Showing posts with label Feminist. Show all posts
Showing posts with label Feminist. Show all posts

Tuesday, January 21, 2020

Q&A with Cynthia Orozco about Mexican American Civil Rights Activist Adela Sloss-Vento

The essayist Adela Sloss-Vento (1901–1998) was a powerhouse of activism in South Texas’s Lower Rio Grande Valley throughout the Mexican American civil rights movement beginning in 1920 and the subsequent Chicano movement of the 1960s and 1970s. At last
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presenting the full story of Sloss-Vento’s achievements, Agent of Change revives a forgotten history of a major female Latina leader. 


Cynthia E. Orozco's Agent of Change: Adela Sloss-Vento, Mexican American Civil Rights Activist and Texas Feminist is the first comprehensive biography of a formidable civil rights activist and feminist whose grassroots organizing in Texas made her an influential voice in the fight for equal rights for Mexican Americans.

Give us the elevator pitch for your research and the resulting book.

Adela Sloss-Vento was one of the most important Latina civil rights activists of the twentieth century. Her life spanned the rise of the Mexican American civil rights movement before 1960 and the Chicano movement of the 1960s and 1970s. She operated independently in predominantly male environments: civil rights activism; politics; and, as an essayist, public-affairs journalism. Even though she lacked a college education, lived in rural South Texas, was married with two children, and worked as a jail matron, she left an unprecedented array of writings in English and Spanish. She even wrote the presidents of the United States and Mexico offering advice. She was unique.

How did you get interested in the subject of your book?

I met Adela Sloss-Vento in 1978, when she was seventy-five and I was college sophomore conducting research on the League of United Latin American Citizens (LULAC), the oldest and most important Latino civil rights organization in the nation. She had written a book on Alonso Perales, its founder and her co-activist. Sloss-Vento helped me by sharing her archives, which dated back to 1927. At the time, she did not mention the central role she herself had played in the Mexican American civil rights movement and even the Chicano movement. Thirty-three years later, I saw some of her writings in the Perales archive and realized how important she had been.

What lessons can activists learn from Adela Sloss-Vento’s work in grassroots organizing in Texas?

While Sloss-Vento’s efforts toward racial desegregation, women’s rights, labor justice, and immigrant rights did not result in any change in state or federal legislation, she provided a voice for all these interests during the era of Jim Crow/Juan Crow and before the feminist movement of the late 1960s and 1970s. With every op-ed, letter to the editor, or letter to an official, she made a political statement—a statement few other Mexican American women were making. Her tenacity is most impressive.

How did Sloss-Vento advance her progressive views rhetorically and how was her voice unique and impactful?

Sloss-Vento never studied government, social sciences, or literature at a university; as a public intellectual, she appealed to morality and Christianity. She believed in democracy and justice, even criticizing European fascism during World War II and calling for true pan-Americanism for Latinos and Latin America.

In what ways did some of the long-forgotten archives you consulted in your research challenge outdated scholarly trends?

There is not enough research on “organic” public intellectuals, those who never received college degrees. Before the internet, to be a public intellectual activist meant really having something valuable to say and saying it repeatedly. Sloss-Vento reminds us that sometimes we are surprised by those whom society und
erestimates—in this case, Mexican American women.

Cynthia E. Orozco is a professor of history and humanities at Eastern New Mexico University, Ruidoso. She is the author of No Mexicans, Women, or Dogs Allowed: The Rise of the Mexican American Civil Rights Movement and coeditor of Mexican Americans in Texas History.



Thursday, April 25, 2019

Announcing a New Series—Latinx: The Future is Now

Latinx: The Future Is Now is a new interdisciplinary series devoted to the evolving field of Latina/o/x studies, including Central American, Afro-Latinx, and Asian-Latinx studies. Situated at the nexus of cultural, performance, historical, food, environmental, and textual studies, the series will focus on ways in which the racial, cultural, and social formations of historical Latinx communities can engage and enhance scholarship across geographies and nationalities. The series editors invite projects that consider the multiple queer and gender-fluid possibilities that are embodied in the “x”; projects that have a feminist critique of patriarchy at the center of their intellectual work; projects that deploy a relational approach to ethnic and national groups; and projects that address the overlapping dynamics of gender, race, sexual, and national identities.

Submissions or queries may be directed to the series editors, Nicole Guidotti-Hernandez, nicole.m.guidotti-hernandez@emory.edu and Lorgia Garcia-Peña, garciapena@fas.harvard.edu in addition to Senior Acquisitions Editor, Kerry Webb, kwebb@utpress.utexas.edu.

Forthcoming books in the series will be listed here as they are published: https://utpress.utexas.edu/books/series/latinx-future-now.

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Dr. Nicole M. Guidotti-Hernández is Professor in the Department of English at Emory University. She is an expert in Borderlands History after 1846, Transnational Feminist Methodologies, Latinx Studies, and Popular Culture and Immigration. As a public intellectual, Dr. Guidotti-Hernández has written numerous articles for the feminist magazine Ms. and the feminist blog The Feminist Wire, covering such topics as immigration, reproductive rights, and the Dream act. She also sits on the national advisory council for the Ms. and is currently on the national advisory council for Freedom University in Athens, Georgia.

Dr. Lorgia Garcia-Peña i
s the Roy G. Clouse Associate Professor of Latinx Studies at Harvard University. She is the author of  award-winning book The Borders of Dominicanidad and the co-founder of Freedom University Georgia, a modern-day freedom school created to support undocumented students.  

www.utexaspress.com

Wednesday, May 16, 2018

Hysterical!: Women in American Comedy wins the Popular Culture Association's Susan Koppelman Award

We are delighted to announce that Linda Mizejewski and Victoria Sturtevant's book Hysterical!: Women in American Comedy has won the Popular Culture Association's Susan Koppelman Award for the Best Anthology, Multi-Authored, or Edited Book in Feminist Studies in Popular and American Culture.


Ideal for classroom use, Hysterical! is an anthology of original essays by the leading authorities on women’s comedy. The book surveys the disorderly, subversive, and unruly
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performances of women comics from silent film to contemporary multimedia.

Amy Schumer, Samantha Bee, Mindy Kaling, Melissa McCarthy, Tig Notaro, Leslie Jones, and a host of hilarious peers are killing it nightly on American stages and screens large and small, smashing the tired stereotype that women aren’t funny. But today’s funny women aren’t a new phenomenon—they have generations of hysterically funny foremothers. Fay Tincher’s daredevil stunts, Mae West’s linebacker walk, Lucille Ball’s manic slapstick, Carol Burnett’s athletic pratfalls, Ellen DeGeneres’s tomboy pranks, Whoopi Goldberg’s sly twinkle, and Tina Fey’s acerbic wit all paved the way for contemporary unruly women, whose comedy upends the norms and ideals of women’s bodies and behaviors.

Hysterical!: Women in American Comedy delivers a lively survey of women comics from the stars of the silent cinema up through the multimedia presences of Tina Fey and Lena Dunham. This anthology of original essays includes contributions by the field’s leading authorities, introducing a new framework for women’s comedy that analyzes the implications of hysterical laughter and hysterically funny performances. Expanding on previous studies of comedians such as Mae West, Moms Mabley, and Margaret Cho, and offering the first scholarly work on comedy pioneers Mabel Normand, Fay Tincher, and Carol Burnett, the contributors explore such topics as racial/ethnic/sexual identity, celebrity, stardom, censorship, auteurism, cuteness, and postfeminism across multiple media. Situated within the main currents of gender and queer studies, as well as American studies and feminist media scholarship, Hysterical! masterfully demonstrates that hysteria—women acting out and acting up—is a provocative, empowering model for women’s comedy.

About the Popular Culture Association


The Popular Culture Association was founded by scholars who believed the American Studies Association was too committed to the then existing canon of literary writers such as Melville, Hawthorne, and Whitman. They believed that the American Studies Association had lost its holistic approach to cultural studies; there was little room, as they saw it, for the study of material culture, popular music, movies, and comics.

To remedy this situation, Professors Ray Browne (Bowling Green State University) and Russell Nye (Michigan State University) started an organization that would be open to more subjects and forms of cultural studies. The Association’s first meeting was in East Lansing, Michigan at Michigan State University in 1971. Aiding the efforts of Browne and Nye were early pioneers such as Jane Bakerman, Carl Bode, Pat Browne, John G. Cawelti, George N. Dove, Marshall W. Fishwick, M. Thomas Inge, Susan Koppelman, Peter C. Rollins, Fred E. H. Schroeder, Emily Toth, Tom Towers, Daniel Walden, and many others.

In 1979, the American Culture Association became a partner in the study of Popular Culture and the two organizations have held joint conferences since that time. Under the tutelage of Ray Browne, the organization grew. The national conference has over 2,000 participants. Moreover, the organization has seven regional organizations: Northeast, Mid-Atlantic, South, Midwest, Far West, Southwest/Texas, and Oceanic. The regional organizations range in size from 200 to 1,000 participants. The PCA is closely affiliated with four international popular culture organizations in Australia/New Zealand, East Asia, Canada, and Europe. PCA also supports two prestigious, peer-reviewed journals—The Journal of Popular Culture and The Journal of American Culture—and maintains an international organization that meets in the summer of odd numbered years.

In 2003, Ray and Pat Browne stepped down as the leaders of the PCA after many years of building and nurturing the organization. Today, the PCA continues to nurture the study of popular and American culture, champion new and established scholars in both their research and teaching, and support the publication of its two prestigious, peer-reviewed journals, The Journal of Popular Culture and The Journal of American Culture.

Sunday, March 8, 2015

'Books that Made Me a Feminist'

To celebrate International Women's Day (and Pretty/Funny coming out in paperback), we're
re-blogging our friends at bookscombined.com to feature our author Linda Mizejewski on the most formative texts of her career as a gender studies scholar.

Books that Made Me a Feminist
By Linda Mizejewski
Originally posted on bookscombined.com

The books that made me a feminist were the books that got me into trouble. I lost a lover, alienated friends, angered students, got into arguments with teachers—all because of books that followed through on the clichés: something clicked, a light snapped on. But sometimes the click turns into a slammed door, and what we find in the bright light is something we hoped not to see.

When I was in college in the early 1970s, the women in my dorm were passing around books that nobody assigned in classes—Sylvia Plath’s The Bell Jar (1963) and Erica Jong’s Fear of Flying (1973). We were fascinated with the anger of the narrators who—unlike the heroines of our reading lists (Anna Karenina, Emma Bovary, Jane Eyre), didn’t believe that marriage or love or even sex (Jong’s famous “zipless fuck”) was the answer to their seething discontent.

In an English class, a professor told us that novels about women ended with the main characters married or dead. That was the larger cultural sentiment about women, too. But this was also the era of free love and the birth control pill. The Bell Jar and Fear of Flying struck a chord because these heroines were caught up in mixed messages. One of my all-time favorite literary images is Plath’s alter-ego character Esther tossing designer clothes from a rooftop in Manhattan. The things in her life that were supposed to make her pretty and special instead were making her crazy. The arguments started when I went to graduate school and was told these books weren’t “real” literature.

Wednesday, February 26, 2014

Top 10 Feminist Moments in Women’s Comedy

This Sunday, Ellen DeGeneres will host the 86th Academy Awards. DeGeneres and her career comprises a full chapter of Linda Mizejewski's new book Pretty/Funny: Women Comedians and Body Politics. Other chapters cover star writer/performer comedians Kathy Griffin, Tina Fey, Sarah Silverman, Margaret Cho, and Wanda Sykes, among others. We asked Professor Mizejewski to list her favorite moments in comedy when women have delivered provocative commentary on women's issues.

Top 10 Feminist Moments in Women’s Comedy
By Linda Mizejewski


My favorite feminist moments in comedy would have to begin with Fanny Brice and her parody of the Ziegfeld showgirls in the 1920s, and then move to Mae West, Lily Tomlin, and episodes of Roseanne. The list would turn into another book! So I’ll focus instead on the new generation of women comedians who, since 2000, have grabbed headlines, turned heads, and in some cases made history with their political comedy about gender, sexuality, race, and class. The performances listed below are not in any order because all of them are amazing, but the Fey-Poehler performance is listed first because it’s the one that’s gotten the most mainstream attention.



1

The Saturday Night Live Tina Fey/Amy Poehler skit on Sarah Palin and Hillary Clinton (2008)

At the height of the 2008 presidential campaign, Fey and Poehler impersonate Sarah Palin and Hillary Clinton “crossing party lines to address the now very ugly role that sexism is playing in the campaign,” as Fey’s Palin piously puts it. This skit wittily contends that no matter what women look like, their looks will always be more important than what they say, as far as mainstream media is concerned. For the topic of international politics, Fey/Palin’s contribution is that she can see Russia from her house, while Poehler/Clinton, a brilliant politician, complains about journalists sniping that she has “cankles.” The skit was part of a series of Fey’s Palin impersonations on SNL which, some pollsters suggested, influenced the 2008 presidential election.


Watch the sketch: www.hulu.com >>
2

Wanda Sykes’s routine on Michelle Obama in her performance concert I’ma Be Me (2009)

Sykes begins this routine with her childhood memory of her mother’s rebuke that Wanda and her sister shouldn’t “dance” in the car because “White people are looking at you!” She develops this into a scathing and hilarious commentary on the white policing of black bodies, especially black female bodies. When she uses the new First Lady as her extended example, the comedy is a coup of fierce race/gender critique. High points include Sykes lampooning the stereotype of “the angry black woman” and shrewdly pinpointing the racism underlying journalists’ probing question, “Who is the real Michelle Obama?” 




3

Margaret Cho’s All American Girl segment of I’m the One That I Want (2000)

In this segment of her first performance concert, Cho tells from a feminist perspective the story of her failed 1990s sitcom All American Girl. During her experience with ABC network executives, she was told her face was “too big for the camera”—that is, too Asian—and that she needed to lose 30 pounds in two weeks in order to look acceptable for primetime. In this virtuoso comeback, Cho castigates the racism and sexism of the entertainment industry and also tells how the ideal of the thin white body nearly killed her. Her exuberant manifesto at the end of this concert is a high point in feminist pop culture.




4

Ellen DeGeneres hosts the Emmy Primetime Awards (2001)

In the months after 9/11, the Primetime Emmy Awards ceremony had been canceled twice and was finally re-scheduled in November, with DeGeneres as its host. She won overwhelming acclaim for a performance that hit exactly the right notes, respecting the ongoing national trauma and gracefully pointing to the future. This role was also the turnaround for DeGeneres’s career, which had faltered badly following her groundbreaking coming-out in 1997. Her television series Ellen (1994-98) had been picketed by protesters, slapped with censorship warnings, and eventually cancelled. But at the Emmys just four years later, she stepped into the role of affable host that turned out to be her niche, eventually launching her to international fame with her daytime talk show. At the 2001 Emmys, she cites her butch lesbianism as the key to the award ceremony’s political meaning: “What would bug the Taliban more than seeing a gay woman in a suit surrounded by Jews?” The line cleverly recruits the visibility of Jewishness, Hollywood liberalism, and homosexuality as signs of patriotism and calls attention to her gay identity as her claim to citizenship.