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The article discusses the activist feminist press Kitchen Table: Women of Color Press, its commissioning of and inability to publish the anthology "The Third Wave: Feminist Perspectives on Racism," and the third wave of feminism and anti-racist activism. Topics include the beginnings of Kitchen Table: Women of Color Press according to its long-time publisher Barbara Smith and how this project promoted the cause of feminist anthology, thinking and publishing.

This essay addresses the thorny question of whether Jewish women fit into the framework of intersectionality and what we gain when we read the work of early- twentieth- century German- Jewish feminists through the lens of a theoretical model developed by Black feminists in the United States in the late twentieth century. The essay situates the social activist and writer Bertha Pappenheim in a long tradition of international intersectional feminist thought: she recognized over a century ago that Jewish women had different concerns and a different experience of patriarchy than Christian women, as well as a different experience of antisemitism than Jewish men--not to mention that Christian feminists were not immune to antisemitism. Recognizing the marginalization of Jewish women within both the male- dominated Jewish community and the German feminist movement, Pappenheim founded a German- Jewish feminist movement that was distinct from yet integrated into the German feminist movement, and which sought to unite diverse German- Jewish women. [ABSTRACT FROM AUTHOR]

In the mid 1970s Black women, and Black feminists in particular, were increasingly visible on television, as they took positions as broadcast journalists and news anchors; starred in dramas and situation comedies, such as Good Times ; and appeared as experts on an array of public affairs programs, including shows developed by Black Power leaders and feminists. This essay examines this rise and the constraints on it by analyzing Black feminists' television activism and their appearances on three programs in the 1970s: two feminist public affairs programs that both aired on PBS stations, Woman (1973–1977) and Woman Alive! (1974, 1975, 1977); and For You Black Woman (1977–1985), a syndicated talk show which was not directly linked to any political movement but was pioneering because it was the first talk show and "public service" program addressed to Black women. Feminist programs— Woman and Woman Alive!— asserted a sisterhood based on gender oppression and encouraged Black women to join it, but they did not consistently address the intersection of race and gender. On the other hand, although For You Black Woman was a more conventional talk show for women, as it focused more on parenting, beauty, and fashion, not feminist or Black Power politics, the show tailored these topics to Black women, discussed race and gender in the distinctive experiences of Black women, and created space for Black women to be experts on a variety of topics. The least explicitly politically program of this triad, For You Black Woman provided a potent political space for Black feminism. [ABSTRACT FROM AUTHOR]

Ntozake Shange's for colored girls who have considered suicide/when the rainbow is enuf (1975) has become a site of struggle over the reading and redefinition of racism since its original performance and publication in the 1970s. This article situates Tyler Perry's adaptation of this Black feminist classic within neoliberal multiculturalism's circuits of value. While Shange's pairing of two competing registers—the hopelessness of suicide and hopefulness of the rainbow—underlines the text's complex theorization of collective witnessing, Perry's For Colored Girls (2010) reduces the rainbow to an empty multicultural symbol. Perry's controversial cinematic adaptation can be understood as part of the neoliberal incorporation and sanitization of Black feminism. The film's new narrative arc seemingly offers a righteous critique of the politics of respectability, but does so in order to discipline normatively successful Black women, and overall largely abandons Shange's vision. Turning up the original's drama and watering down its social impact, Perry's Hollywoodization of Shange's choreopoem capitalizes on the injury, not agency, of Black women, while decontextualizing traumas from the structural conditions that perpetuate them. Moreover, Perry's rainbow expels queerness from its vision of solidarity and cohesiveness. The film indicates a broader cultural investment in centering diverse bodies while emptying out the Black radical epistemologies such representations make possible. The absorption of Black feminism is enabled by "colorblind melodrama," or the aesthetics of an official antiracism that offers up narratives of normative exceptionality and spectacularized disposability in order to reaffirm the differential valuation of human life under neoliberal multiculturalism. [ABSTRACT FROM AUTHOR]

For decades, feminist researchers have been denouncing the asymmetries and violence that patriarchy institutionalizes through various mechanisms: marking bodies and performances; meanings and communications; feelings and affections; belongings and possessions; spaces and possibilities. In Latin America, Black and postcolonial feminists and researchers adhered to the critical subaltern perspective have turned this reflection into a methodological, theoretical, and political imperative, highlighting the need to change the places of enunciation of patriarchal asymmetries to identify their persistence in different corners of social life. However, there are many spaces where the reproduction of these inequalities continues to operate in a naturalized way: the world of academic and university research is, contradictorily, one of them. In recent years, we have collected stories and shared experiences with research colleagues and teaching staff from different countries who have been subjected to sexual harassment, threats, discrimination, and gender violence. Some of these situations take place at work; others invade family and domestic environments, evidencing that the violent imprint of patriarchy persists and reproduces itself transversally, even among those professionals dedicated to the social critique of these problems. The present article covers these narratives to reflect on the place of epistemic enunciation that researchers use when we dedicate ourselves to study gender violence. Is it possible to develop ethical feminist research on these issues without adhering to "radical reflexivity?" [ABSTRACT FROM AUTHOR]

The article investigates the consciousness-raising (CR) document written by the Black Women's Liberation Group of Mount Vernon in Westchester, New York, which appeared in the American Second Wave women's anthology "Sisterhood Is Powerful." The CR document was used by the African American women or the black feminists in expressing their demand for race-consciousness or sisterhood in the American Second Wave movement. The collection supported the black feminists's effort to establish a race-conscious women's campaign, as well as a gender-conscious black liberation crusade.