You can find out more about how to use parenthetical references.
Early life[ edit ] hooks was born in Hopkinsvillea small, segregated town in Kentuckyto a working-class family. She had five sisters and one brother. An avid reader, she was educated in racially segregated public schoolsand wrote of great adversities when making the transition to an integrated school, where teachers and students were predominantly white.
Career[ edit ] hooks' teaching career began in as an English professor and senior lecturer in Ethnic Studies at the University of Southern California. She adopted her maternal great-grandmother's name as a pen name because her great-grandmother "was known for her snappy and bold tongue, which [she] greatly admired".
She put the name in lowercase letters "to distinguish [herself from] her great-grandmother. Black Women and Feminism inthough it was written years earlier, while she was an undergraduate student.
Since the publication of Ain't I a Woman? She targets and appeals to a broad audience by presenting her work in a variety of media using various writing and speaking styles. As well as having written books, she has published in numerous scholarly and mainstream magazines, lectures at widely accessible venues, and appears in various documentaries.
She asserts an answer to the question "what is feminism? A prevalent theme in her most recent writing is the community and communion, the ability of loving communities to overcome race, class, and gender inequalities. In three conventional books and four children's books, she suggests that communication and literacy the ability to read, write, and think critically are crucial to developing healthy communities and relationships that are not marred by race, class, or gender inequalities.
Inhooks gave a commencement speech at Southwestern University. Eschewing the congratulatory mode of traditional commencement speeches, she spoke against what she saw as government-sanctioned violence and oppression, and admonished students who she believed went along with such practices.
This was followed by a controversy described in the Austin Chronicle after an "irate Arizonian"  had criticized the speech in a letter to the editor.
The Practice of Impartial Love". Her book, belonging: Mostly recently she did one for a week in October Education as the Practice of Freedom, hooks writes about a transgressive approach in education where educators can teach students to "transgress" against racial, sexual, and class boundaries in order to achieve the gift of freedom.
To educate as the practice of freedom, bell hooks describes it as "a way of teaching in which anyone can learn. Hooks investigates the classroom as a source of constraint but also a potential source of liberation.
She argues that teachers' use of control and power over students dulls the students' enthusiasm and teaches obedience to authority, "confin[ing] each pupil to a rote, assembly-line approach to learning.
She describes teaching as a performative act and teachers as catalysts that invite everyone to become more engaged and activated. Performative aspect of learning "offers the space for change, invention, spontaneous shifts, that can serve as a catalyst drawing out the unique elements in each classroom.
According to hooks, eros and the erotics do not need to be denied for learning to take place. She argues that one of the central tenets of feminist pedagogy has been to subvert the mind-body dualism and allow oneself as a teacher to be whole in the classroom, and as a consequence wholehearted.
A Pedagogy of Hope. In this book, hooks offers advice about how to continue to make the classroom a place that is life-sustaining and mind expanding, a place of liberating mutuality where teacher and student together work in partnership. For hooks educating is always a vocation rooted in hopefulness.
New Visions[ edit ] This section has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages This section of a biography of a living person needs additional citations for verification.
Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful.
February Learn how and when to remove this template message This biography of a living person relies too much on references to primary sources. Please help by adding secondary or tertiary sources.Science fiction news with a science review plus forthcoming UK Science Fact and Science Fiction book releases for the Autumn , also Eurocon / Worldcon fandom, SF author & book trade news.
Huey Pierce Long Jr.
(August 30, – September 10, ), self-nicknamed "The Kingfish", was an American politician who served as the 40th governor of Louisiana from to and as a member of the United States Senate from until his assassination in As the political leader of Louisiana, he commanded wide networks of supporters and was willing to take forceful action.
ENGLISH II study guide by MALEFICENT16 includes questions covering vocabulary, terms and more. which one of the following entries on your Works Cited page would be correct for an article from a journal?
Miles, Felix. "'Where are the Nurses?': When you write the MLA entry for a selection from an anthology, you must include. the editor. How to Write a Bibliography or Works Cited Page; How to Write a Bibliography; Sample Bibliography or Works Cited; a works cited list (or a reference page) references only the items that are actually cited in the text, not the items used in preparation for the creation of the paper.
Example of a work in an anthology (page numbers are for. Jul 28, · Cite individual works within the anthology.
If you used information directly from one work within a larger anthology, cite the individual work instead of citing the full anthology. Typical Form: ALastName, AFirstName. "Title of Work." Title of Anthology. Ed. EFirstName ELastName. City of Publication: Publisher, Year.
Page range of entry%(1). Events Exhibition: Cycle of Life — Awakening: Works by Asian Women Artists January 23 – May 15, Center for Chinese Studies, Center for Korean Studies, Institute of East Asian Studies.