Borderlines: bell hooks and the Pedagogy of Revolutionary Change
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"We invoke Frieducha to begin this chapter on bell hooks because in many ways, hooks's expansive writings can be interpreted as a sequence of Kahlo paintings. Every text, essay, or critical exposé is an expression of hooks's inner and outer self and of the existential realities that give shape to her thinking in and about the wider social setting. hooks joins the ranks of adelita artists, women who with the power of the pen or the paintbrush have become major pedagogical forces in the formally schooled and the unschooled, producing "texts" accessible to people from various backgrounds and from equally diverse life trajectories. Like Kahlo, hooks does not deny the centrality of personal experience as an objective place from which to interpret the social world. hooks also recognizes that personal experience is grounded in concrete relations that extend well beyond an individual's stream of consciousness. For hooks, every reflection, analysis, persona) story, or anecdote encompasses broader relations of racial, class, and sexual exploitation; she denaturalizes the mythic status of oppression and demonstrates the ways in which oppression slices open corporeal wounds within and across communities. Like a Frida Kahlo self-portrait, hooks carries her politics inside her personal life; her writings are at once subjective and transhistorical, they reach across the divide of time to places both intensely familiar and unvisited."
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Jaramillo, N., & McLaren, P. (2009). Borderlines: Bell hooks and the pedagogy of revolutionary change. In M. d. G. Davidson & G. Yancy, Critical perspectives on bell hooks (pp. 17-33). London and New York: Routledge.