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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. -
What White Feminism Gets Wrong BEING INTENTIONAL ABOUT INTERSECTIONALITY
What White Feminism Gets Wrong BEING INTENTIONAL ABOUT INTERSECTIONALITY Tiesha Shankin | Sharalle Arnold | Jennifer Palm | Suzy Herman | Ashley McCarter | Dionna Cheatham Ground Rules •Speaking from our two perspectives – African American (Black) and Caucasian (White) • Cannot speak for those that are not represented by the group (key) •Purpose is not intended to offend or point blame – but to learn/grow •Acknowledge the diversity of the feminist thought •Accept that feminist movements have made many beneficial societal contributions • These movements have made improvements for society and individual women • Not about if feminism as a whole is good or not but how to improve feminism Ground Rules, cont. • Listen to understand – not just to gather ammunition • Opinions are not right or wrong – rather different • Try not to make assumptions – no two individuals think alike • Listen and speak with the same respect you personally like shown to you • Try not to interrupt each other when speaking – respect • We will try to use evidence and/or examples • Maintain confidentiality • Try not to use names/specific places/etc • “Ouch” and “Oops” • If someone says something that offends you, say “Ouch.” This allows the other person to say, “Oops!” Then we can educate them on why what they said could come across offensive. What is the definition of feminism? As defined by bell hooks: feminism is the struggle against sexist oppression. Review of Feminism •Various types •Questions emerge •Thinking intersectionality When considering the exclusive nature of feminism… “Part of the problem with Western feminists, I find, is that they take after their brothers and their fathers. And that’s a real problem.” -Alice Walker Feminism and Intersectionality Examples of White Feminism in Modern Culture The Real First Family Controversy or Praise? Serena Williams VIDEO Kelly Osbourne “If you kick every Latino out of this country, then who is going to be cleaning your toilet, Donald Trump?” Meryl Streep In children’s media… Lean In Sheryl Sandburg It was a watershed moment for me. -
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. -
Germaine Greer on Shakespeare's Wife >>P 2
FREE MARCH 2008 Readings Monthly 9/52).$%0%.$%.4"//+ -53)#!.$$6$.%73,%44%2s%6%.43s.%72%,%!3%3s2%6)%73 IMAGE FROM GERMAINE GREER’S SEE EVENT P2 SHAKESPEARE’S WIFE (BLOOMSBURY) Germaine Greer on Shakespeare’s Wife >>p 2 March book, CD & DVD new releases. More inside >> POP CD CLASSICAL Nick Cave and Vivaldi Concerti and Cantate the Bad Seeds. Polverelli/L’Astree Normally $29.95 Normally $34.95. FICTION NON-FICTION NON-FICTION DVD Our price $24.95 Our price $12.95 Normally $29.95 Normally $49.95 Normally $89.95 Control >>p28 >>p30 Our price $24.95 Our price $39.95 Our price $69.95 $29.95 >>p8 >>p8 >>p18 >>p25 March event highlights. More Readings events inside >> TONI JORDAN MARK SEYMOUR THE VERY HUNGRY AT READINGS AT READINGS CATERPILLAR HAWTHORN CARLTON AT READINGS PORT MELBOURNE !,,3(/03/0%.$!93sCARLTON 309 LYGON 34sHAWTHORN 701 GLENFERRIE RD 9819 1917 s MALVERN 185 GLENFERRIE RD 9509 1952 s PORT MELBOURNE 253 BAY ST 9681 9255 s ST KILDA 112 ACLAND ST 9525 3852 s WWW.READINGS.COM.AU s EMAIL [email protected] Readings Events in March All our events are free, unless otherwise stated. For more information, please call the shop where the event is to be held, or the booking number provided. 5 MYER BLOOM 6 SIRI HUSTVEDT Shakespeare’s Wife (Bloomsbury, cation. The Incoming Tide (John Le- LAUNCH & PAUL AUSTER PB, $35), we are honoured to have onard, PB, $24.95) was shortlisted Germaine with us in our celebra- for the 2007 Queensland Premier’s Myer Bloom has interviewed many IN CONVERSATION WITH tion of International Women’s Literary Awards. -
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. -
Greer's 'Bad Sex' and the Future of Consent
Sexuality & Culture https://doi.org/10.1007/s12119-019-09671-x ORIGINAL PAPER Greer’s ‘Bad Sex’ and the Future of Consent Victoria Brooks1 © The Author(s) 2019 Abstract Germaine Greer’s polemic ‘On Rape’ has proved controversial and has served to further divide feminist opinion on the way to move forward from #MeToo in consent reform. Greer’s work, along with other second wave feminists, has been rejected by third wave feminist scholarship for simultaneously minimising the harm caused to victims of sexual violence and claiming that rape is not ‘catastrophic’, with Naomi Wolf being Greer’s most vocal and powerful opponent. Yet, I claim that in maintain- ing this position in opposition to Greer we are missing the real transformative power of Greer’s revival of second-wave arguments in relation to reforming our laws on consent post #MeToo. The consent framework and the defnition of consent under the Sexual Ofences Act 2003 has been readily criticised for its vague defnition of ‘freedom’ and ‘capacity’ in that such a defnition misses the subtler, yet powerful, ways in which victims are coerced and abused—those which are most insidious, since they are embedded within the fabric of our society, and within the ‘tissue’ of heterosex. Greer’s position that rape is ‘bad sex’ may well hold some truth— since bad sex for women has long been accepted as part of life albeit reduced to suferance and duty. Inevitably, this leads us to the conclusion that there are many more instances of rape than we thought, and many more women sufering, than we thought. -
Safer Spaces DELLER, Ruth A
Safer spaces DELLER, Ruth A. <http://orcid.org/0000-0003-4935-980X> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/24485/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version DELLER, Ruth A. (2019). Safer spaces. In: KINNA, Ruth and GORDON, Uri, (eds.) Routledge handbook of radical politics. New York, Routledge. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk 2.6 SAFER SPACES Ruth A. Deller Introduction In this chapter, I explore the notions of ‘safer spaces’ – places where people from different marginalised groups can gather, speak and be resourced in safety. Safer spaces can be physical, but they are also cultural – framed by a series of boundaries, principles and practices designed to support members of the group(s) needing the safer space. I explore here some of the moti- vations and underlying principles of safer spaces, and the roles they can play in radical politics. This chapter focuses predominantly on examples relating to gender, sex, ethnicity, health and dis/ability although the cultivation of safer spaces can also include practices such as creating equality and diversity policies; providing appropriate dietary options for vegetarians, vegans, members of different faith groups and those with food allergies or other medical conditions; health and safety policies that ensure the physical safety of events and organisations, and ethics policies that ensure appropriate research and professional conduct in a variety of con- texts. -
Art Monthly 1 L S TR II, I I
--L/ f -~ ..... .I \ I ( I !' I ' \ I .I Denis Freney Memorial Scholarships Up to $10,000 AUSTRALIAN Applicatio ns are in vited from people currentl y engaged BOOK REVIEW in (or about to commence) a research, writing or cultural project whi ch is judged to make a contributio n to the labour and progressive moveme nts in Australi a. MAY: The SEARC H Foundation wi ll award scho larships to assist wi th the costs o f such a project. Priority will be An essay by Terry Collits g iven to pro jects which have good prospects of pu blicati on or othe r public use of th e results, but A double review of Germaine Greer's whi ch do not have access to other funding. The Whole Woman by S EA RC H is an inde pendent, non-pro fit fo undati on Jenna Mead and Peter Craven established to assist acti vities whi ch pro mote social j usti ce and the development of a more democrati c and Dorothy Hewett on Jm·die Albiston's egalitari an society. Deta il s of its aim s and objecti ves are avail able on request. The Hanging ofJean Lee Suitabl y qualified applicants should contact SEA RCH Susan Lever on David Foster's essays for deta il ed applicati o n g uidelines. Applications must be received by July 20, 1999 and his new novel, Social Education and Research In the New Country Concerning Humanity (SEARCH) Foundation Rm 610,3 Smail Street, BROADWAY NSW 2007 Andrew Riemer on Ph : (02) 921 I 4164; Fax: (02) 921 I 1407 James Bradley's The Deep Field SEARCH FOUNDATION New Subscribers $55 for ten issues plus a free book ACN 050 096 976 Ph (03) 9429 6700 or Fax (03) 9429 2288 in the footsteps of Dam Gregory Murray, Joseph Gelineau SJ and Richard Connolly MUSIC FOR SUNG MASS GREGORIAN CHANT New rhythmic edition with organ accompaniment Introduction: 'Looking towards 21st century Gregorian Chant' Short Mass (Advent, Lent), Gloria XV, Mass VIII (de Angelis), Credo III $25 WORKS FOR THE ENGLISH LITURGY (including Mass settings approved by the National Liturgical Commission) 1. -
Migration in Britain
MIGRATION IN BRITAIN: WhAT ARe OuR CulTuRAl IdeNTITIes? This learning resource for teachers and students of Secondary Art and A Level Art focuses on a selection of portraits from the Collection of the National Portrait Gallery, London. The resource could also be relevant for those studying Art History, History and Citizenship. Camila Batmanghelidjh by Dean Marsh oil on plywood panel, 2008 NPG 6845 2/32 MIGRATION IN BRITAIN ABOuT ThIs ResOuRCe This resource tackles the question of what British cultural identities can mean and how people who constitute that sector of our society have and do contribute to it in a variety of different ways. This resource relates to another resource in on our website entitled Image and Identity. See: www. npg.org.uk/learning Each portrait is viewed and examined in a number of different ways with discussion questions and factual information relating directly to the works. The material in this resource can be used in the classroom or in conjunction with a visit to the Gallery. Students will learn about British culture through the ideas, methods and approaches used by portrait artists and their sitters over the last four hundred years. The contextual information provides background material that can be fed into the students' work as required. The guided discussion gives questions for the teacher to ask a group or class, it may be necessary to pose further questions around what culture can mean today to help explore and develop ideas more fully. Students should have the opportunity to pose their own questions, too. Each section contains the following: an introduction to each portrait, definitions, key words, questions and two art projects.