220 p., Employs a black feminist diaspora literary lens to identify, define, trace, and speak to the African Diaspora as it functions in black women's diaspora fiction and informs our understanding of black women's diaspora identity. Considers three authors and novels by women of, in, and across the African Diaspora. The study centers on Sandra Jackson-Opoku's The River Where Blood Is Born as a primary site of analysis of diaspora formation and theorization, Dionne Brand's At the Full and Change of the Moon and Maryse Condé's Desirada as comparative textual and theoretical sites.
Byfield,Judith A. (Editor), Denzer,LaRay (Editor), and Morrison,Anthea (Editor)
Format:
Book, Edited
Publication Date:
2009
Published:
Bloomington: Indiana University Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Selected papers from an international conference, "Gendering the Diaspora: Women, Culture, and Historical Change in the Caribbean and the Nigerian Hinterland" held at Dartmouth College in Hanover, N.H., Nov. 2002., 329 p.
This dissertation examines the migratory experiences of the protagonists from four African diasporic novels: Fruit of the Lemon by Andrea Levy (1999), Kehinde by Buchi Emecheta (1994), Breath, Eyes, Memory by Edwidge Danticat (1994), and The Color Purple by Alice Walker (1982). When analyzed comparatively these texts demonstrate that a completely integrated identity (that merges two cultures) is contingent upon a return to the protagonist's cultural roots either by the protagonist herself or someone who is closely aligned with her. The protagonist or her representative must travel to her ancestral homeland and in the process develop a value system that reflects the duality of her identity.
320 p., Examines the place of difference in black women's writing of the African diaspora. The works of well-known and canonical writers Toni Morrison, Buchi Emecheta, Jamaica Kincaid, and Audre Lorde illustrate key functions of the poetics of difference. The author reads these writers alongside important but underexplored figures, including Ghanaian-born poet Ama Ata Aidoo, Cuban-born novelist Achy Obejas, Trinidadian-born writer Dionne Brand, and South African/Botswanan writer Bessie Head, as well as younger writers such as U.S.-born playwright Suzan-Lori Parks, Nigerian-born fiction writer Chimamanda Ngozi Adichie, and St. Thomas-born writer Tiphanie Yanique. These writers reframe identity around radical models of difference by: (1) developing and naming hybrid genres; and (2) destabilizing formal conventions of recognizable genres through multiplicities of voice. By highlighting difference as a core component of black female identity, these writers make crucial interventions in several areas, including Afrodiasporic cultural, feminist, queer, and postcolonial theories of identity, as well as feminist, Afrodiasporic cultural, formalist, and narratological conceptions of voice.
217 p., A comparative study of late 20th-century migration narratives by African American and Afro-Caribbean women, such as Paule Marshall, Toni Morrison, Jamaica Kincaid, and Loida Maritza Pérez. Informed by critical race theory, postcolonial, and feminist approaches to literature, this dissertation intervenes in literary studies of the African diaspora by underscoring the cultural and political implications that class and national differences have on intra-racial relations among Blacks.
Focuses on the performativity of Black beauty shame as it transforms or intensifies the meanings of parts of the body in Jamaica and its UK diaspora. Uses extracts from interviews with UK Jamaican heritage women. The women’s critique of the shaming event shows that shame is undone through dis-identification as speakers draw on alternative beauty discourses to produce new beauty subjectivities.
239 p., Undertakes a critical task of "writing to" and "writing back to" Frantz Fanon on the issues of violence, masculinity, and nation-formation. The author deploys Brian Keith Axel's formulations of "national interruption" to position African diasporic women's novels--specifically Gayl Jones's Corregidora, Tsitsi Dangarembga's Nervous Conditions, and Edwidge Danticat's Breath, Eyes, Memory --as critical interruptions to Fanon's formulations.
