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In between those essays, there are poems, journal entries, interviews, photos, and more. [7] Racism. This Bridge Called My Back by Cherríe Moraga and Gloria Anzaldúa is a feminist piece that describes two polarizing views based on skin color, the perspectives of light and dark skin Latin American women. [13]
Much of Bashir's poetry explores the intersections of culture, change, and identity through the lens of race, gender, the body and sexuality. She is currently the June Jordan visiting professor at Columbia University of New York. Bashir is the first black woman recipient of the Joseph Brodsky Rome Prize in Literature.
Gibson uses gender-neutral pronouns, specifically they/them/theirs. [9] Many of their poems are about gender identity, such as "Swing Set" and "Andrew". [10] Gibson has said, regarding gender, "I don't necessarily identify within a gender binary. I've never in my life really felt like a woman and I've certainly never felt like a man.
Present day feminist poetry in North America holds space for a great variety of poets tackling identity, sexuality, and gender issues. Key writings in the recent past include Claudia Rankine 's careful skewering of race related microaggressions in Citizen, [ 61 ] Dorothea Laskey's "ferocious confession" in Rome for example, [ 62 ] and Bhanu ...
Writing in narrative form, she discusses the possibilities and difficulties of coalition and self-identification based on race, class, and gender identity. Although not widely recognized when first published in 1982, this essay has become central to women's and gender studies, sociology, and anthropology in the United States.
Through her concept of the Girl Hero from her "Manifesting the Girl Hero" poem, examples of the integration of race, gender, and sexuality in poems that represent intersectional feminism, queer studies, poems such as "Options for Girls: Patience and Loathing", "Uterus Root", "Womanist Face Aches" and more.
Many of Angelou's poems, especially those in Diiie, focus on women's sexual and romantic experiences, but challenge the gender codes of poetry written in previous eras. She also challenges the male-centered and militaristic themes and messages found in the poetry of the Black Arts movement of the late 1960s and early 1970s, leading up to the ...
This poem, along with other works by Hughes, helped define the Harlem Renaissance, a period in the early 1920s and '30s of newfound cultural identity for blacks in America who had discovered the power of literature, art, music, and poetry as a means of personal and collective expression in the scope of civil rights. [1]