My book also includes the nature of the educational community as viewed through feminist theory. I approach my individual case study as a descriptive investigation. In retrospect, the distance learning platform offers the pedagogical structure to allow writers to explore feminism within the themes of postfeminism, which relies on competitive individualism and eschews collective action; it obscures or makes invisible the many ways in which women are often fearful, subject to rape and other kinds of violence, and politically and economically underprivileged.
“Feminist Practice in the Art of Pocahontas Viewed Through Feminist Art Theory” (for Lehigh University, Feminism in Practice Conference, November 15, 2008. Bethlehem, Pennsylvania): Archives, interviews, and primary and secondary sources create a paradigm supported by feminist practices, to find new interpretations based on current feminist texts and art galleries as well as scholars. I cipher the data through cultural, historical, and biographical sources, to produce analytical essays to design and infuse feminist practices within my writing and art. The complexity of the assimilation of Pocahontas in mythic terms reveals the practice of applications of feminist art theory as well as feminist writing. My inquisition extends to feminist art theory present in the study of Disney’s first eco-feminist heroine. I write to preserve, to reveal, and to retain the memory of Pocahontas, and to further develop her assimilation as a representation of the feminine. A museum in the study is Elizabeth A. Sackler Center for Feminist Art in Brooklyn, New York. The Dinner Party, by Judy Chicago, is a permanent installation. Archives for the study include the Lafayette College Howard Chandler Christy Archive and Lehigh University Special Collection.
American Women Writers, Poetics, and the Nature of Gender Study is rooted in my determination to gather support for the works of Zora Neale Hurston, who was born on Wednesday, January 7, 1891, in Notasulga, Alabama, and died on Thursday, January 28, 1960, in Fort Pierce, Florida. My first paper on Hurston—which I presented at the College English Association conference in 2012 in Richmond, Virginia—featured a statement on her story, “Magnolia Flower,” in which I found the use of the river as redemptive. Hurston creates Magnolia, who experiences the abuse of her father because she falls in love with John; she runs away with her lover, and then comes back forty years later with her same lover, John, by her side, to revisit and to find redemption. Hurston uses mythic realism, modernism, imagery of the river, and “The Mighty One” to create a thematic world with allegory and myth, as vehicles for the representation of conflicts and dilemmas. The short stories of Hurston concentrate on the understanding of the themes of literary consciousness. The most important aspect of the short story, as a literary powerhouse for both teacher and student, remains in the fact that reading and writing the genre can elicit personal transformation.
My experience with Zora starts in the 1990s with my reading of her works. Zora has been and continues to be my focus for research. Folklorist and novelist, prolific short story writer and gifted autobiographer, she was one of the most talented writers of her era. Testimonials often combine with specific types of literature. For example, Zora Neale Hurston used folk writing at first. Next, she wrote plays, essays, mixed works, and short stories. She studied anthropology. She traveled to write about Haiti, and wrote an important work titled Tell My Horse: Voodoo and Life in Haiti and Jamaica.

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