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writer, in this sense, dare hope that the dreams of Lyndall and Magda finally find fruition in a democratic South Africa? Could, in the words of feminist-identified Elizabeth Costello, a world be imagined in which “poverty, disease, illiteracy, ←163 |  164→ racism, sexism, homophobia, xenophobia, and the rest of the bad litany have been exorcised”? 1 The post-1994 “rainbow nation” would present itself to the world as a beacon of hope for accommodating different narratives, underlined by a human rights rhetoric, particularly in its espousal of multiracialism and

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Memphis Minnie may be taken as a female exception to this male-dominated model. On one hand, these performers were often marginal even in their own communities as their allegedly “sinful”, commercial and instinct-liberating alternative lifestyles contrasted with the religious correctness of “respectable” African American citizens and communities. As such, they can be considered outsiders—labeled deviants who cannot be trusted to live by the rules enforced by the hegemonic groups (Becker, 1963, p. 1). Writer Robert Palmer (1982, p. 17) explains that the majority of men

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African masculinities are currently constructed in a societal space harbouring promises for change, as well as the continued enactment of oppressive violence towards women and Others, in particular in relation to issues regarding race and dissident sexualities. 10 Thus, the South African context, much like elsewhere in the postcolonial world, is one where the study of men and masculinities figures in an increasingly prominent way, illustrating how the possibilities of change towards more democratic notions, in terms of gender relations, has been one of the principal

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Nicomedes Santa Cruz (1925–1992), the Afro-Peruvian poet and musician who was a pioneer in the dissemination of knowledge about the contribution of Africans to Peruvian folklore. An intellectual and artist, Santa Cruz published an article in a Latin American literature journal ( Cuadernos hispanoamericanos , 1988, 451–452, 7–46) entitled “El negro en Iberoámerica” [Blacks in Ibero-America]. He is considered the most important writer in Afro-Peruvian literature (see Marta Ojeda’s Nicomedes Santa Cruz: Ecos de África en Perú , 2003). And I am sure he has not read Malambo

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Reflection (1825) . Eugene, Oregon: Wipf and Stock Publishers, 2006. Conn, P. Literature in America . New York: Cambridge University Press, 1989. Conrad, Joseph. Heart of Darkness and Selected Short Fiction . New York: Barnes & Noble Classics, 2003. Cook, Mercer and Stephen Henderson. The Militant Black Writer in Africa and the United States. Madison: University of Wisconsin Press, 1969. ← 196 | 197 → Delas, Daniel. Léopold Sédar Senghor le maître de langue ; biographie . CorisyBeaubourg: Éditions Aden, 2007. Delavignette, Robert L. Soudan-Paris-Bourgogne. Paris

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had restricted women’s opportunities for self-expression. The history of Italian American women’s literature can be viewed as a synthesis of the transition from emblematic to latent ethnicity. This process is exemplified by the two groups of women writers that have been taken into consideration here: Mari Tomasi and Marion Benasutti re-elaborate the form of the pre-war immigrant novel in a somewhat nostalgic fashion, as well as rewriting in a female key the founding myths established by men during the pre-war years. On the other hand, Dorothy Bryant and Rita Ciresi

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(Hartsock, 1983), but applications of standpoint theory as it relates to other subordinate groups have been utilized as well (see Swignoski, 1994). Standpoint theory focuses on perspectives of women, but also could take the perspectives of African American women, poor White women/men, non-White women and men and individuals belonging to minority ethnic and religious groups outside modern Western society (see Orbe, 1998). Fundamental Tenets of Standpoint Theory Standpoint refers to a specific societal position, the result of one’s field of experience, that serves as a

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pre- twentieth-century rural Afrikaner one. The patriarch is the regulator of women’s bodies, ascertaining their viability for procreation, and an undemocratic, tyrannical figure overall: “The patriarch is the one who lays down the law… The way of obedience is the only way.” 3 As attested by its marked excesses of violence, South Africa would know and be formed by such virulent enactments of masculinity. It would also harbour forms of masculinity that would serve as paradigmatic examples of ethical possibilities at the gendered level. The trilogy, by occupying

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work, as cash was not attached to their very important home activities. It also created a separation of the sexes, and helped produce an ideology of separate spheres, where men “should” be in the public sphere of work and politics, and women “should” be in the private sphere of home. In my Urban Sociology course I talk about how the growth of cities was due to the growth of manufacturing. Cities, urban environments we can call them, are not progeny of the Industrial Revolution per ← 1 | 2 → se, but like the current growth of cities in Africa, Latin America, and

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. She is currently the Director of the Writer’s Resource Lab at California State University, Long Beach, where she also teaches American literature, children’s literature, and composition courses. Her teaching and research interests include the short story and the short-story cycle as genres, metafiction, children’s literature, and writing center theory. Her most recent publications and conference presentations have explored the interplay of narrative memory and imagined reality in Tim O’Brien’s July, July and drunkenness in F. Scott Fitzgerald’s “Babylon Revisited