Gloria Steinem at Women's Week Celebration at City Hall

General note: Title and date provided by Bettye Lane.

MS. magazine's 10th anniversary party with Gloria Steinem (left) cutting the cake with editor Pat Carbine

General note: Title and date provided by Bettye Lane.

Anti-porn march with Gloria Steinem and Bella Abzug

General note: Title and date provided by Bettye Lane.

Democratic Convention in Miami, Florida. Bella Abzug, Gloria Steinem, and Betty Friedan

General note: Title and date provided by Bettye Lane.

Gloria Steinem speaks at press conference announcing Bella Abzug's run for NY Senate

General note: Title and date provided by Bettye Lane.

"Pro-choice and nuns" press conference with (L-R): Gloria Steinem; Gloria Fitzgerald, nun; Rosemary Stango, former nun; Dawn Tenent, former nun; Karen Burstein, NY State Senator; Carol Bellamy, NY State Senator; Mim Kelber, assistant to Bella Abzug; Pat McQuillan, founder of "Catholics for a free choice."

General note: Title and date provided by Bettye Lane.

Kate Millett with the Woman's Salon co-founder Gloria Orenstein (right)

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Gloria Orenstein (left), Erika Duncan, and Judy Chicago (right) at the Woman's Salon

General note: Title and date provided by Freda Leinwand.

Gloria Orenstein (left), Erika Duncan, and Judy Chicago (right) at the Woman's Salon

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Gloria Steinem at ERA demonstration

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Barbara Deming, Erika Duncan, Adrienne Rich, and Gloria Orenstein at The Woman's Salon

Inscription: Verso: The Woman's Salon, New York. Seated on platform: Barbara Deming, Erika Duncan, Adrienne Rich, and Gloria Orenstein.

Gloria Orenstein at the Woman's Salon

Inscription: Verso: The Woman's Salon, New York. Gloria Orenstein, founder.

Xavier Zapata (FIU graduate student) collecting a groundwater sample, Taylor Slough

This material is based upon work supported by the National Science Foundation through the Florida Coastal Everglades Long-Term Ecological Research program under Cooperative Agreements #DBI-0620409 and #DEB-9910514. This image is made available for non-commercial or educational use only.

Cementerio La Piedad. ¿Pórtico o peristilo?. En: Revista Arqymas, n° 11, año 4

Desde mi llegada a Posadas hace ya muchos años, cuando escucho hablar acerca de la entrada al cementerio La Piedad, la nombran como el “peristilo” del cementerio. Siempre me intrigó la persistencia en el error sin que mediara la debida corrección y me parecieron dignas de investigación las razones de dicha confusión, pero como mucho de lo que me parece así, fue postergado indefinidamente. Es que la palabra PERISTILO, la suma de perímetro más stylo que es como entre los griegos y luego los romanos, se nombraba a la columna. O sea que peristilo es algo rodeado de columnas, como por ejemplo el Partenón de Atenas o posteriormente un claustro medieval, para dar en ejemplo de peristilo interno y de peristilo externo. Recurso arquitectónico que a todas luces no se emplea en la entrada mencionada.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.