What White Feminism Gets Wrong BEING INTENTIONAL ABOUT INTERSECTIONALITY
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Invisible Woman
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2009 Invisible Woman Kristin Deanne Howe The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Howe, Kristin Deanne, "Invisible Woman" (2009). Graduate Student Theses, Dissertations, & Professional Papers. 599. https://scholarworks.umt.edu/etd/599 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. INVISIBLE WOMAN By KRISTIN DEANNE HOWE Bachelor of Arts, Southwest Minnesota State University, Marshall, Minnesota, 2005 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Philosophy The University of Montana Missoula, MT December 2009 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School Deborah Slicer, Chairperson Philosophy Christopher Preston Philosophy Elizabeth Hubble Women and Gender Studies ii Howe, Kristin, M.A. December 2009 Philosophy Invisible Women Chairperson: Deborah Slicer Abstract: The aim of this paper is to illuminate the ways in which working class women are invisible within the feminist and ecofeminist movements. Using the faces and forces of oppression as presented by Iris Marion Young and Hilde Lindemann, I show how the working class experiences oppression. I also show how oppression based on class differs from that based on gender and how these differences contribute to the invisibility of working class women within feminism. -
Intersectionality: T E Fourth Wave Feminist Twitter Community
#Intersectionality: T e Fourth Wave Feminist Twitter Community Intersectionality, is the marrow within the bones of fem- Tegan Zimmerman (PhD, Comparative Literature, inism. Without it, feminism will fracture even further – University of Alberta) is an Assistant Professor of En- Roxane Gay (2013) glish/Creative Writing and Women’s Studies at Stephens College in Columbia, Missouri. A recent Visiting Fel- This article analyzes the term “intersectional- low in the Centre for Contemporary Women’s Writing ity” as defined by Kimberlé Williams Crenshaw (1989, and the Institute of Modern Languages Research at the 1991) in relation to the digital turn and, in doing so, University of London, Zimmerman specializes in con- considers how this concept is being employed by fourth temporary women’s historical fiction and contempo- wave feminists on Twitter. Presently, little scholarship rary gender theory. Her book Matria Redux: Caribbean has been devoted to fourth wave feminism and its en- Women’s Historical Fiction, forthcoming from North- gagement with intersectionality; however, some notable western University Press, examines the concepts of ma- critics include Kira Cochrane, Michelle Goldberg, Mik- ternal history and maternal genealogy. ki Kendall, Ealasaid Munro, Lola Okolosie, and Roop- ika Risam.1 Intersectionality, with its consideration of Abstract class, race, age, ability, sexuality, and gender as inter- This article analyzes the term “intersectionality” as de- secting loci of discriminations or privileges, is now the fined by Kimberlé Williams Crenshaw in relation to the overriding principle among today’s feminists, manifest digital turn: it argues that intersectionality is the dom- by theorizing tweets and hashtags on Twitter. Because inant framework being employed by fourth wave fem- fourth wave feminism, more so than previous feminist inists and that is most apparent on social media, espe- movements, focuses on and takes up online technolo- cially on Twitter. -
Cashing in on “Girl Power”: the Commodification of Postfeminist Ideals in Advertising
CASHING IN ON “GIRL POWER”: THE COMMODIFICATION OF POSTFEMINIST IDEALS IN ADVERTISING _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by MARY JANE ROGERS Dr. Cristina Mislán, Thesis Supervisor DECEMBER 2017 © Copyright by Mary Jane Allison Rogers 2017 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled CASHING IN ON “GIRL POWER”: THE COMMODIFICATION OF POSTFEMINIST IDEALS IN ADVERTISING presented by Mary Jane Rogers, a candidate for the degree of master of arts, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Cristina Mislán Professor Cynthia Frisby Professor Amanda Hinnant Professor Mary Jo Neitz CASHING IN ON “GIRL POWER” ACKNOWLEDGEMENTS My utmost gratitude goes to my advisor, Dr. Cristina Mislán, for supporting me throughout this process. She honed my interest in critically studying gender issues in the media, and her guidance, honesty and encouragement are the reasons I was able to develop the conclusions presented in this paper. I would also like to thank Dr. Amanda Hinnant, Dr. Cynthia Frisby, and Dr. Mary Jo Neitz for their immensely helpful suggestions before and during the research process of this study. Their enthusiasm and guidance was incredibly meaningful, especially during the developmental stages of my research. Additionally, I would like to thank my friends and family for their ongoing support. Special mention needs to be made of Mallory, my cheerleader and motivator from the first day of graduate school, and my Dad and Mom, who have been there since the beginning. -
The Trouble with White Feminism: Whiteness, Digital Feminism and the Intersectional Internet
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2016 The Trouble with White Feminism: Whiteness, Digital Feminism and the Intersectional Internet Jessie Daniels Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/194 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “The Trouble with White Feminism: Whiteness, Digital Feminism and the Intersectional Internet” by Jessie Daniels, PhD Professor, Sociology Hunter College and The Graduate Center, CUNY 2180 Third Avenue, New York, NY, 10035 email: [email protected] or [email protected] Submitted for consideration to the volume The Intersectional Internet, Section Two: Cultural Values in the Machine (2016) PRE-PRINT VERSION, 16 FEBRUARY 2015 ABSTRACT (210): In August, 2013 Mikki Kendall, writer and pop culture analyst, started the hashtag #SolidarityisforWhiteWomen as a form of cyberfeminist activism directed at the predominantly white feminist activists and bloggers at sites like Feministing, Jezebel and Pandagon who failed to acknowledge the racist, sexist behavior of one their frequent contributors. Kendall’s hashtag activism quickly began trending and reignited a discussion about the trouble with white feminism. A number of journalists have excoriated Kendall specifically, and women of color more generally, for contributing to a “toxic” form of feminism. Yet what remains unquestioned in these journalistic accounts and in the scholarship to date, is the dominance of white women as architects and defenders of a framework of white feminism – not just in the second wave but today, in the digital era. -
The Feminist Fourth Wave
Conclusion The history of the wave is a` troubled one, even while it might seem to describe surges of feminist activism very accurately. It has led to progress and loss narratives emerging, both of which are used to justify tension and divisions between different generations of the social move- ment. The attention received by the multiple waves has also resulted in certain time periods being considered as ‘outside’ or ‘inactive’. Understanding feminism as divided into four wave moments of notable action, implies that the politics lapses into inaction between the surges. This, of course, is not the case, but our understanding of the wave ensures that ongoing and long-term activism are effaced from our overall understanding of the social movement. Waves have also come to be associated with specific figureheads and identities. The second and third wave are crudely characterised as earnest, consciousness-raising, and then DIY zine and punk cultures, respectively. The surge in activist intensity in those times ensures that specific women are positioned as representa- tive of the wave as a whole. The women, unfortunately, are often not reflective of the diversity actually occurring within the wave itself, making the narrative appear to be entirely tied to white feminism, as opposed to a more multicultural and intersectional social movement. It © The Author(s) 2017 185 P. Chamberlain, The Feminist Fourth Wave, DOI 10.1007/978-3-319-53682-8 186 Conclusion is no surprise then, that the wave has been widely critiqued, and in some cases, wholly rejected in relation to a historical understanding of feminism. -
A Critical Analysis of American Horror Story: Coven
Volume 5 ׀ Render: The Carleton Graduate Journal of Art and Culture Witches, Bitches, and White Feminism: A Critical Analysis of American Horror Story: Coven By Meg Lonergan, PhD Student, Law and Legal Studies, Carleton University American Horror Story: Coven (2013) is the third season an attempt to tell a better story—one that pushes us to imag- analysis thus varies from standard content analysis as it allows of the popular horror anthology on FX1. Set in post-Hurricane ine a better future. for a deeper engagement and understanding of the text, the Katrina New Orleans, Louisiana, the plot centers on Miss Ro- symbols and meaning within the text, and theoretical relation- This paper combines ethnographic content analysis bichaux’s Academy and its new class of female students— ships with other texts and socio-political realities. This method and intersectional feminist analysis to engage with the televi- witches descended from the survivors of the witch trials in Sa- is particularly useful for allowing the researcher deep involve- sion show American Horror Story: Coven (2013) to conduct a lem, Massachusetts in 16922. The all-girls school is supposed ment with the text to develop a descriptive account of the com- close textual reading of the show and unpack how the repre- to be a haven for witches to learn about their heritage and plexities of the narrative (Ferrell et al. 2008, 189). In closely sentations of a diversity of witches can be read and under- powers while fostering a community which protects them from examining the text (Coven) to explore the themes and relation- stood as representing a diversity of types of feminism. -
Working Paper Series
WORKING PAPER SERIES Women in marine science: The efficacy of ecofeminist theory in the wake of historical critique BY SAM PERRIN AND RAPTI SIRIWARDANE-DE ZOYSA Working Paper #3 ISSN 0000-0000 August, 2017 DOI: 10.21244/zmt.2017.004 Photo: Lucy G. Gillis 1 Abstract Ecofeminism at its simplest is the combination of ecological and feminist principles with a strong grounding in social movements. As in the case of most philosophical paradigms and socio-political agendas, it has also been the subject of criticism from feminists of diverse schools of thought since its conception in the 1970s. As the offspring of a social movement as diverse as feminism, this is not unexpected. As it came to prominence in the seventies, an era in which second-wave feminism flourished, it shared many of the same criticisms. It was seen as vague and poorly defined, often only explained as the sum of its parts, and also as appealing mainly to white, middle-class women. It also struggled with criticisms of essentialism – in this context the notion that “woman” (in its singularity) shares an affinity with nature and is therefore better positioned to speak on its behalf. These criticisms and conflicts have, however, helped ecofeminism to evolve into a conceptual framework, grounded in ecological principles and feminist theory combined with local perspectives. Pressing forward, we examine the value of this conceptual framework through surveying a selection of diverse female marine scientists based in Germany, and show that ecofeminism is a valuable scholarly lens through which to view contemporary forms of androcentrism and of gendered discrimination in the marine scientific community, among others. -
Feminism: When the Label 'White' Gets Attached in Pop Music Industry
Feminism: When the Label ‘White’ Gets Attached in Pop Music Industry Audrey Lee and Brian Oh Published 5 Oct 2020 Abstract This paper describes a qualitative study that investigates the pop music genre starting from the 2000s, relating it to feminism. The investigation focuses on understanding when female artists are considered feminist, and when the label ‘white feminist’ is applied to specific female artists. Based on media press and public perspective, the research hopes to find key characteristics that separates the moment when the label feminism and white feminism are applied, especially in relation to other attributes such as gender orientation, sexual orientation, and race. The purpose of the research is to provide more insight into understanding feminism in the context of today, and to how navigate complex spaces such as media image and personal identity, labels that come with the public status of their profession. 1 Introduction MTV, The GRAMMYs, Spotify, Apple Music, YouTube, KIIS FM - Popular music aka ‘Pop Music’ is an industry that is in a constant flurry of activity and publicity, through television, radio, news, and videos. When referencing popular music, the paper is defining Pop Music as any popular music produced after the 2000s. With such a public identity, artists in the pop music industry are expected to navigate the complexities of the business that exist, including image, policies, and activism. In the current generation where technology and communication can occur in an instant, female artists are expected to adjust to a multi-faceted industry that, at many times, can seem paradoxical in nature. Many female artists are forced to find the right balance between outgoing and timid when portraying their public personas. -
Third Wave Feminist History and the Politics of Being Visible and Being Real
Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 6-12-2006 Third Wave Feminist History and the Politics of Being Visible and Being Real Robbin Hillary VanNewkirk Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation VanNewkirk, Robbin Hillary, "Third Wave Feminist History and the Politics of Being Visible and Being Real." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/wsi_theses/1 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THIRD WAVE FEMINIST HISTORY AND THE POLITICS OF BEING VISIBLE AND BEING REAL by ROBBIN VANNEWKIRK Under the Direction of Peter Lindsay ABSTRACT This project works to illuminate some of the main theoretical claims that writers of the third wave make in order to understand these claims as rhetorical devices used to make themselves visible and real. Being visible is a common theme in third wave texts and realness is a site that is both contested and embraced. Being Visible and being real work together to situate third wave actors in a U.S. feminist continuum that is sprinkled with contradiction and ambiguity. This thesis will examine the contextual development of third wave feminism, and then using examples of realness and visibility in the three third wave anthologies, Being Real, Third Wave Agenda, and Catching a Wave, this thesis will interrogate at the rhetorical significance of those themes. -
Critical White Feminism Interrogating Privilege, Whiteness, and Antiracism in Feminist Theory
University of Central Florida STARS HIM 1990-2015 2011 Critical white feminism interrogating privilege, whiteness, and antiracism in feminist theory Caroline McFadden University of Central Florida Part of the Philosophy Commons Find similar works at: https://stars.library.ucf.edu/honorstheses1990-2015 University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by STARS. It has been accepted for inclusion in HIM 1990-2015 by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation McFadden, Caroline, "Critical white feminism interrogating privilege, whiteness, and antiracism in feminist theory" (2011). HIM 1990-2015. 1159. https://stars.library.ucf.edu/honorstheses1990-2015/1159 CRITICAL WHITE FEMINISM: INTERROGATING PRIVILEGE, WHITENESS, AND ANTIRACISM IN FEMINIST THEORY by CAROLINE R. McFADDEN A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Philosophy in the College of Arts and Humanities and in the Office of Undergraduate Studies at the University of Central Florida Orlando, Florida Spring term 2011 Thesis Chair: Dr. Jennifer Lisa Vest © 2011 Caroline R. McFadden ii Abstract It is vital that feminist theory and critical white studies be combined in order to form what I call critical white feminism. Both critical white studies and feminist studies are often limited in their ability to adequately address the complex interconnectivity of racial and gender privilege and oppression. In general, feminist scholarship produced by white feminists excludes and oppresses women of color and is therefore inadequate. I refer to this problem as white feminist racism and argue that white feminists are ignorant of the ways in which whiteness and privilege facilitate problematic theorizing. -
The Olive Branch March 2019
The Olive Branch March 2019 The Olive Branch INSIDE THIS ISSUE • Celebrating Women: Yesterday, Today, and Tomorrow • Understanding Intersectionality • A Brief History of American Feminism • A Review of Selected Feminist Movements • Organizations Addressing Gender Based Violence • Conferences • On and Off Campus Events • Muncie Community Leaders • Organizations • Support Groups • About Us The Olive Branch is a publication of the Center for Peace and Conflict Studies at Ball State University. Every issue, we shine a spotlight on people, events, campus groups, conferences, and organizations who are working towards a more peaceful world. Marielle Franco Women’s March, 2017 Women’s Liberation Movement, 1970 Center for Peace and Conflict Studies 1 The Olive Branch March 2019 CELEBRATING WOMEN: YESTERDAY, TODAY, AND TOMORROW Throughout the month of March, America will celebrate the achievements of women from elementary school students learning about the suffragette movement, to museums cele- brating the works of women artists, and conferences dedicated to showcasing women in aca- demia and inspiring the leaders of tomorrow. While women have made enormous strides in the fight for equality, many accomplishments of the feminist movement are very recent, and it is important to reflect on those who overcame adversity to give the women of today the opportu- nities available to them. Aura Lewis’ illustration on the Women’s March The National Women’s History Project (NWHP) was founded in 1980 in Santa Rosa, California with the aim of celebrating the accomplishments of women. The organization was founded by activists Molly Murphy MacGregor, Mary Ruthsdotter, Maria Cuevas, Paula Ham- mett, and Bette Morgan in an effort to broadcast women’s historical achievements. -
The Development of a White Antiracist Identity
The Vermont Connection Volume 38 Retracing Our Paths: Reclaiming Article 10 Narratives in Higher Education 3-4-2017 From White Feminism to Intersectional Advocacy: The evelopmeD nt of a White Antiracist Identity Abby Elizabeth Feenstra The University of Vermont, [email protected] Follow this and additional works at: https://scholarworks.uvm.edu/tvc Part of the Higher Education Commons Recommended Citation Feenstra, Abby Elizabeth (2017) "From White Feminism to Intersectional Advocacy: The eD velopment of a White Antiracist Identity," The Vermont Connection: Vol. 38 , Article 10. Available at: https://scholarworks.uvm.edu/tvc/vol38/iss1/10 This Article is brought to you for free and open access by the College of Education and Social Services at ScholarWorks @ UVM. It has been accepted for inclusion in The eV rmont Connection by an authorized editor of ScholarWorks @ UVM. For more information, please contact [email protected]. Feenstra • 67 From White Feminism to Intersectional Advocacy: The Development of a White Antiracist Identity Abby Elizabeth Feenstra Feminism has historically uplifted the voices of White women at the expense of Women of Color. Therefore, White feminist women must consider other forms of identity development in order to become an advocate for People of Color. This article will explore the identity development of a White, feminist, woman. Using both research on White female students’ identity development as well as elements of scholarly personal narrative (SPN), this paper will examine the author’s racial identity development as it intertwines with their feminist background. Through the intersection of racial, gender, and feminist identities, the author argues that an antiracist identity emerges, which is necessary to build allyship and solidarity with communities from marginalized identities, specifically Women of Color.