This thesis argues that through an examination of the variable market successes of Fashion Fair Cosmetics and Fenty Beauty, racial and gender intersectionality continues to negatively impact the experience of black beauty consumers in the US today. Through influential black feminists, including media theorist bell hooks, and critical race and gender theorists Kimberlee Crenshaw, and Patricia Hill Collins, this paper will discuss how black women historically and presently have been marginalized in relation to the needs and interests of white women. Drawing on the notable anthropologist Soyini Madison’s Critical Ethnography: Method, Ethics, and Performance (2022), I utilize a critical ethnography to analyze how one’s racial and gendered background can affect the relationship between beauty brands and consumers and how this impacts the experience of black and brown women as beauty consumers. This paper will also engage with the rise of historic and contemporary social justice activism and current Diversity, Equity, and Inclusion programs in the wake of Black Lives Matter Movement and the impact that this has had not only on industries but on the experience of black and brown cosmetics consumers. In addition, this paper will note how a speedy and superficial increase in DEI programs across service industries and cosmetics has led to a shallow understanding of the importance of Diversity, Equity, and Inclusion in all spaces. Lastly, I will deploy an autoethnographic approach to discuss how social media has strongly impacted and influenced the industry Fashion Fair is relaunching in. The autoethnography will discuss the social media strategies that drive a successful makeup brand in the contemporary beauty industry and, importantly, how contemporary consumers of color experience the beauty industry. This paper will close by speculating on the manner in which the legacy brand Fashion Fair, might in the current practice of Fenty, sharpen its appeal and engage the kind of social media strategies that will successfully reintroduce the brand to a new generation—and thereby more successfully resume its mission to deliver care to long-alienated beauty consumers in the US. / Media Studies & Production

This thesis investigates possibilities for developing an archiving praxis to help Black trans people live. Inspired by recent Black trans thinking and creativity, the research here centres conversations with five Experts working in a range of academic, artistic, and activist archiving practices. The analysis of these conversations focuses on three areas which guide the investigative chapters, motivations for working with archives, encounters with archives and possibilities for developing a praxis to help us live. The need for this work is shaped by the specificity of blackness and transness in the racial capitalism of the West, the writing is framed by the specificity of producing work at and for Uppsala University whose archives house state records of eugenics and racial science.  Looking to how archives shape bodies and how bodies shape archives, the methodologies guiding this work give space for the writing of this thesis to become an archival experiment. Considering and attending to powers of affect and care shapes this thesis as an embodied exploration, a practice manifesting in the work to further inform the praxis that the thesis investigates. Voices from Black feminist thought, Black cultural theory, queer of colour critique and Black trans cultural production and/as knowledge guide this analysis and offer points of reflection for the conversations with the Experts and my own experiences unfolding in the archive.  The thesis evidences possibilities for developing an archiving praxis to help Black trans people live. The analysis also points to capacious and expansive temporalities for this archival praxis. The thesis concludes that there is a need for more time, more voices and more listening to develop this praxis and further explore possibilities that open up with questioning temporalities. Perhaps that work starts in the space where the conclusion of this thesis, this archive, arrives; starts with asking when does the archive happen.

The United States and South Africa, exemplars of "archsegregation," have been constituted within an arc of historical racialized delineations which began with the centering, and subsequent overrepresentation, of European maleness and whiteness as the sole definition of Man. Globally present and persistent, these racialized delineations have been localized and spatially embedded through the tools of urban planning. This arc of racialized otherness, ineffectively erased, continues to inform the racially differentiated geospatial, health, social, and economic outcomes in contemporary urban form and functions for Black communities. It is within this historical arc, and against these differentiated outcomes, that contemporary urban discourse and contestation between individuals and institutions are situated. This historical othering provides not just a racialized geo-historical contextualization, but also works to preclude the recognition of the some of the most vulnerable urban community members. As urbanists and advocates strive to co-create urban space and place with municipalities, meeting the needs of these residents is imperative. In order to meet these needs, their lived experiences, and voices must be fully recognized and engaged in the processes and programs of urban co-creation, including in digital spaces and forums. Critical to achieving recognition acknowledging and situating contemporary digital discourses between local municipalities, Black residents, and Black networks within this historically racialized arc is necessary. In doing so, explore if, and how, race, specifically Blackness, is enacted in municipal digital discourse, whether these enactments serve to advance or impede resident recognition and participation, and how Black users, as residents and social network curators, engage and respond to these municipal discursive enactments. This exploratory research is a geographically and digitally multi-sited incorporated comparison of Chicago, Illinois, and Johannesburg South Africa. Using Twitter and ethnographic data collected between December 1, 2019, and March 31, 2020, this research layers digital ethnographic mixed methods and qualitive mixed methods, including traditional ethnographic, digital ethnographic, grounded theory, social change and discourse analysis, and frame analysis to explore three research goals. First, explore the digital discursive practices and frames employed by municipalities to inform, communicate with, and engage Black communities, and, if and how, these frames are situated within a historically racialized arc. Second, identify the ways in which Black residents, in dual discursive engagements with local municipalities and their own social networks, interact and engage with the municipal frames centering on Blackness. Third, through ethnographic narratives, acknowledge the marginalized residents of the Central Business District of Johannesburg, South Africa as "agents of knowledge," with critical and valuable knowledge claims which arise from their lived experiences anchored within racialized place and space. In doing so, support the efforts of these residents in recentering the validity of their knowledge claims in the co-creation of urban place and space. Additionally, in situating the city within a historically racialized arc develop novel frameworks, the racialized palimpsest city and syndemic segregation, through which to explore contemporary urban interactions and engagements. / Doctor of Philosophy / The United States and South Africa, exemplars of "archsegregation," have been constituted within an arc of historical racialized delineations which began with the centering, and subsequent overrepresentation, of European maleness and whiteness as the sole definition of Man. Globally present and persistent, these racialized delineations have been localized and spatially embedded through the tools of urban planning. This arc of racialized otherness, ineffectively erased, continues to inform the racially differentiated geospatial, health, social, and economic outcomes in contemporary urban form and functions for Black communities. It is within this historical arc, and against these differentiated outcomes, that contemporary urban discourse and contestation between individuals and institutions are situated. This historical othering provides not just a racialized geo-historical contextualization, but also works to preclude the recognition of the some of the most vulnerable urban community members. As urbanists and advocates strive to co-create urban space and place with municipalities, meeting the needs of these residents is imperative. In order to meet these needs, their lived experiences, and voices must be fully recognized and engaged in the processes and programs of urban co-creation, including in digital spaces and forums. Critical to achieving recognition acknowledging and situating contemporary digital discourses between local municipalities, Black residents, and Black networks within this historically racialized arc is necessary. In doing so, explore if, and how, race, specifically Blackness, is enacted in municipal digital discourse, whether these enactments serve to advance or impede resident recognition and participation, and how Black users, as residents and social network curators, engage and respond to these municipal discursive enactments. This exploratory research is a geographically and digitally multi-sited incorporated comparison of Chicago, Illinois, and Johannesburg South Africa. Using Twitter and ethnographic data collected between December 1, 2019, and March 31, 2020, this research layers digital ethnographic mixed methods and qualitive mixed methods, including traditional ethnographic, digital ethnographic, grounded theory, social change and discourse analysis, and frame analysis to explore three research goals. First, explore the digital discursive practices and frames employed by municipalities to inform, communicate with, and engage Black communities, and, if and how, these frames are situated within a historically racialized arc. Second, identify the ways in which Black residents, in dual discursive engagements with local municipalities and their own social networks, interact and engage with the municipal frames centering on Blackness. Third, through ethnographic narratives, acknowledge the marginalized residents of the Central Business District of Johannesburg, South Africa as "agents of knowledge," with critical and valuable knowledge claims which arise from their lived experiences anchored within racialized place and space. In doing so, support the efforts of these residents in recentering the validity of their knowledge claims in the co-creation of urban place and space. Additionally, in situating the city within a historically racialized arc develop novel frameworks, the racialized palimpsest city and syndemic segregation, through which to explore contemporary urban interactions and engagements.

L'esclavage constitue le chronotope de "Tituba" de M. Condé et de "Beloved" de T. Morrison. Il est un héritage paradigmatique dans les autres œuvres de ces auteures, ainsi que chez Alice Walker et Gisèle Pineau, déterminant les rapports raciaux contemporains. La fragmentation du corps esclave convoque le motif de la couture, entre tissage conteur, re-membrement du corps social, et reconfiguration d'une tâche traditionnellement féminine. La mise en exergue du pouvoir performatif des mots des maîtres rappelle l’historicité et la dimension politique de l'invention du racisme dans le régime plantocratique. L'exemple de la beauté féminine et de sa racialisation illustre l'intrication complexe de la construction du genre et de la race. Mais le récit du passé esclavagiste, s'il peut éclairer et expliquer le présent, n'est fait qu'au prix d'un combat douloureux contre divers processus de refoulements, individuels et collectifs. Si "Beloved" et "La couleur Pourpre" rappellent le rôle essentiel de la réminiscence, "Paradis", "Morne Câpresse" et "Heremakhonon" mettent en scène des hypertrophies mémorielles problématiques ou drolatiques. La critique de la prétention historienne à l'objectivité y participe d'une remise en cause globale de la scientificité et de l'héritage des Lumières. Les ambivalences de la postmémoire s'opposent à la sacralisation contemporaine de la littérature mémorielle ou testimoniale, et la hantise postcoloniale se donne à voir sous un jour nouveau, ironique. L'analyse des maternités dialectiques dans "Beloved", "Tituba" ou "Rosie Carpe" permet de réfléchir le lien entre narration de la nation, racialisation de la maternité et contrôle du corps des femmes. Une lecture des œuvres du corpus à l'aune du concept d'intersectionnalité permet d'envisager une déconstruction globale de la féminité libérée de l'injonction à la sexualité reproductive. Au croisement du pouvoir de donner la vie et de son refus, le personnage de la sage-femme est récurrent. Souvent accusée de sorcellerie, elle nourrit une mythologie féminine qui peut retourner le stigmate magique. Fruit de rivalités dans les champs médicaux et religieux, la figure de la sorcière chez Toni Morrison, Maryse Condé ou Marie NDiaye est une invention interculturelle dont la force performative et parodique ébranle les catégories littéraires. Issus du traumatisme de l'esclavage, les romans étudiés esquissent les contours d'utopies concrètes. Leur dimension totalitaire et séparatiste cependant se révèle dans le visage grimaçant de l'espérance eschatologie contemporaine : la secte. Si la projection dans le futur semble ainsi dérisoire, le retour en un espace premier, refuge utérin et remontée dans le temps, s'abîme dans l'impossibilité du retour en Afrique. La Négritude césairienne est ainsi mise à distance, tandis que les espoirs de la Créolité semblent battus en brèche par une littérature récusant l'utopie post-raciale. Les migrations contemporaines et les douleurs de la condition exilique sont narrées sans idéalisation de la mobilité, tandis que les stratégies narratives des auteures diffèrent, tout en se retrouvant dans un désir de révéler en même temps que de dépasser la ligne de couleur. / Slavery is the chronotope of "Tituba" by M. Condé and "Beloved" by T. Morrison. Slavery is a paradigmatic heritage in other novels by these authors, as well as in Alice Walker's and Gisèle Pineau's art ; it determines the contemporary racial relationships. The splitting up of the slave's body calls to mind the pattern of sewing, narrative weaving, re-membering of the social body, and reinventing a traditionally feminine work. The highlighting of performative power of the master's words reminds us the historicity and the politic aspect of the invention of racism in the plantation system. The example of women's beauty and its racialization illustrates the complicated co-construction of gender and race. The writing of past history of slavery points out and explains the present time, but it requires a painful fight against various processes of individual and collective repression. "Beloved" and "The Color Purple" remind us of the importance of rememory, while "Paradise", "Morne Câpresse" and "Heremakhonon" tell about memory in excess. The criticism of historian claim for objectivity belongs to a global questioning of science on the one hand, and of the heritage of Enlightenment on the other. The ambivalences of postmemory confront the contemporary sacralization of memorial and testimonial literature. Postcolonial haunting is seen in a nex light, quite ironic. The analysis of dialectic motherhood in "Beloved", "Tituba" or "Rosie Carpe" allows us to conceptualise the link between national storytelling, racialization of motherhood and political control of women's bodies. Reading and analysing the novels with the concept of intersectionality shows a global deconstruction of womanhood, freed from the stress of reproductive sexuality. At the crossroad of women's power to give birth and death, the midwife is a recurring character. The midwife is often accused of being a witch, and she belongs to a feminine mythology that can turn the stigma around. The witch is born from rivalry in both religious and medical fields. In Toni Morrison's, Maryse Condé's or Marie Ndiaye's novels, the witch is an intercultural invention ; her parodic and performative strength undermines literary categories. Born from the trauma of slavery, the novels outline the pattern of concrete utopias. The totalitarian and separatist aspect of these utopias appears in the grinning face of the contemporary eschatological hope: the sect. Therefore any hope of a better future seems to be ridiculous ; when the return to a primary space, turning back in time, is dying in the impossible way back to Africa. The "Négritude" of Aimé Césaire is dismissed, and so are the hopes of "Créolité", by a literature that rejects post-racial utopia. There is not any idealization of movement in these novels, which tell contemporary migrations and pains of exile condition. Although the narrative strategies are different, they all intend to expose and overcome the color line.

The circumstance of mass incarceration in the U.S. has reached the point of social crisis. When the statistics on imprisonment are demographically disaggregated, they point to the overrepresentation of imprisoned men and women of color. Paying special attention to Black men and women, critical race, prison advocacy, and Black feminist research has been vital in theorizing the structural and ideological implications of this racial inequity. The insight that the U.S. prison system constitutes a prison industrial complex arose from such scholarship. More recently, transnational feminism has offered insight into the specific experience and socio-historical contextualization of raced women within a transnational prison industrial complex. Based on transnational and Black feminist precepts, this thesis will argue the need to reframe the discursive position of imprisoned Black women in liberatory discourse. Using the work of Homi K. Bhabha, I contend that Black women’s discursive positions should be understood as “culturally undecidable.” Dominant paradigms of mainstream feminism have assigned Black women the task of fulfilling the ideal of “true womanhood.” Black feminist scholars have argued that this model erases and marginalizes Black women’s resistance. I suggest the imposition of this ideal rhetorically fixes Black women as victims, pathologizes them, and ultimately pathologizes the Black community. In contrast, renaming Black women’s discursive position as “culturally undecidable” creates the possibility to decenter the transnational networks that underpin the transnational prison industrial complex. To proffer this argument, I will analyze performative resistances and reifications of criminalization within narratives of imprisoned Black women and suggest performance practices to encourage Black women’s sense of agency. / text

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-06-28T12:43:14Z No. of bitstreams: 1 CAMILA RODRIGUES BASTOS.pdf: 2280488 bytes, checksum: 864aa49ecb44c885b6649ac8dc7f097d (MD5) / Made available in DSpace on 2017-06-28T12:43:14Z (GMT). No. of bitstreams: 1 CAMILA RODRIGUES BASTOS.pdf: 2280488 bytes, checksum: 864aa49ecb44c885b6649ac8dc7f097d (MD5) Previous issue date: 2017-03-14 / The present research investigates the different forms of translation in the narratives of Alice Walker, analyzing the process of interlingual and cultural translation of the works The Color Purple and The Temple of My Familiar, as well as the intersemiotic translation of the book: The Color Purple. The choice of the object of analysis was based on the desire to ascertain Walker's writing of denunciation, which seeks to subvert the woman's position as being dominated, through a "womanist" perspective, realized through black feminism. In the first chapter it is possible to verify the marks of the postcolonial literature, since the narratives fictionalize questions such as: identity, sexism, racism, misogyny, nature exploration, memory and myth, decolonizing the narrative, through a counterhegemonic attitude, Investigates indigenous and African cultures, as well as the cultural hybrids that originate mestizo characters, subjects of interlacing. The second chapter examines the interlinguistic translation and, finally, the third examines the intersemiotic translation of the novel The Color Purple for the cinema. For this, it is used theorists who study black feminism, translation theories and the postcolonial literature such as Bonnici (2002), Spivak (2000), Bakhtin (2009), Velasco (2012), Bhabha (2002) , Said (1995), Canclini (1990), Walsh (2008), Beauvoir (1969), Hooks (2000), Butler (1990), Newmark (1987), Octavio Paz (1971), Campos ), Stam (2000), Diniz (2005), et al. Thus, it was found that the interlingual translation of English into Portuguese and into Spanish was domesticated, since translators failed to translate the non-standard variety of blacks from the southern United States into their respective languages. In relation to the film transcription, Steven Spielberg seeks to be faithful to the novel, adapting to the film issues such as black feminism, Celie and Nettie loyalty, Celia and Shug Avery's homosexual relationship, and the empowerment of Celie. / A presente pesquisa investiga as diferentes formas da tradução nas narrativas de Alice Walker, analisando o processo de tradução interlinguística e cultural das obras A Cor Púrpura e O Templo Dos Meus Familiares, assim como a tradução intersemiótica do livro: A Cor Púrpura. A escolha do objeto de análise baseou-se no anseio de averiguar a escrita de denúncia de Walker, que busca subverter a posição da mulher como ser dominado, por intermédio de uma perspectiva “womanist”, realizada por meio do feminismo negro. No primeiro capítulo é possível constatar marcas da literatura pós-colonial, pois as narrativas ficcionalizam questões como: identidade, sexismo, racismo, misoginia, exploração da natureza, memória e mito, descolonizando a narrativa, por meio de uma atitude contrahegemônica, que investiga culturas indígenas e africanas, assim como os hibridismos culturais que originam personagens mestiços, sujeitos do entrelugar. O segundo capítulo averigua a tradução interlinguística e por último, o terceiro analisa a tradução intersemiótica do romance A Cor Púrpura para o cinema. Para isso, recorre-se a teóricos que estudam o feminismo negro, as teorias da tradução e a literatura pós-colonial tais como Bonnici (2002), Spivak (2000), Bakhtin (2009), Velasco (2012), Bhabha (2002), Said (1995), Canclini (1990), Walsh (2008), Beauvoir (1969), Hooks (2000), Butler (1990), Newmark (1987), Octavio Paz (1971), Campos (1986), Bazin (1991), Stam (2000), Diniz (2005), et al. Com isso, constata-se que houve a domesticação da tradução interlinguística do inglês para o português e para o espanhol, uma vez que os tradutores não conseguiram traduzir a variedade não padrão dos negros do sul dos Estados Unidos para as respectivas línguas. Em relação à transcriação fílmica, Steven Spielberg busca ser fiel ao romance, adaptando para o filme questões como o feminismo negro, a fidelidade entre Celie e Nettie, a relação homoafetiva entre Celie e Shug Avery e o empoderamento da personagem Celie.

Esta dissertação versa sobre a figura da mãe-preta como uma imagem de controle, tomando o feminismo negro enquanto perspectiva epistemológica. O problema de pesquisa observado é de que modo a mãe-preta constitui-se enquanto um estereótipo racial nas artes plásticas e como é discutida a partir da produção de distintas autorias. Sobretudo, quais as alterações nessa representação quando mulheres negras passam a produzir obras que relacionam gênero e raça. Os capítulos que compõem essa pesquisa procuram responder de que forma a sociologia abordou o tema de raça e gênero. Ainda, como a perspectiva feminista negra se inscreve na sociologia apresentando uma leitura interseccional e que busca colocar a mulher negra conforme o sujeito central da produção de conhecimento. Também como a cultura e, especificamente, as artes visuais são uma ferramenta através da qual são criados estereótipos raciais que operam sustentando as desigualdades. Com isso, as perguntas centrais que norteiam o trabalho são: O que criam artisticamente as mulheres negras sobre si mesmas quando possuem essa oportunidade? Quais as respostas que existem para questionar e repensar a figura da mãe-preta? Quem é a mãe-preta sob a perspectiva de mulheres negras? / This dissertation deals with the black mother as a control image, with black feminism as an epistemological perspective. The research problem observed is how the black mother constitutes as a black stereotype in the plastic arts and how it is discussed from the production of different authorships. Above all, what are the changes in this representation when black women begin to produce works that relate gender and race. The chapters that compose this research seek to answer, how sociology has approached the theme of race and gender. How the black feminist perspective is inscribed in the sociology presenting an intersectional reading and which seeks to place the black woman as the central subject of the production of knowledge. Also how culture and specifically the visual arts are a tool through which black stereotypes are created and operate sustaining inequalities. With this, the central question guiding the work is: what do black women create about themselves when they have the opportunity? What answers exist to question and rethink the black mother? Who is the black mother of black women?

No description available.

Det huvudsakliga syftet med denna uppsats är att belysa pågående förhandlingar om feminism och sexualitet i det samtida medielandskapet, med avstamp i Beyoncés senaste produktioner samt den omgärdande debatt som dessa genererat. För att genomföra detta har jag, genom en diskursanalys, läst sex stycken utvalda låttexter samt videor från Beyoncés självbetitlade skiva (2013) utifrån ett antal feministiska teorier. Fokus ligger på de olika feministiska diskursernas tolkning utav kropp, sexualitet, struktur, agens och etnicitet i dessa verk. Resultatet av uppsatsen visar att de olika feministiska diskurserna har, både historiskt och samtida, olika uppfattning om hur en kvinna får vara sexuell i dagens medielandskap. Samtidigt som Beyoncé reproducerar många av de strukturer som en stor del av feminismen motsätter sig, kan hennes verk, utifrån min analys, samtidigt tolkas som sexuellt frigörande i en tid där kvinnlig sexualitet ofta beskylls och ifrågasätts.

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2015-10-14T15:05:50Z No. of bitstreams: 1 Dissertação de Maísa Maria Vale.pdf: 2808385 bytes, checksum: 2c00b69d431e19d3aa735574cf40d0cd (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2015-11-25T17:50:49Z (GMT) No. of bitstreams: 1 Dissertação de Maísa Maria Vale.pdf: 2808385 bytes, checksum: 2c00b69d431e19d3aa735574cf40d0cd (MD5) / Made available in DSpace on 2015-11-25T17:50:49Z (GMT). No. of bitstreams: 1 Dissertação de Maísa Maria Vale.pdf: 2808385 bytes, checksum: 2c00b69d431e19d3aa735574cf40d0cd (MD5) / FAPESB / Este trabalho investiga a trajetória social e política de mulheres negras candidatas às eleições para a Câmara Municipal de Salvador, em 2008 e 2012, visando compreender como se dão as implicações sociopolíticas de acesso ao poder, dessas experiências com a opressão na identidade feminina destas mulheres. Explicito dentro deste processo as interfaces entre raça e gênero, interseccionado com outras identidades, destacando as diferenças intragênero. Objetivo ambicioso, num país onde a memória histórica dos feitos das mulheres se esfumou por influência das estruturas de opressão patriarcal e racista. Associando identidades e política, teoricamente, averiguo os possíveis entraves provenientes destas múltiplas identidades cruzadas, para a concretização da unidade das mulheres negras entre elas mesmas e com outras mulheres para forjar um enfrentamento mais radical contra as estruturas de opressão patriarcal e racista. O estudo filia-se à teoria feminista negra, articulando metodologicamente conhecimentos gerados na História Oral, nos Estudos Culturais, no Estudo do Cotidiano, na produção escrita por mulheres e organizações negras brasileiras, para registrar e analisar as experiências de dez candidatas negras. Este estudo dá visibilidade às contribuições dos feminismos como corrente plural de pensamento e ação e evidencia, também, nestes percursos, suas fragilidades e contradições. Não busca respostas em forma de verdades absolutas, tampouco definitivas sobre a realidade dessas mulheres, mostrando que não esgota as razões para uma agenda feminista, mais ampla e exigente, que leve em consideração as diferentes experiências e vivências de mulheres, em termos de raça, sexualidade, classe social, religião, cultura e geração. This paper addresses the socio-political implications of the experiences of black women who ran as candidates in the elections of 2008 and 2012 for the Municipality of Salvador. From the interfaces between race and gender intersected with other explicit identities within this process intragênero the differences, in the sense proposed by black feminists who emphasize the asymmetries among women themselves. Consisted in an attempt to discover a little more of the history of political black women as subjects. Ambitious goal in a country where the historical memory of the deeds of women vanished, influenced by the structures of patriarchal and racist oppression. Linking identities and politics, theoretically, the study joins the blackfeminism, articulating knowledge generated in Cultural Studies in Oral History in the Study of Everyday Life in the production written by Brazilian women and black organizations, to seize the memories and experiences of these subjects, focusing on the study of speech ten black candidates, focusing on this role from the rebuilding of its social and political trajectory. Through oral history accounts choose the life history produced through these interviewees talk about themselves and their views on the process involved, the strategies used in dealing with the various forms of exclusion, seeking to reveal the relationship between history social and individual trajectory of each interviewee. This study gives visibility to the contributions of feminist as plural current of thought and action, but also shows these routes its weaknesses and contradictions. Not looking for answers in the form of absolute nor definitive truths about the reality of these women, showing that does not exhaust the reasons for a more extensive and demanding feminist agenda that takes into account the different experiences and life among women in terms of race, sexuality, social class, religion, culture and generation.