scholarly journals Lilla Maria Crisafulli, and Cecilia Pietropoli, eds. Romantic Women Poets: Genre and Gender. New York: Rodopi, 2007. ISBN: 978-90-420-2247-8 Price: US$76 Stephen Behrendt. British Women Poets and the Romantic Writing Community. Baltimore: The John Hopkins University Press, 2009. ISBN: 9780801890543 Price: $65.00

Author(s):  
Sophie Rudland
2016 ◽  
Vol 14 ◽  
pp. 47
Author(s):  
Isabel Castelao-Gómez

The work of Beat women poets and their contribution to the Beat canon was neglected for decades until the late nineties. This study presents a critical appreciation of early Beat women poets and writers’ impact on contemporary US literature drawing from theoretical tools provided by feminist literary and poetry criticism and gender studies on geography. The aim is to situate this female literary community, in specific the one of late 1950s and 1960s in New York, within the Beat generation and to analyze the characteristics of their cultural and literary phenomena, highlighting two of their most important contributions from the point of view of gender, cultural and literary studies: their negotiation of urban geographies and city space as bohemian women and writers, and their revision of Beat aesthetics through a feminist avant-garde poetics.


2010 ◽  
Vol 3 (3) ◽  
pp. 355-375 ◽  
Author(s):  
Michelle Billies

The work of the Welfare Warriors Research Collaborative (WWRC), a participatory action research (PAR) project that looks at how low income lesbian, gay, bisexual, transgender, and gender nonconforming (LG-BTGNC) people survive and resist violence and discrimination in New York City, raises the question of what it means to make conscientization, or critical consciousness, a core feature of PAR. Guishard's (2009) reconceptualization of conscientization as “moments of consciousness” provides a new way of looking at what seemed to be missing from WWRC's process and analysis. According to Guishard, rather than a singular awakening, critical consciousness emerges continually through interactions with others and the social context. Analysis of the WWRC's process demonstrates that PAR researchers doing “PAR deep” (Fine, 2008)—research in which community members share in all aspects of design, method, analysis and product development—should have an agenda for developing critical consciousness, just as they would have agendas for participation, for action, and for research.


1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.


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