History Commons^™

Confronting Student Resistance To Ecofeminism: Three Perspectives, Jennifer Browdy De Hernandez, Holly Kent, Colleen Martell

The Seneca Falls Dialogues Journal

Teaching ecofeminism is a dynamic, vital practice, demanding a great deal of both educators and students. At the heart of this essay is the question: how can we teach ecofeminism effectively? In this work, we reflect on our successes and failures teaching ecofeminism within various topics and in different settings. While each co-author of this piece brings ecofeminism into our classrooms, we do so in very different ways and have diverse approaches to making ecofeminist theories and ideas feel vital, necessary, and relevant for our students. In our essay, we aim to offer some productive and provocative suggestions and ideas …

"La Llorona": Evolución, Ideología Y Uso En El Mundo Hispano, Raquel Sáenz-Llano

LSU Master's Theses

This thesis studies the evolution, ideology and use of the myth of La Llorona through time in the Hispanic World. Considering this myth as one of the most known traditional narratives of the American continent, I begin by providing visual, ethnohistorical and ethnographical insights of weeping in Mesoamerica and South America and the specific mention of a weeping woman in some Spanish chronicles to say how western values were stablished in “the new continent” through this legend. I suggest that during the postcolonialism the legend did not tell anymore about a mother that cries and search a place for their …

Animals In Irish Literature And Culture Edited By Kathryn Kirkpatrick And Borbála Faragó, Geneviève Pigeon

The Goose

Review of Kathryn Kirkpatrick and Borbála Faragó's Animals in Irish Literature and Culture.

To Be Magic: The Art Of Ana Mendieta Through An Ecofeminist Lens, Elizabeth Ann Baker

Honors Undergraduate Theses

Ana Mendieta was a Cuban-born American artist whose unique body of work incorporated performance, activism, Earth art, installation, and the Afro-Cuban practices of Santería. She began her career at the University of Iowa, were she initially received her degree in painting in 1969. It was not until 1972 that Mendieta shifted radically to performance art.

Though she was raised Catholic, she developed an interest in the rituals involved with Santería, a culturally predominant Cuban religion, and it deeply influenced her work in her choice of materials and settings. Santería is one of the major faith-based lifestyles of Cuba …