abstract: ABSTRACT This dissertation focuses on Anne Moody's use of the autobiographical genre as an extension of her political activism. Noting consistent values and conventions that govern the writing of political activists, this study asserts that Moody's narrative is best situated in the genre of political autobiography--a term coined by Angela Davis. Using Margo V. Perkins' text as a base to define autobiography as activism, this dissertation illustrates the consistent values that characterize Moody's narrative as political autobiography, resistance literature, and ultimately Black Power literature. Building on the works of Joanne Braxton, Patricia Hill Collins, Angela Davis, Elizabeth Fox-Genovese, bell hooks, Margo V. Perkins, Assata Shakur, and Johnny Stover, this project demonstrates the use of Moody's autobiography as a collective form of resistance that is reflective of autobiography as activism. To frame its argument, this study theorizes how one comes into revolutionary consciousness, demonstrating the move toward activism as a process. Drawing on Sidonie Smith and Julia Watson's autobiographical theory that the "narrated I" is distinguished from the "narrating I," this study asserts, as Francoise Lionnet suggests, that the "narrating I" is the vehicle to deliver recollections relevant to the autobiographer's agenda. This study emphasizes that the early version of the self Moody creates is consciously linked to her role as a future activist, ultimately demonstrating her political evolution through the emphatic linking of the personal and political. Most importantly, this dissertation demonstrates that Moody's text represents a continuity--an autobiographical bridge--between representations of the Christian nonviolent civil rights movement and the Black Power movement of the late 1960's. This study argues that Moody's autobiography is ideologically poised at the intersection of civil rights and Black Power; therefore, it serves as both a civil rights autobiography and a Black Power autobiography. Coming of Age in Mississippi offers a unique contribution to the genre of Black Power autobiography for the way it facilitates unprecedented insight into the transition from non-violent civil rights ideology to revolutionary consciousness. / Dissertation/Thesis / Ph.D. English 2011

This thesis examines the crucial role of spirituals and freedom songs during the American Civil Rights movement from 1955-1968. Singing this music and speaking their lyrics affirmed African Americans' humanity, inspired hope for justice, and nurtured community development. When they sang, activists experienced "egalitarian resonance"-- spontaneous community among singers and listeners crossing race, age, gender, and class differences. These moments modeled the ideal American, multiracial community. In the absence of a 24/7 news cycle, freedom songs instantly provided a grassroots history of the movement. Both artistic expression and vocal protest, spirituals testified to the resilience of the human spirit. Created by African American slaves, spirituals expressed human psychological, emotional, and physical suffering. During twentieth-century segregation, W.E.B. Du Bois, James Weldon Johnson, and Howard Thurman wrote about spirituals and racial oppression. They understood spirituals expressed hope for justice despite despair. During the Civil Rights Movement, Rev. Martin Luther King, Jr. quoted spirituals and freedom songs, linking past suffering with present persecution. Forming part of nonviolent protest, spirituals offered hope for an all-inclusive, "beloved community." Between 1955 and 1968, freedom songs chronicled events and persons, orally recording the movement as it happened. Protesters sang long-established spirituals and newly-created freedom songs composed while working to open public facilities and to expand the franchise to all persons. Singing together in mass meetings solidified the resolve of participants and community members. When the movement spread from a regional to national phenomenon, freedom songs began showing other music influences including blues, rock and roll, and folk rock.

ABSTRACT This dissertation examines the enduring leadership of community activists Dorothy Bolden, Ella Mae Wade Brayboy, and Pearlie Dove from 1964 until 2015. Brayboy was one of the first African-American Deputy Voter Registrars in the state of Georgia, Bolden founded the National Domestic Workers Union and Dove was the first woman to head the department of education at Clark College. This dissertation inserts Dorothy Bolden, Ella Mae Wade Brayboy, and Pearlie Dove into the classic Civil Rights Movement narrative by framing their community advocacy as equal to the efforts of Atlanta’s more well-known African-American leaders. This dissertation presents Bolden, Brayboy, and Dove as career-oriented professional women who were also politically savvy community activists. These three women acquired a power base that allowed them to found organizations, create programming, and develop projects dedicated to empowering Atlanta’s black community. These women achieved a level of influence typically associated with the wealthy or the political prominent. Because the three women were grassroots organizers, this study contends that the implications of their activism have been obscured because of gender, race, and class. This study seeks to foreground Bolden, Brayboy, and Dove’s efforts in Atlanta’s Movement narrative. In this dissertation, assessments of Bolden, Brayboy, and Dove’s professional contributions as acts of protest on behalf of the black community are used to undergird a critical intervention; first, their work refutes previous ideology centering the efficacy of Movement leadership (as a social movement) as grounded in mass mobilization. Secondly, their leadership was oppositional to the standard portraiture of Movement leadership as male, ministerial, and middle-class. Finally, the women’s professional and activist emphases on economic uplift, education, and enfranchisement illustrate evidence of how sustained acts of protest, led by local leadership, impacted the community. Because there is considerably less literature focused on the historical significance of black women acquiring political power outside of elected office, this study seeks to establish the women as politically significant local leadership.

Magic City Gospel is a collection of poems that explores themes of race and identity with a special focus on racism in the American South. Many of the poems deal directly with the author’s upbringing in Birmingham, Alabama, the Magic City, and the ways in which the history of that geographical place informs the present. Magic City Gospel confronts race and identity through pop culture, history, and the author’s personal experiences as a black, Alabama-born woman. Magic City Gospel is, in part, influenced by the biting, but softly rendered truth and historical commentary of Lucille Clifton, the laid-back and inventive poetry of Terrance Hayes, the biting and unapologetically feminist poetry of Audre Lorde, and the syncopated, exact, musical poetry of Kevin Young. These and other authors like Tim Siebles, Gwendolyn Brooks, and Major Jackson influence poems as they approach the complicated racial and national identity of the author.

abstract: While the African American civil rights movement of the 1950s and 60s is one of the most famous and celebrated parts of American history, rhetoric scholars have illuminated the ways this subversive movement has been manipulated beyond recognition over time. These narrative constructions play a role in preserving what Maegan Parker Brooks calls the "conservative master narrative of civil rights history," a narrative that diminishes the work of activists while simultaneously promoting complacency to prevent any challenge to the white supremacist hegemony. This dissertation argues that the graphic memoir trilogy March by John Lewis, Andrew Aydin, and Nate Powell challenges this conservative master narrative through visual rhetoric, in particular through the comics techniques "braiding" and "weaving." Braiding occurs when authors create "webs of interrelation" (Miodrag 134) by repeating a technique throughout the text, which can sometimes involve a secondary narrative (Groensteen). Braids are associations in the network of panels of the comic that go beyond the parameters of strictly linear storytelling as panels echo those the reader has encountered before. The braids in March compare the past and present through a direct juxtaposition of January 20, 2009—the inauguration day of Barack Obama—with John Lewis' activism from 1959 to 1965. While this juxtaposition risks reinforcing a progress narrative that suggests racism is in the past, in fact, the braided inauguration scenes help the reader connect the moments of the past with their present, calling to mind the ways white supremacy endures in contemporary America. Weaving refers to the reader’s action of moving back and forth in the comics narrative to create meaning, and artists use techniques that facilitate this behavior, such as leaving out or minimizing significant cues and creating a sense of ambiguity that leads the reader to become curious about the events in the sequence. Weaving can disrupt an easy linear narrative of depicted events—such as Fannie Lou Hamer's testimony at the Democratic National Convention—as artists present several opportunities for the reader to interpret these stories in ways that challenge a conservative master narrative of the events in the trilogy. / Dissertation/Thesis / Doctoral Dissertation English 2019

Films can be a source to enjoyment, cultural enrichment and relaxation. But films are alsofilled with messages and subtext that affects the one who watches the film. One of the effectsis the reproduction of racism and stereotypes. Therefore, have we chosen to analyze threemodern films that illuminate the civil rights movement. The purpose of this study is toinvestigate whether the selected reality-based films offer alternative perspectives onrelationships, racism and civil rights. This study will be based on the films The butler (2013),Niceville (2011) and Remember the Titans (2000). Based on the three selected films, a selection of scenes and sequences will also be performed.Ranking of scenes and sequences will be grounded on a variety of events so that this studycan show the breadth of the issues that are highlighted in the films. We will then combinesome of the scenes and sequences in the results and analysis to present under the sameheading. In the final part will we conclude with a summary discussion of our work.

Since the system of industrial agriculture first emerged in mid-nineteenth century California, farm workers have been among the lowest-paid and ill treated workers in America’s labor force. Racism, nativism, and the entrenched political power of large-scale growers have combined to ensure that the predominantly non-white, largely foreign-born farm labor force has had little voice in the workplace. The United Farm Worker movement of the 1960s and the 1970s was the largest and most successful effort to alter the dynamics of farm worker power in the United States, giving farm workers greater autonomy in the workplace and resulting in concrete gains in terms of wages and working conditions. The UFW’s efforts culminated in the 1975 passage of California’s Agricultural Labor Relations Act (ALRA), the nation’s first ever law to guarantee farm workers the right to collectively bargain and form unions. But with the passage of the ALRA, the dynamics of power in farm labor relations changed once again; the future of the union would depend upon its ability to adapt to these new realities.

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Our nation has made great strides since 1954's Brown v. Board of Education, 1963's I Have a Dream speech, and the passage of the Civil Rights Act of 1964. However, Jeannie and other minorities continue to endure in a struggle for true equality. A debate exists as to whether race issues are improved by discussion, or if they improve by ceasing these types of discussions and not even mentioning race. The purpose of this qualitative biographical narrative is to vicariously relive Jeannie's Journey and ascertain what relevance her life story has to our historical timeline. The sole participant in this study was Jeannie Hodges. Data for this study were collected through 3 in-depth interviews using an interview protocol based upon a conversational interview process. Who we are is a direct manifestation of where we have been and the journeys we have taken. Jeannie's journey shows us that we can look at the past and discuss history without hate, pointing fingers, or laying blame. We benefit from gaining a deeper understanding of where we as a people have been as opposed to as individual races of blacks and whites. Understanding our combined histories provides an appreciation for where we are today as well as guidance for the future. The point is to gain a deep understanding of the interconnectedness of our individual histories, like threads in a tapestry. It is crucial to our continued progress that we not cease discussions about race or about this part of our historical timeline. Can we as a nation, acknowledge our past, embrace our future, and continue the journey together?

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