Gloria, a 15 year old student with chronic malaria and epilepsy, was presented to the African Traditional Herbal Research Clinic after medical doctors had given up on the available treatment. The African Traditional Herbal Research Clinic in Kampala, Uganda is headed by two Diasporans, an herbal technologist and a research chemist. We use African traditional herbal methods guided by western diagnostics as the means of managing chronic diseases. Gloria’s father appealed to the traditional health community for assistance after all other methods had failed. We responded. The result is that Gloria has been attending school for the past two years with no attacks of malaria or from epilepsy.

African Traditional Herbal Research Clinic

In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit

Creative embroidery in New South Wales, 1960 - 1975

HYDE, KATHERINE ANN. Holding Disillusionment at Bay: Latino/a Immigrants and Working Class North Carolinians Expose and Reinforce the American Dream’s Discrepancies. (Under the direction of Jeffrey Leiter and Barbara Risman.) This dissertation examines how a group of twenty-eight working class people in North Carolina, including African Americans, whites and Latino/a immigrants, cope with the discrepancy between the American dream’s promises and premises and their own reality. I analyze interview data focusing on participants’ inward and outward looking emotion management. With the former, participants cope by developing a “grin and bear it” stance regarding challenges and limited opportunities. They shift their attitude in order to shut off or dull the impact of an unpleasant thought or feeling. They also use “I can do it” pep-talks to muster up a general willingness or readiness to deal with whatever comes their way. With outward looking emotion management, participants cope by venting frustration. They “other” fellow working class people, targeting slackers and beneficiaries of preferential treatment, who fail to abide by the meritocratic principles of the dream. I argue that participants’ emotion work is driven by their practical, emotional and cognitive needs and reveals ambivalence toward the American dream ideology. They neither wholeheartedly buy into the dream, nor do they actively criticize the ideology. Their emotion management is bound up in the logic of the dream; it represents a response to the dream, it takes place within the dream’s logic, and, in the end reinforces the dream. I discuss the helpful and hurtful implications of participants’ emotion management and suggest that the short-term gains are outweighed by such long-term costs as perpetuating inter-ethnic hostility and misunderstanding and inhibiting solidarity among oppressed people. I emphasize that participants’ power-evasive emotion work deflects attention away from the ideology itself, the economic system to which the ideology is tied, and the elite agents of this system. My findings point to a need for more research on the emotional and cognitive costs of abandoning the dream’s framework and the conditions under which oppressed people may develop an alternative framework for understanding and responding to their life’s difficulties. HOLDING DISILLUSIONMENT AT BAY: LATINO/A IMMIGRANTS AND WORKING CLASS NORTH CAROLINIANS EXPOSE AND REINFORCE THE AMERICAN DREAM’S DISCREPANCIES by KATHERINE ANN HYDE A dissertation submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy SOCIOLOGY AND ANTHROPOLOGY Raleigh 2002

Holding Disillusionment at Bay: Latino/a Immigrants and Working Class North Carolinians Expose and Reinforce the American Dream's Discrepancies

A Potential Saint Thwarted: The Politics of Religion and Sanctity in Late Eighteenth-Century New Spain

In his book Artistry of the Mentally Ill of 1922, Hans Prinzhorn presented the Swabian electrotechnician August Natterer (1868-1933) as one of ten “masters” to whom he devoted brief monographs. He gave him the pseudonym Neter, described his life and reproduced his oeuvre, or rather a very specific selection of his works. His choice concentrated on paintings that in his view portrayed “schizophrenic experiences quite nakedly” (Prinzhorn 1972,171). Consequently, Prinzhorn only included those works that illustrated his ideas of non-intentional, authentically schizophrenic painting. The result was that he allowed the representational side of Natterer’s oeuvre that lacked a certain mystery to go by the board, for he viewed it as “soberly realistic” and “amateur” (1972, 163). He only reproduced poetically loaded works that were replete with the desired mystery, such as Natterer’s Antichrist (ill. 1) or Miraculous Shepherd which shortly after were to be discovered by the Surrealists.1 Prinzhorn failed to include a reproduction of Natterer’s Witch’s Head-Landscape2 (ill. 2) presumably because he considered it too grotesque and banal. Many puzzled later over the drawing and found plenty to say about it, but did not subject it to a close examination. The findings of such an examination and the history of the picture’s genesis make it very clear that the intention and autonomy of a work get lost when people attempt to interpret it within a narrow conceptual framework as paranoid and incoherent, as some primal text of the mind or as coded events from the dreamworld.

http://muse.jhu.edu/journals/american_imago/v058/58.1claussen.pdf

The Witch's Head Landscape:

This story by the nineteenth-century Spanish author Juan Valera appears in his Cuentos y chascarrillos andaluces ( Humorous Andalusian Stories and Tales, 1896). In the prologue he states that all the selections come directly from the oral tradition of southern Spain and that some are notable for their "coarseness and crudeness" ( crudeza y groseria ), and some, like this one, triggered by an embarrassing mishap, for their earthy sense of humor.

https://www.jstor.org/stable/info/41388670

The Queen Mother

Translator's Introduction Concha Castroviejo (1910-95), Spanish journalist, critic, novelist, and short story writer, was born in Santiago de Compostela (northwestern Spain) and died in Madrid after having lived a full life on two continents. Upon completion of her secondary studies, she enrolled in the Humanities program of the University of Santiago de Compostela and took a degree in philosophy and letters (Filosofia y letras). Fluent in French, a language she had begun to study in elementary school, she also attended the University of Bordeaux, a city in which she resided for long periods. After the end of the Spanish Civil War (1936-39) Castroviejo and her husband Joaquin Seijo Alonso fled their homeland and went into exile in Mexico. At first they lived in Campeche, on the Yucatan Peninsula, where both taught at the university. The two eventually relocated to Mexico City, where they resided until the end of the 1940s, and it was there that their only daughter Maria Antonia was born. When Castroviejo returned to Spain in 1950, she obtained a degree in journalism and went on to write for well-known newspapers like Informaciones and La hoja del lunes. While pursuing a career as a newspaperwoman, she also began to publish articles of literary criticism and pieces of short fiction in La Estafeta Literaria, Insula, Blanco y Negro, and Q.P. In long fiction Concha Castroviejo published two novels: Those Who Went Away (Los que se fueron, 1957) about Spanish Civil War expatriates-a widow and her son-who go first to Paris and afterwards to Mexico, where the mother sees that her son's future lies in this new country, not Spain; and Eve of Hate (Vispera del odio, 1959), which received the Elisenda de Moncada Prize, about a woman who has an illegitimate child and grows to hate her husband for his cruelty and greed, again with the Spanish Civil War as background. (It was translated into French in 1965.) In short fiction Castroviejo published two books of children's stones: The Garden with Seven Gates (El jardin de las siete puertas, 1961), which received the Doncel Prize (and was translated into Slovak in 1973); and Linas Days (Los dias de Lina, 1971), written with grant support from the Juan March Foundation. Every reader of Charles Perrault and the Brothers Grimms knows, to state the obvious, that fairy tales are not for children alone, inasmuch as they speak to fantasies and fears that are our constant companions in life. The stones that make up The Garden with Seven Gates will, I believe, be viewed in the same light-although peopled with children protagonists, they are not for children alone. It is a collection of stones that can be variously classified as lyrical and enchanting and of stones that can be variously classified as morality, cautionary, and fairy tales. In this last category "The Weaver of Dreams" ("La tejedora de suenos") stands out. Replete with a lone little girl who ventures deep into a forest, a multicolored house (with seven chimneys that issue smoke in seven different colors), cuckoos and swifts that carry commissions in their bills, a bear that supplies firewood, rabbits that bring vegetables-in a word, the stuff of enchantment-Castroviejo's tale takes Rogelia, the child protagonist, on a journey of discovery. Ridiculed at home and at school, Rogelia dares to dream but finds no outlet for her fantasies until she meets the old woman who is a weaver of dreams. Her discovery is that she is not useless, that she can create beauty, that she can console the sick, that, in fine, she has found her niche in life, i.e., the best realization of the best dream. Another look at "The Weaver of Dreams" examines the story from the feminist perspective of a Spanish woman who can speak to the life of a Spanish girl. I refer to the arresting interpretation of Carolina Fernandez Rodriguez, who has kindly given me permission to reproduce it here in its entirety: Women's inferior condition in a patriarchal regime is another topic that can be occasionally glimpsed in the collection (The Garden with Seven Gates), in "The Weaver of Dreams," for example, one can see the kind of traditional upbringing that a Spanish girl was expected to have in the 1960s. …

The Weaver of Dreams

This translation of "Las animas" is representative of the collection Cuentos andaluces (Andalusian Tales, 1859) by Cecilia Bohl de Faber, a nineteenth-century Spanish novelist and folklorist. It is yet another example of a Spanish adaptation (like others of hers and several by Antonio de Trueba) of a tale from another country, in this instance a variation on the Grimms' "The Three Spinners."

The Souls in Purgatory

The illusions of Doctor Faustino

This translation of "La suegra del diablo" presents a sample of the fairy-tale Þction by
Cecilia Bohl de Faber, one of the great women writers of nineteenth-century Spain. The
story belongs to her collection of Popular Andalusian Tales and Poems (1859), which was
inspired by the oral tradition that forms the core of her stories.

Robert M. Fedorchek

Papers

The Queen Mother

The Weaver of Dreams

The Souls in Purgatory

The illusions of Doctor Faustino

The Devil's Mother-in-Law