Citations:hera


 * 1977, Chrysalis (issues 1-4), page 84:
 * Her first novel, Rubyfruit Jungle, provided our culture with one of its foremost lesbian Heras, and her poetry has dealt with work and pain honestly and often beautifully. In Her Day explores one of the thorniest questions that plagues our movement; that of women from dissimilar backgrounds and lifestyles working together and becoming emotionally involved with each other.
 * 1986, Common Lives, Lesbian Lives, issues 19-22, page 18:
 * And where can we have city parks named after openly lesbian women? Formal gardens framing statues of our foremothers, of our cultural heras? Where are the cast bronze plaques announcing the houses we've lived and died in,
 * 1988, Lesbian Ethics, volume 3, page 78:
 * Call in friendly spirits: Goddesses, animals, heras (never men)
 * 1991 (reprinted also in 2009), Robyn R. Warhol, Diane Price Herndl, Feminisms: An Anthology of Literary Theory and Criticism, page 125:
 * Foremost among these heroes (or “heras”) are the women who created the first self-identified lesbian feminist community in Paris during the early years of the twentieth century.
 * 1992, Mary A. Kassian, The Feminist Gospel: The Movement to Unite Feminism with the Church, page 100:
 * that the leaders of the ancient civilization had become deities and demi-deities, heroes and heras as their deeds were passed down from generation to generation.
 * 1992, Sally Munt, New Lesbian Criticism: Literary and Cultural Readings, Columbia University Press (ISBN 9780231080194):
 * [pages 8-9:] Hence, Sappho was a Lesbian but not a lesbian, 'romantic friendship' is a phenomenon quite unlike contemporary lesbianism, and twentieth-century lesbian &#39;heras&#39; like Virginia Woolf cannot reliably be placed in that category.
 * [page 35:] The Sophie Horowitz Story was published in 1984 by the lesbian Naiad Press of Florida, USA. [...] The eponymous hera is a writer on a low-budget women's monthly,
 * [page 36:] In presenting two icons of feminist intervention, elevated to mythical status by an idealising subculture, Schulman addresses the same awed construction of heras.
 * 1993, Julia Penelope, Susan J. Wolfe, Lesbian Culture: An Anthology, page 379:
 * Without the help of these women, the unsung heras of the women's music industry, no labels (especially in the early days) could survive.
 * 1994, Diane Hamer, Belinda Budge, The Good, the Bad and the Gorgeous:
 * [page 34:] This butch figure has also materialized in the new screen heras of the 1980s, such as Linda Hamilton in the Terminator films and Sigourney Weaver in the Alien trilogy. In these films lesbian signifiers - muscles, cropped hair, sexual independence from men - are used to denote agency, activity and toughness.
 * [page 36:] LESBIAN ICONS AND REAL LESBIAN ICONS If Madonna is the first among equals, the major female icon of the moment, she now has competition for dykon status in k. d. lang, who to many lesbians represents their very own 'real life' lesbian hera.
 * 2020, Susan Greenwood, The Nature of Magic: An Anthropology of Consciousness, page 155:
 * secluded spot only half in this world, where priestesses, heroes, heras, and mages would go to be trained in magic.