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Imagen de cubierta: THIS BRIDGE CALLED MY BACK



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Fecha edición:01/09/2015
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This Bridge Called My Back ... dispels all doubt about the power of a single text to radically transform the terrain of our theory and practice. Twenty years after its publication, we can now see how it helped to untether the production of knowledge from its disciplinary anchors--and not only in the field of women's studies. This Bridge has allowed us to define the promise of research on race, gender, class and sexuality as profoundly linked to collaboration and coalition-building. And perhaps most important, it has offered us strategies for transformative political practice that are as valid today as they were two decades ago. -- Angela Davis, University of California, Santa Cruz

" This Bridge Called My Back ... has served as a significant rallying call for women of color for a generation, and this new edition keeps that call alive at a time when divisions prove ever more stubborn and dangerous. A much-cited text, its influence has been visible and broad both in academia and among activists. We owe much of the sound of our present voices to the brave scholars and feminists whose ideas and ideals crowd its pages." -- Shirley Geok-lin Lim, University of California, Santa Barbara

"This book is a manifesto--the 1981 declaration of a new politics 'US Third World Feminism.' No great de-colonial writer, from Fanon, Shaarawi, Blackhawk, or Sartre, to Mountain Wolf Woman, de Beauvoir, Saussure, or Newton could have alone proclaimed this 'politic born of necessity.' This politic denies no truths: its luminosities drive into and through our bodies. Writers and readers alike become shape-shifters, are invited to enter the shaman/witness state, to invoke power differently. 'US Third World Feminism' requires a re-peopling: the creation of planetary citizen-warriors. This book is a guide that directs citizenry shadowed in hate, terror, suffering, disconnection, and pain toward the light of social justice, gender and erotic liberation, peace, and revolutionary love. This Bridge ... transits our dreams, and brings them to the real." -- Chela Sandoval, University of California, Santa Barbara



Gloria Evangelina Anzaldúa (Valle del Rio Grande, 26 de septiembre de 1942 - Santa Cruz (California), 15 de mayo del 2004), fue una académica, activista política chicana, lesbiana, feminista, escritora y poeta.<BR><BR>Gloria Anzaldúa nace en el Valle de Tejas el 26 de septiembre de 1942, hija de Urbano y Amalia Anzaldúa. A los once años, su familia se traslada a Hargill, Texas. A los catorce años, sufre la muerte de su padre.

Catching Fire: Preface to the Fourth Edition<BR>Cherríe Moraga<BR><BR>Acts of Healing<BR>Gloria Anzaldúa and The Gloria E. Anzaldúa Literary Trust<BR><BR>Foreword to the First Edition, 1981<BR>Toni Cade Bambara<BR><BR>The Bridge Poem<BR>Kate Rushin<BR><BR>La Jornada: Preface, 1981<BR>Cherríe Moraga<BR><BR>Introduction, 1981<BR>Cherríe Moraga and Gloria Anzaldúa<BR><BR>I. Children Passing in the Streets: The Roots of Our Radicalism<BR><BR>When I Was Growing Up<BR>Nellie Wong<BR><BR>on not bein<BR>mary hope whitehead lee<BR><BR>For the Color of My Mother<BR>Cherríe Moraga<BR><BR>I Am What I Am<BR>Rosario Morales<BR><BR>Dreams of Violence<BR>Naomi Littlebear Morena<BR><BR>He Saw<BR>Chrystos<BR><BR>II. Entering the Lives of Others: Theory in the Flesh<BR><BR>Wonder Woman<BR>Genny Lim<BR><BR>La Güera<BR>Cherríe Moraga<BR><BR>Invisibility Is an Unnatural Disaster: Reflections of an Asian American Woman<BR>Mitsuye Yamada<BR><BR>It's In My Blood, My Face--My Mother's Voice, the Way I Sweat<BR>Anita Valerio<BR><BR>"Gee You Don't Seem Like An Indian from the Reservation"<BR>Barbara Cameron<BR><BR>"...And Even Fidel Can't Change That!"<BR>Aurora Levins Morales<BR><BR>I Walk in the History of My People<BR>Chrystos<BR><BR>III. And When You Leave, Take Your Pictures With You: Racism in the Women's Movement<BR><BR>And When You Leave, Take Your Pictures With You<BR>Jo Carrillo<BR><BR>Beyond the Cliffs of Abiquiu<BR>Jo Carrillo<BR><BR>I Don't Understand Those Who Have Turned Away From Me<BR>Chrystos<BR><BR>Asian Pacific Women and Feminism<BR>Mitsuye Yamada<BR><BR>"--But I Know You, American Woman"<BR>Judit Moschkovich<BR><BR>The Black Back-Ups<BR>Kate Rushin<BR><BR>The Pathology of Racism: A Conversation with Third World Wimmin<BR>doris davenport<BR><BR>We're All in the Same Boat<BR>Rosario Morales<BR><BR>An open Letter to Mary Daly<BR>Audre Lorde<BR><BR>The Master's Tools Will Never Dismantle the Master's house<BR>Audre Lorde<BR><BR>IV. Between the Lines: On Culture, Class, and Homophobia<BR><BR>The Other Heritage<BR>Rosario Morales<BR><BR>The Tired Poem: Last Letter From a Typical (Unemployed) Black Professional Woman<BR>Kate Rushin<BR><BR>To Be Continued...<BR>Kate Rushin<BR><BR>Across the Kitchen Table: A Sister-to-Sister Dialogue<BR>Barbara Smith and Beverly Smith<BR><BR>Lesbianism: An Act of Resistance<BR>Cheryl Clarke<BR><BR>Lowriding through the Women's Movement<BR>Barbara Noda<BR><BR>Letter to Ma<BR>Merle Woo<BR><BR>I Come with No Illusions<BR>Mirtha N. Quintanales<BR><BR>I Paid Very Hard for My Immigrant Ignorance<BR>Mirtha N. Quintanales<BR><BR>Earth-Lover, Survivor, Musician<BR>Naomi Littlebear Morena<BR><BR>V. Speaking in Tongues: The Third World Woman Writer<BR><BR>Speaking In Tongues: A Letter to Third World Women Writers<BR>Gloria Anzaldúa<BR><BR>Millicent Fredericks<BR>Gabrielle Daniels<BR><BR>In Search of the Self As Hero: Confetti of Voices on New Year's Night, A Letter to Myself<BR>Nellie Wong<BR><BR>Chicana's Feminist Literature: A Re-vision through Malintzin/or Malintzin Putting Flesh Back on the Object<BR>Norma Alarcón<BR><BR>Ceremony for Completing a Poetry Reading<BR>Chrystos<BR><BR>VI. El Mundo Zurdo: The Vision<BR><BR>Give Me Back<BR>Chrystos<BR><BR>La Prieta<BR>Gloria Anzaldúa<BR><BR>A Black Feminist Statement<BR>Combahee River Collective<BR><BR>The Welder<BR>Cherríe Moraga<BR><BR>O.K. Momma, Who the Hell Am I? An Interview with Luisah Teish<BR>Gloria Anzaldúa<BR><BR>Brownness<BR>Andrea Canaan<BR><BR>Revolution: It's Not Neat or Pretty or Quick<BR>Pat Parker<BR><BR>No Rock Scorns Me as Whore<BR>Chrystos<BR><BR>Appendix<BR><BR>Afterword: On the Fourth Edition<BR>Cherríe Moraga<BR><BR>Foreword to the Second Edition, 1983<BR>Gloria Anzaldúa<BR><BR>Refugees of a World on Fire: Foreword to the Second Edition, 1983<BR>Cherríe Moraga<BR><BR>Counsels from the Firing...past, present, future: Foreword to the Third Edition, 2001<BR>Gloria Anzaldúa<BR><BR>Biographies of Contributors<BR>Biographies of the Original Contributors, 1981<BR>Credits

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