(1996). What's in a Name? The Black Scholar: Vol. 26, The Challenge of Blackness, pp. 9-17.

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What's in a Name?: Womanism, Black Feminism, and Beyond

This examines the emergence of feminist movements from the Civil Rights/Black Liberation movement, the Chicano movement, and the white left in the 1960s and 1970s. The author argues that the 'second wave' was comprised of feminisms: organizationally distinct movements that influenced each other in complex ways. The making of second wave feminisms resulted from decisions that feminists made about their political choices given constraints that affected their activism. These constraints were placed on them by structural inequalities that militated against unity among feminists from different racial/ethnic communities; by loyalties that feminists, particularly feminists of color, felt to other members of their movement communities; and by the necessity of making political decisions within a competitive and complex extra-institutional oppositional milieu.

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Separate roads to feminism : Black, Chicana, and white feminist movements in America's second wave

Research indicates that faculty/student relationships affect student satisfaction with college (Astin, 1984, 1999), academic achievement (Astin, 1993; Terenzini & Wright, 1987), and retention (DeFour & Hirsch, 1990; Stoecker, Pascarella, & Wolfle, 1988; Tinto, 1993). However, evidence indicates that African American students at predominantly White institutions (PWIs) may not glean the benefits associated with relationships with faculty. Nettles (1991) concluded that Black students attending PWIs had less contact with faculty outside the classroom and were less academically integrated into campus life than were White students. Additionally, Fleming (1984), in her seminal work examining the experiences of Black students at PWIs and at Historically Black Colleges and Universities (HBCUs), and Arnold (1993), in a study investigating the college experiences of high school valedictorians, both found that African American students at PWIs experienced difficulty developing positive relationships with White faculty. Their results were supported by other research indicating that students of color were more apt to seek academic help from family, friends, or academic counselors who were minorities than from White faculty (Braddock, 1981; Burrell & Trombley, 1983; Guiffrida, 2003, 2004, 2005; Sanchez, Marder, Berry, & Ross, 1992; Suen, 1983). Even research that has indicated high levels of out-of-class interaction among African American students and faculty at PWIs raises questions about the quality of these interactions. For example, Eimers and Pike (1996) found that although African American students at PWIs reported higher levels of contact with faculty than White students reported, they indicated less satisfaction with the institutions. Similarly, Mayo, Murguia, and Padilla (1995), in a comprehensive study of over 1200 students, found that Black students demonstrated the strongest positive correlation between frequency of out-of-class contact with professors and grade point average (GPA); however, they also noted that while student satisfaction with faculty contact had a significant impact on GPAs for Whites, Hispanics, and Native Americans, it did not for Black students. Thus, although high-achieving African American students had more out-of-class interactions with faculty, they did not find these interactions as rewarding as other students did. These results support the findings from Nettles, Thoeny, and Gosman (1986), who found that frequency of contact between African American students and faculty was less important than the quality of these interactions. The results also suggest that African American students may have unique expectations regarding their relationships with faculty at PWIs. In the limited research that has investigated the quality of relationships between faculty and African American students, two primary factors have emerged as influencing these relationships. The first is that Black students may experience difficulty connecting with White faculty because they do not perceive them as realistic role models. Tinto (1993) concluded that while mentor programs are generally effective in increasing college retention for all students, the availability of "like-person role models" was especially important to the success of students of color (p. 186). Research suggests that it is important for Black students to be exposed to and to connect with Blacks who have been successful in higher education (Burrell, 1980; Sedlacek, 1987; Willie & McCord, 1972), as these connections have been linked to increasing their self-efficacy (Gloria & Robinson Kurpius, 1996; Hackett & Byars, 1996). Second, research indicates that students often perceive faculty at PWIs as culturally insensitive (Fleming, 1984). Using qualitative methodology, Feagin, Vera, and Imani (1996) concluded that African American students attending a PWI perceived White faculty as unapproachable because of their stereotypical comments, insensitivity to African American culture, and generalizations of students' opinions as representing those of all African Americans. …

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Othermothering as a Framework for Understanding African American Students' Definitions of Student-Centered Faculty

20th anniversary edition of "The End of History and the Last Man", a landmark of political philosophy by Francis Fukuyama, author of "The Origins of Political Order". With the fall of Berlin Wall in 1989 the threat of the Cold War which had dominated the second half of the twentieth century vanished. And with it the West looked to the future with optimism but renewed uncertainty. "The End of History and the Last Man" was the first book to offer a picture of what the new century would look like. Boldly outlining the challenges and problems to face modern liberal democracies, Frances Fukuyama examined what had just happened and then speculated what was going to come next. Tackling religious fundamentalism, politics, scientific progress, ethical codes and war, "The End of History and the Last Man" remains a compelling work to this day, provoking argument and debate among its readers. "Awesome ...a landmark ...profoundly realistic and important ...supremely timely and cogent ...the first book to fully fathom the depth and range of the changes now sweeping through the world." (George Gilder, "The Washington"). Post Francis Fukuyama was born in Chicago in 1952. His work includes "America at the Crossroads: Democracy, Power, and the Neoconservative Legacy" and "After the Neo Cons: Where the Right went Wrong". He now lives in Washington D.C. with his wife and children, where he also works as a part time photographer.

http://library.um.ac.id/free-contents/downloadpdf.php/buku/the-end-of-history-and-the-last-man-kemenangan-kapitalisme-dn-demokrasi-liberal-oleh-francis-fukuyama-penerjemah-m-h-amrullah-10836.pdf

The end of history and the last man : kemenangan kapitalisme dn demokrasi liberal / oleh Francis Fukuyama, penerjemah M.H. Amrullah

T he cover image for this volume, “Self Portrait (Ellis Island),” evokes several of the issues and assumptions suggested by the relationship between cultural memory and gender. Produced in 1988 by the U.S. photographer Lorie Novak, the image is a projection: a photograph of a slide of a woman’s face floating in an empty room with peeling plaster walls, an open door, and a rough earthen floor. The woman’s head is bifurcated at the point where floor and wall meet. The face fades into the doorway and the hall behind it; the color of her skin merges into the earthen tones of the floor; the dark curly hair disappears into the ceiling. Pushed back to the two sides of the room, the carpet becomes an asymmetrical décolletage, creating the illusion that the room and her chest are one and that to walk into the room is to have access to the interiority of the person. The caption tells us that this is a self-portrait: the head is a photograph of the photographer. Although in the image the self of the portrait mysteriously hovers in space, the title firmly situates her in a particular place, Ellis Island, where generations of immigrants and refugees from Europe first entered the United States. “Self Portrait (Ellis Island)”—the two terms are parenthetically related, as though Ellis Island qualifies the notion of “self,” or of “portrait.” The image is at once a portrait of Ellis Island and a self-portrait in Ellis Island. The relationship among these terms is as ambiguous as the situation of the artist’s body and head in the space she does not quite inhabit: she is both photographer and subject of the image, both behind the lens and in front of it, both in the Ellis Island space and elsewhere. The image is

Feminism and Cultural Memory: An Introduction

Introduction: Black Feminist Criticism I. I Am New Man: Black Nationalism and the Black Aesthetic II. What Did We Lack?: Uses of the Grotesque Mode in The Bluest Eye III. No Bottom and No Top: Oppositions in Sula IV. A New World Song: The Blues Form of Corregidora V. DonOt You Explain Me: The Unreadability of EvaOs Man VI. To Survive Whole: The Integrative Aims of Womanism in The Third Life of Grange Copeland VII. A Crazy Quilt: The Multivalent Pattern of Meridian Conclusion: Black WomenOs Fiction in the 1970s Notes Index

Black women novelists and the nationalist aesthetic

"Signs and Cities" is the first book to consider what it means to speak of a postmodern moment in African-American literature. Dubey argues that for African-American studies, postmodernity best names a period, beginning in the early 1970s, marked by acute disenchantment with the promises of urban modernity and of print literacy. Dubey shows how black novelists from the last three decades have reconsidered the modern urban legacy and thus articulated a distinctly African-American strain of postmodernism. She argues that novelists such as Octavia Butler, Samuel Delany, Toni Morrison, Gloria Naylor, Ishmael Reed, Sapphire, and John Edgar Wideman probe the disillusionment of urban modernity through repeated recourse to tropes of the book and scenes of reading and writing. Ultimately, she demonstrates that these writers view the book with profound ambivalence, construing it as an urban medium that cannot recapture the face-to-face communities assumed by oral and folk forms of expression

Signs and Cities: Black Literary Postmodernism

Speculative Fictions of Slavery

Depuis la publication en 1974 de « In Search of our Mothers' Gardens » d'Alice Walker, les critiques litteraires noires feministes ont utilise frequemment la metaphore du matrilignage pour autoriser leur construction d'une tradition litteraire feminine noire. Le discours feministe noir sur le matrilignage cherche a de-ecrire une histoire brutale de la rupture et de la dislocation et a ecrire une autre histoire de connections familiales et culturelles. L'A. s'interesse a Gayl Jones, romanciere qui a utilise cette metaphore dans deux ouvrages et qui est absente des references sur le matrilignage. A travers une nouvelle lecture de « Corregidora » et « Song for Anninbo », l'A. veut montrer les possibilites, ainsi que les dangers, d'utiliser cette metaphore pour naturaliser cette tradition litteraire

Gayl Jones and the Matrilineal Metaphor of Tradition

Sherley Anne Williams, in the preface to her novel about slavery, Dessa Rose, writes that African-Americans have been "betrayed" by "literature and writing" (ix). Likewise, Toni Morrison has said that her novel of slavery, Beloved, is "outside most of the formal constricts of the novel" (qtd. in Gilroy, Small 181). In "Memory, Creation, and Writing," Morrison writes that she refuses the credentials that literary references can bestow because these are inappropriate to the type of fiction she wishes to write-a fiction that is "not ... merely literary" but that imagines its ideal audience as "an illiterate or preliterate reader" (387). In this way, Williams and Morrison both disavow the literate and literary mode that forms each author's chosen medium of expression. This paradox, which forms the subject of my paper, seems all the more striking because each novelist has written a neo-slave narrative revisiting an era and a genre marked by immense faith in the emancipatory promise of print literacy. As Henry Louis Gates has observed, the nineteenth-century slave narratives constitute a body of literature "that was propelled by the Enlightenment demand that a 'race' place itself on the Great Chain of Being primarily through the exigencies of print" ("Introduction" v). If the slave narratives affirm the democratizing potential of print literacy, equating, to quote Gates again, "the rights of man with the ability to write" (xxix), much of the African-American literary tradition has been galvanized by the faith that literature can help press the case for full black participation in American democracy.1 Revisiting the historical era of slavery, the neo-slave narrative loops back to the origins of the African-American literary tradition and reassesses, from a contemporary vantage point, the political promise of literacy that fueled this tradition. Through this recursive move, the neo-slave narrative participates in a widespread revaluation of the legacy of modernity, especially as this is ratified by the ideologies and institutions of print literacy. Novels such as Beloved and Dessa Rose reconsider the dawning of the modern legacy from the perspective of a present moment when its political promise is widely felt to have been exhausted and betrayed. Their skepticism is signaled through a strong discomfort with their own literary modality. Few African-American writers over the last two decades or so have been able

Madhu Dubey

Papers

Black women novelists and the nationalist aesthetic

Signs and Cities: Black Literary Postmodernism

Speculative Fictions of Slavery

Gayl Jones and the Matrilineal Metaphor of Tradition

The Politics of Genre in Beloved