meaning and the origins of African sisterhood as a identity political project. The analyzing method is content analysis guided by theory. The theoretical framework consists of identity political theories from Harriet Bradley and Manuel Castells. As a supporting theoretical framework the concept of culture relativism and the concept of freedom has been used. The research material consists of publications from an organization called African Feminist Forum. Aim of research is to study how African feminist forum builds and expresses its political identity in relation to traditional western feminist identity. The meaning of African feminism is to tell it apart from traditional western feminism and make theories and ways of activism that are more valid in the African context. In its rhetoric African feminist forum is trying to state what are the threads and ordeals in its near future and at African women's living surroundings. This is how the group makes itself distinctive and executes identity political project. Cultural relativism plays an important role in this because the cultural relativist though highlights the importance of respecting your own cultural heritage. This is especially present in a different kind of understanding related to the concept of freedom.

Press, Platform, Pulpit examines how early black feminism goes public by sheding new light on some of the major figures of early black feminism as well as bringing forward some lesser-known individuals who helped shape various reform movements. With a perspective unlike many other studies of black feminism, Teresa Zackodnik considers these activists as central, rather than marginal, to the politics of their day, and argues that black feminism reached critical mass well before the club movement's national federation at the turn into the twentieth century . Throughout, she shifts the