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Full-Text Articles in Arts and Humanities
A Refuge For Jae-In Doe: Fugues In The Key Of English Major, Seo-Young J. Chu
A Refuge For Jae-In Doe: Fugues In The Key Of English Major, Seo-Young J. Chu
Publications and Research
"A Refuge for Jae-in Doe: Fugues in the Key of English Major"
- Author(s):
- Seo-Young Chu (see profile)
- Date:
- 2017
- Subject(s):
- Feminism, Creative nonfiction, Asian American literature, Sonnets, Social justice, Trauma
- Item Type:
- Essay
- Tag(s):
- #MeToo, Stanford, women in academia, early american
- Permanent URL:
- http://dx.doi.org/10.17613/cp82-8f39
Bricolage Propriety: The Queer Practice Of Black Uplift, 1890–1905, Timothy M. Griffiths
Bricolage Propriety: The Queer Practice Of Black Uplift, 1890–1905, Timothy M. Griffiths
Dissertations, Theses, and Capstone Projects
Bricolage Propriety: The Queer Practice of Black Uplift, 1890-1905 situates the queer-of-color cultural imaginary in a relatively small nodal point: the United States at the end of the nineteenth century. Through literary analysis and archival research on leading and marginal figures of Post-Reconstruction African American culture, this dissertation considers the progenitorial relationship of late-nineteenth century black uplift novels to modern-day queer theory. Bricolage Propriety builds on work about the sexual politics of early African American literature begun by women-of-color feminists of the late 1980s and early 1990s, including Hazel V. Carby, Ann duCille, and Claudia Tate. A new wave of …
“Without Stopping To Write A Long Apology”: Spectacle, Anecdote, And Curated Identity In Running A Thousand Miles For Freedom, Anjelica La Furno
“Without Stopping To Write A Long Apology”: Spectacle, Anecdote, And Curated Identity In Running A Thousand Miles For Freedom, Anjelica La Furno
Theses and Dissertations
Running a Thousand Miles for Freedom unapologetically challenges traditional nineteenth-century notions of race and gender by way of its treatment of spectacle, anecdotal use, and assertion of authorial choices that contradict the expectations of a white abolitionist audience. Its most challenging feature is what I will call Ellen’s “curated identity.”