2013 Quigley Summer Grant Recipients Since 1993, Quigley Summer Grants have encouraged Mills faculty to develop an interdisciplinary approach to women’s, gender, and sexuality studies. These projects are selected for their ability to raise the public’s awareness of women’s contributions to society, and for research that develops the growing field of gender and queer studies.
Filomena Borges
Translated the literary works of Natàlia Correia—a mid-20th century intellectual, poet and social activist from Portugal. Correia is known for her impassioned public expressions announcing a vision of feminism, matricismo, that upheld women’s rights and demanded that women in politics not imitate patriarchy and instead transform the use of power. She was condemned to 3 years in prison for her work Antologia da Poesia Portuguesa Eròtica e Satìrica (1966) which was considered offensive by authorities. She was elected to Parliament as a member of the PPD (Partido Popular Democràta) in 1980.
Ajuan Mance
Assembled “The Collected Writings of Gertrude H. Dorsey Brown. “ This will be the first one-volume anthology to include all of the known writings produced by this early 20th-century, African American, author from Ohio. Of particular interest is the serial novella that appeared between April and October 1906 in the Colored American Magazine. “A Case of Measure for Measure,” a ground-breaking story in which the white characters pass for Black in a series of scenes that reveal to them the profound injustice of Jim Crow segregation on southern railroad cars. Dorsey probes and critiques many of the categories and assumptions that defined turn-of-the-century conceptions of identity, in the South and throughout the United States, from colorist and class differences within the Black community, to white racist violence.
Ann Murphy
Continued her investigations into the role of place and landscape in the development of modern dance choreographers by researching the popculture infused, post WWII Southern California of Twyla Tharp. One of the significant effects of Tharp’s new brand of dance was that it liberated women from the narrative roles that had dominated modern dance, and freed expressions of female sexuality from the mythic frames devised by the early pioneers, like Martha Graham. Tharp’s dancers were sassy, sexy and strong. Looking like ordinary athletic coeds, often ambivalently female, her dancers borrowed tropes from the movie screen and the love song.