Associate Professor Yolanda Manora joined the faculty of the Department of English in the Fall of 2003 after receiving her Ph.D. in English, along with a certificate in Women’s Studies, from Emory University. An affiliated faculty member in the Departments of Gender Studies and African American Studies, she has also taught classes in the Department of American Studies.
An Americanist, Manora specializes in issues related to race, gender, and subjectivity in the works of 20th/21st century women writers of color. Her work in progress includes Mamas? Maybe: The Dialectics of Modernity and Maternity in the Works of the Harlem Renaissance, a book examining the manner in which the major ideological and political project of the Harlem Renaissance, namely the (re)negotiation of African American subjectivity/identity and social place, was worked out by African American modernist writers through discourses and dialectics related to maternity, as well as an ongoing study of black bohemianism in African American literature and culture, with a focus, at present, on African American women's transnational travel narratives.
Dr. Manora was the faculty advisor/chapter sponsor for the Department's chapter of Sigma Tau Delta, the International English Honor Society, for several years. She currently serves as the Director of Undergraduate Studies in English.
"Transgressive Tendencies or The Case for 'The Wrong Man': Narrative Strategies and Scenes of Passing in Nella Larsen's Allen Semi Short Story." Short Story 18.2, (Fall 2010/2011): 55-70.
"What You Looking At Me For? I Didn't Come to Stay: Displacement, Disruption, and Black Female Subjectivity in Maya Angelou's I Know Why the Caged Bird Sings," I Know Why the Caged Bird Sings. Ed. Mildred R. Mickle. Pasadena, CA: Salem, 2010. 192-210.
"'She was in th family way': The Dialectics of Modernity and Maternity in Jean Toomer's Cane," Obsidian III: Literature in the African Diaspora, 8.1 (Spring/Summer 2007/2009): 51-67.
"The Name of the Mother: Modernity, Maternity, and the (Bi)Racialized Failure of Relational Female Subjectivity in Nella Larsen's Quicksand," Reconstruction: Studies in Contemporary Culture 8.4 (October 2008).
"Discourse and Intercourse: Gender, Exile, and Dialogical Subjectivities in Maria Irene Fornes's Mud," Women’s Studies: An Interdisciplinary Journal 37.7 (October 2008): 845-860.
"Us: Southern Black Communal Subjectivity and Male Emergence in Alice Walker's The Color Purple" in Southern Studies: An Interdisciplinary Journal of the South 16.3-4 (Fall/Winter 2006): 77-99.
"'What you looking at me for? I didn’t come to stay': Displacement, Disruption, and Black Female Subjectivity in Maya Angelou's I Know Why the Caged Bird Sings" in Women’s Studies: An Interdisciplinary Journal 34.5 (July/August 2005): 359-375.
Reviews & Encyclopedia Articles
"Freedom" in Writing African American Women: An Encyclopedia of Literature by and about Women of Color. Westport, CT: Greenwood Press, 2006. 345-354.
Review of Africanism and Authenticity in African American Women’s Novels in South Atlantic Review 71.1 (Winter 2006): 154-157.
"Elaine Jackson, playwright/educator" in The Oxford Concise Companion to African American Literature. New York: Oxford University Press, 2001.
"Through the Doors: Reflecting on UA's Desegregation," The Chambered Nautilus 3.1 (Spring 2013)
"Everyday Saviors," a circle of women (Spring 2002)
Additional work in Southern Living and Travel South