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            <text>Pétion-Ville, Haiti</text>
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            <text>&lt;p class="nuc-modal-body__citation-content nuc-modal-body__citation-data nuc-modal-body__citation-data--indent"&gt;Ulysse, G.A. (2024). Tools of the Trade; or, Women’s Works. &lt;i&gt;Meridians: Feminism, Race, Transnationalism&lt;/i&gt;, &lt;i&gt;23&lt;/i&gt;(1), 175–181. &lt;a href="https://doi.org/10.1215/15366936-10926976"&gt;https://doi.org/10.1215/15366936-10926976&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p class="nuc-modal-body__citation-content nuc-modal-body__citation-data nuc-modal-body__citation-data--indent"&gt;Ulysse, G.A. (2024). In Other Words: A Rasanblaj of Not So Random Everyday Notes. &lt;i&gt;Palimpsest: A Journal on Women, Gender, and the Black International&lt;/i&gt;, &lt;i&gt;13&lt;/i&gt;(1), 37–46. &lt;a href="https://doi.org/10.1353/pal.2024.a930523"&gt;https://doi.org/10.1353/pal.2024.a930523&lt;/a&gt;&lt;/p&gt;&#13;
Ulysse, G.A. (2022). One Priestess’s Salutation: A Study in Movement. &lt;i&gt;Frontiers: A Journal of Women Studies&lt;/i&gt;, &lt;i&gt;43&lt;/i&gt;(3), 240–243. &lt;a href="https://doi.org/10.1353/fro.2022.0052"&gt;https://doi.org/10.1353/fro.2022.0052&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Ulysse, G.A. (2022). Greeting a mambo: A study in motion. &lt;em&gt;Frontiers: A Journal of Women Studies&lt;/em&gt;, &lt;em&gt;43&lt;/em&gt;(3), 244–247. &lt;a href="https://doi.org/10.1353/fro.2022.0053" target="_blank" rel="noreferrer noopener"&gt;https://doi.org/10.1353/fro.2022.0053&lt;/a&gt;&lt;br /&gt;&#13;
&lt;p class="nuc-modal-body__citation-content nuc-modal-body__citation-data nuc-modal-body__citation-data--indent"&gt;Ulysse, G.A., &amp;amp; Guest, K. J. (2020). Afterword: Toward decolonizing anthropology’s public spaces. &lt;i&gt;AMERICAN ETHNOLOGIST&lt;/i&gt;, &lt;i&gt;47&lt;/i&gt;(2), 198–202. &lt;a href="https://doi.org/10.1111/amet.12903"&gt;https://doi.org/10.1111/amet.12903&lt;/a&gt;&lt;/p&gt;&#13;
Ulysse, G.A. (2019). Homage to Those Who Hollered before Me/Meditations on Inheritances and Lineages, Anthropological and Otherwise. &lt;i&gt;Anthropology News&lt;/i&gt;, &lt;i&gt;60&lt;/i&gt;(2), e41-e47. &lt;a href="https://doi.org/10.1111/AN.1133"&gt;https://doi.org/10.1111/AN.1133&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Ulysse, G.A. (2019). Skin Castles: Some Not So Random Notes on Performing a Taxonomy of Rages against Empire. &lt;em&gt;Third Text&lt;/em&gt;, &lt;em&gt;33&lt;/em&gt;(4/5), 521–539. &lt;a href="https://doi.org/10.1080/09528822.2019.1654780" target="_blank" rel="noreferrer noopener"&gt;https://doi.org/10.1080/09528822.2019.1654780&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&#13;
&lt;div class="gs_citr" tabindex="0"&gt;Ulysse, G.A. (2017). &lt;i&gt;Because when god is too busy: Haiti, me &amp;amp; the world&lt;/i&gt;. Wesleyan University Press. &lt;a href="https://www.weslpress.org/9780819577351/because-when-god-is-too-busy/" target="_blank" rel="noreferrer noopener"&gt;https://www.weslpress.org/9780819577351/because-when-god-is-too-busy/&lt;/a&gt;&lt;/div&gt;&#13;
&lt;br /&gt;Ulysse, G.A. (2017). Why Rasanblaj, Why Now? New Salutations to the Four Cardinal Points in Haitian Studies. &lt;i&gt;Journal of Haitian Studies&lt;/i&gt;, 23(2), 58–80. &lt;a href="https://www.jstor.org/stable/26431818"&gt;https://www.jstor.org/stable/26431818&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&#13;
&lt;div class="gs_citr" tabindex="0"&gt;Ulysse, G.A. (2015). &lt;i&gt;Why Haiti needs new narratives: A post-quake chronicle&lt;/i&gt;. Wesleyan University Press. &lt;a href="https://www.weslpress.org/9780819575456/why-haiti-needs-new-narratives/" target="_blank" rel="noreferrer noopener"&gt;https://www.weslpress.org/9780819575456/why-haiti-needs-new-narratives/&lt;/a&gt;&lt;/div&gt;&#13;
&lt;br /&gt;&#13;
&lt;div class="tab-pane fade active show" id="APA" role="tabpanel" aria-labelledby="APA-tab"&gt;Ulysse, G.A (2008). &lt;i&gt;Downtown Ladies: Informal Commercial Importers, a Haitian Anthropologist and Self-Making in Jamaica&lt;/i&gt;. Chicago: University of Chicago Press. &lt;a href="https://doi.org/10.7208/9780226841236"&gt;https://doi.org/10.7208/9780226841236&lt;/a&gt;&lt;/div&gt;&#13;
&lt;br /&gt;&#13;
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&lt;div data-csl-entry-id="ba202abc-82ba-383c-82e2-235967d1c648" class="csl-entry"&gt;Ulysse, G.A. (2006). Papa, Patriarchy, and Power: Snapshots of a Good Haitian Girl, Feminism, &amp;amp; Dyasporic Dreams. &lt;i&gt;Journal of Haitian Studies&lt;/i&gt;, &lt;i&gt;12&lt;/i&gt;(1), 24–47. &lt;a href="http://www.jstor.org/stable/41716760"&gt;http://www.jstor.org/stable/41716760&lt;/a&gt;&lt;/div&gt;&#13;
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            <text>&lt;p class="nuc-modal-body__citation-content nuc-modal-body__citation-data nuc-modal-body__citation-data--indent"&gt;Romoli Venturi, P., &amp;amp; Ulysse, G.A. (2024). The Meditation on Rasanblaj Questionnaire (MRQ) #3. &lt;i&gt;Anthropology Now&lt;/i&gt;, &lt;i&gt;16&lt;/i&gt;(1), 57–63. &lt;a href="https://doi.org/10.1080/19428200.2024.2352348"&gt;https://doi.org/10.1080/19428200.2024.2352348&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Jallo, Z., &amp;amp; Ulysse, G.A. (2024). The Meditation on Rasanblaj Questionnaire (MRQ) #2. &lt;i&gt;Anthropology Now&lt;/i&gt;, &lt;i&gt;16&lt;/i&gt;(1), 40–44. &lt;a href="https://doi.org/10.1080/19428200.2024.2352342"&gt;https://doi.org/10.1080/19428200.2024.2352342&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Gill, L. K., &amp;amp; Ulysse, G.A. (2023). Bwapin Rasanblaj: A Curated Conversation. &lt;i&gt;Feminist Studies&lt;/i&gt;, &lt;i&gt;49&lt;/i&gt;(2), 328–351. &lt;a href="https://doi.org/10.1353/fem.2023.a915912"&gt;https://doi.org/10.1353/fem.2023.a915912&lt;/a&gt;&lt;/p&gt;&#13;
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&lt;div data-csl-entry-id="f364e7c0-ad0a-3a00-b4a4-c248c6c9a068" class="csl-entry"&gt;Bannann, L. (2013). Gina Athena Ulysse. &lt;i&gt;Gastronomica&lt;/i&gt;, &lt;i&gt;13&lt;/i&gt;(2), 18–20. &lt;a href="https://doi.org/10.1525/gfc.2013.13.2.18"&gt;https://doi.org/10.1525/gfc.2013.13.2.18&lt;/a&gt;&lt;/div&gt;&#13;
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&lt;p class="nuc-modal-body__citation-content nuc-modal-body__citation-data nuc-modal-body__citation-data--indent"&gt;Daniels, K. M., &amp;amp; Ulysse, G.A. (2011). To Move Mountains: An Interview with Artist and Academic Activist Gina Athena Ulysse. &lt;i&gt;Journal of Haitian Studies&lt;/i&gt;, &lt;i&gt;17&lt;/i&gt;(1), 258–266. &lt;a href="https://www.jstor.org/stable/41711920"&gt;https://www.jstor.org/stable/41711920&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;</text>
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            <text>Gina Athena Ulysse. Homepage. Accessed February 2, 2023. &lt;a href="https://ginaathenaulysse.com/" target="_blank" rel="noreferrer noopener"&gt;https://ginaathenaulysse.com/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Ulysse, G.A. (April 28, 2022). I Want to Know Who I Am At Work When I Am Not Under Duress: Riffs on Boundaries, Protection, and Inspiration. &lt;em&gt;Public Seminar&lt;/em&gt;. Accessed February 2, 2023. &lt;a href="https://publicseminar.org/essays/i-want-to-know-who-i-am-at-work-when-i-am-not-under-duress/" target="_blank" rel="noreferrer noopener"&gt;https://publicseminar.org/essays/i-want-to-know-who-i-am-at-work-when-i-am-not-under-duress/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Gina Athena Ulysse: Remixed ode to rebel's spirit (March 30, 2018). The British Museum. YouTube. Accessed February 2, 2023. &lt;a href="https://youtu.be/vnjBmJiYNYQ"&gt;https://youtu.be/vnjBmJiYNYQ&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;World101x: Full Interview with Gina Athena Ulysse (September 6, 2014). UQx World101x Anthropology of Current World Issues. YouTube. Accessed February 2, 2023. &lt;a href="https://youtu.be/_cgpiii9NhA"&gt;https://youtu.be/_cgpiii9NhA&lt;/a&gt;</text>
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