ABSTRACT Title of Dissertation : FEMINISM À LA QUEBEC
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Teaching to Transgress: Education As the Practice of Freedom Would Be a Book of Essays Mostly Directed to Teachers
Teaching to Transgress This page intentionally left blank Teaching to Transgress Education as the Practice of Freedom bell hooks Routledge New York London Published in 1994 by Published in Great Britain by Routledge Routledge Taylor & Francis Group Taylor & Francis Group 711 Third Avenue 2 Park Square New York, NY 10017 Milton Park, Abingdon Oxon OX14 4RN Copyright © 1994 Gloria Watkins All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data hooks, bell. Teaching to transgress : education as the practice of freedom / bell hooks p. cm. Includes index ISBN 0-415-90807-8 — ISBN 0-415-90808-6 (pbk.) 1. Critical pedagogy. 2. Critical thinking—Study and teaching. 3. Feminism and education. 4. Teaching. I. Title. LC196.H66 1994 370.11 '5—dc20 94-26248 CIP to all my students, especially to LaRon who dances with angels in gratitude for all the times we start over—begin again— renew our joy in learning. “. to begin always anew, to make, to reconstruct, and to not spoil, to refuse to bureaucratize the mind, to understand and to live life as a process—live to become ...” —Paulo Freire This page intentionally left blank Contents Introduction I Teaching to Transgress 1 Engaged Pedagogy 13 2 A Revolution of Values 23 The Promise of Multicultural -
In This Issue
The Women’s Review of Books Vol. XXI, No. 1 October 2003 74035 $4.00 I In This Issue I In Zelda Fitzgerald, biographer Sally Cline argues that it is as a visual artist in her own right that Zelda should be remembered—and cer- tainly not as F. Scott Fitzgerald’s crazy wife. Cover story D I What you’ve suspected all along is true, says essayist Laura Zimmerman—there really aren’t any feminist news commentators. p. 5 I “Was it really all ‘Resilience and Courage’?” asks reviewer Rochelle Goldberg Ruthchild of Nehama Tec’s revealing new study of the role of gender during the Nazi Holocaust. But generalization is impossible. As survivor Dina Abramowicz told Tec, “It’s good that God did not test me. I don’t know what I would have done.” p. 9 I No One Will See Me Cry, Zelda (Sayre) Fitzgerald aged around 18 in dance costume in her mother's garden in Mont- Cristina Rivera-Garza’s haunting gomery. From Zelda Fitzgerald. novel set during the Mexican Revolution, focuses not on troop movements but on love, art, and madness, says reviewer Martha Gies. p. 11 Zelda comes into her own by Nancy Gray I Johnnetta B. Cole and Beverly Guy-Sheftall’s Gender Talk is the Zelda Fitzgerald: Her Voice in Paradise by Sally Cline. book of the year about gender and New York: Arcade, 2002, 492 pp., $27.95 hardcover. race in the African American com- I munity, says reviewer Michele Faith ne of the most enduring, and writers of her day, the flapper who jumped Wallace. -
William E. Jones
WILLIAM E. JONES born 1962, Canton, OH lives and works in Los Angeles, CA EDUCATION 1990 MFA, California Institute of the Arts, Valencia, CA 1985 BA, Yale University, New Haven, CT SELECTED SOLO / TWO PERSON EXHIBITIONS, ART (* indicates a publication) 2021 The Modern Institute, Glasgow, Scotland 2020 Screening Room 07: William E. Jones, Galleria Raffaella Cortese, Milan, Italy 2019 Southfield, Detroit, MI Nothing Special, Los Angeles, CA Perverted by Language, Private Places, Portland, OR 2018 Holes in the Historical Record, Galleria Raffaella Cortese, Milan, Italy 2017 Fall into Ruin, microcinema at the 37th Cambridge Film Festival, organized by James Mackay, Heong Gallery, Downing College Cambridge, Cambridge, England Fall into Ruin, David Kordansky Gallery, Los Angeles, CA The Modern Institute, Glasgow, Scotland 2016 The Long Take, curated by Suzy Halajian, Los Angeles Contemporary Archive, Los Angeles, CA 2015 *Model Workers, Wexner Center for the Arts, Columbus, OH Galleria Raffaella Cortese, Milan, Italy 2014 *Heraclitus Fragment 124, Automatically Illustrated, David Kordansky Gallery, Los Angeles, CA [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 2013 The Modern Institute, Glasgow, Scotland William E. Jones: “Killed,” Saint Louis Art Museum, St. Louis, MO *Midcentury, Wexner Center for the Arts, Columbus, OH Two Explosions, 80WSE Gallery, New York, NY 2012 *Inside the White Cube, White Cube, London, England 2011 Upstairs at The Modern Institute, Glasgow, Scotland David Kordansky Gallery, -
Bathhouse Raids in Canada 1968-2004
BATHHOUSE RAIDS IN CANADA 1968-2004 # OF CHARGES: Found In a Common Bawdy House: [1,213] Keeping a Common Bawdy House: [88] Indecent Act: [53] Indecent Assault on a Male: [10] Gross Indecency: [61] 180 160 OPERATION SOAP 33 140 TORONTO 1981 6 8 120 1976 OLYMPICS 100 ‘CLEAN UP’ 6 4 165 80 146 15 126 122 60 6 ACT 6 7 ARRESTED 94 23 40 83 5 7 WARRANT 2 56 LICENCE 2 1 5 52 3 1 46 20 35 9 3 28 26 2 27 22 7 25 22 23 23 1 3 PROTESTERS 15 3 18 13 14 14 13 7 9 8 SEARCH LIQUOR 2 6 8 0 4 3 2 1 2 1 2 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 [1] International (Toronto) Oct 27, 1968 [11] International (Toronto) March 11, 1977 [21] Barracks (Toronto) Feb 5, 1981 [31] Sex Garage (Montreal) July 15, 1990 [2] International (Toronto) Aug 15, 1973 [12] International (Toronto) May 30, 1977 [22] Club Baths (Toronto) Feb 5, 1981 [32] KOX/Katacombes (Montreal) Feb 17, 1994 [3] Sauna Aquarius (Montreal) Feb 4, 1975 [13] Oak Leaf (Toronto) June 1977 [23] Richmond St. (Toronto) Feb 5, 1981 [33] Remingtons (Toronto) Feb 19, 1996 [4] Club Baths (Montreal) Jan 23, 1976 [14] Dominion Square (Montreal) Summer 1977 [24] Romans (Toronto) Feb 5, 1981 [34] Bijou (Toronto) June 1999 [5] Sauna Neptune (Montreal) May 15, 1976 [15] Truxx (Montreal) Oct 22, 1977 [25] Home of Roy M. -
About This Issue
ABOUT THIS ISSUE SCHOOL SCHMOOL WAS CREATED IN TIOHTIÀ:KE ("MONTREAL"), UNCEDED INDIGENOUS KANIEN'KEHA:KA (MOHAWK) TERRITORY, WHICH HAS HISTORICALLY BEEN A MEETING AND LIVING SPACE FOR HAUDENOSAUNEE, ABÉNAKI, AND ALGONQUIN PEOPLE. WE ALSO RECOGNIZE THE CONTINUED PRESENCE OF MÉTIS, INNU, AND INUIT FOLK ON THIS LAND. School Schmool is your radical guide to your often unradical school. In 1994, the first editors wrote, “When we say ‘school schmool’ we don’t mean to be dismissive. What we mean is that there are a lot of things going on at university, and school is only one of them.” Though it began as a bi-annual publication that brought together group profiles, articles, and practical resources for social justice, School Schmool is now an ad-free, corporate-free, agenda-with-an-agenda, connecting the McGill, Concordia, and greater Tioh’tia:ke communities.We hope to bridge (and break) the gap between academia and issues outside the classroom by providing a guidebook where students can find information on resources and initiatives taking place in their communities. We strive to feature content that presents radical, anti-oppressive, and intersectional perspectives on current issues, especially works by Queer and/or Trans people, Black and/or Indigenous people, and other people of colour. The theme for this year’s edition is THE TANGIBLE. Over the past few years, it's often felt like everyone was particularly exhausted. Instead of just talking about how shitty things sometimes are, we wanted to offer possibilities for concrete actions, and real ideas for creating radical communities. Sometimes engagement can mean learning how to occupy the McGill administration building (p. -
WOMEN's STUDIES a Reader
WOMEN'S STUDIES A Reader Edited by Stevi Jackson, Karen Atkinson, Deirdre Beddoe, Teh Brewer, Sue Faulkner, Anthea Hucklesby, Rose Pearson, Helen Power, Jane Prince, Michele Ryan and Pauline Young New York London Toronto Sydney Tokyo Singapore CONTENTS Introduction: About the Reader xv Feminist Social Theory I Edited and Introduced by Stevi Jackson Introduction 3 1 Shulamith Firestone The Dialectic of Sex 7 2 Juliet Mitchell Psychoanalysis and Feminism 9 3 Michele Barrett Women's Oppression Today 11 4 Heidi Hartmann The Unhappy Marriage of Marxism and Feminism 13 5 Christine Delphy Sex Classes 16 6 Sylvia Walby Forms and Degrees of Patriarchy 18 7 Parveen Adams, Rosaline Coward and Elizabeth Cowie Editorial, m// 1 19 8 Jane Flax Postmodernism and Gender Relations in Feminist Theory 20 9 Luce Irigaray Women: equal or different 21 10 Monique Wittig One is not born a woman 22 I I Hazel Carby White Women Listen! 25 12 Denise Riley Am I That Name? 26 13 Tania Modleski Feminism Without Women 27 14 Liz Stanley Recovering 'Women' in History from Historical Deconstructionism 28 1.15 Avtar Brah Questions of Difference and International Feminism 29 Further Reading 34 Contents Women's Minds: psychological and psychoanalytic theory 37 Edited and Introduced by Jane Prince Introduction 39 2.1 Jean Grimshaw Autonomy and Identity in Feminist Thinking 42 2.2 Wendy Hollway Male Mind and Female Nature 45 2.3 Corinne Squire Significant Differences: feminism in psychology 50 2.4 Valerie Walkerdine Femininity as Performance 53 2.5 Nancy Chodorow Family Structure -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
What Counts As Feminist Theory?
What counts as feminist theory? [May-July 2003/2009:] This is one of the papers referred to in ‘Introduction to the refereed papers’. I wrote the paper in 1999, in response to the pre-publicity for the journal, Feminist Theory, which had asked for submissions on the question of what counts as feminist theory (among others). I sent it off in time for the inaugural issue of the journal, which appeared in 2000. It was sent to three reviewers, two of whom argued against publishing it. The third recommended publication despite some disagreements she had with it, but the majority prevailed and I received a letter telling me my paper had been rejected. I wrote a reply to the letter and to the readers’ reports, pointing out a number of problems with the reasons given for the rejection. (This reply is included below, at the end of the paper). When the first issue of the journal appeared, the editorial referred approvingly to ‘feminist theory in all its many and diverse forms’, and contained the following statement: ‘We intend this journal to be … a place where all shades of feminist opinion can be aired … we neither wish to impose any form of theoretical orthodoxy nor any single definition of what counts as feminist theory. This theoretical heterodoxy is central to our project’ (Griffin et al, 2000: 5). In the light of the rejection of my paper and the inadequacy of the reasons given, this statement rang somewhat hollow. It sounded to me like an example of what Herbert Marcuse referred to as ‘repressive tolerance’ (Marcuse, 1969), the claim to be all- inclusive and accepting that functions to reduce everything to the lowest common denominator of irrelevance. -
I, Too, Am a Woman: an Emancipatory Text on the Intersections of Race, Gender, and Sexuality
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2018 I, Too, Am a Woman: an Emancipatory Text on the Intersections of Race, Gender, and Sexuality Michelle M. Allen Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Adult and Continuing Education Commons, Bilingual, Multilingual, and Multicultural Education Commons, Curriculum and Social Inquiry Commons, Gender and Sexuality Commons, Gender Equity in Education Commons, Inequality and Stratification Commons, Liberal Studies Commons, Race and Ethnicity Commons, and the Social and Cultural Anthropology Commons Recommended Citation Allen, Michelle M., "I, Too, Am a Woman: an Emancipatory Text on the Intersections of Race, Gender, and Sexuality" (2018). Electronic Theses and Dissertations. 1764. https://digitalcommons.georgiasouthern.edu/etd/1764 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. I, TOO, AM A WOMAN: AN EMANCIPATORY TEXT ON THE INTERSECTIONS OF RACE, GENDER, AND SEXUALITY by MICHELLE ALLEN (Under the Direction of Sabrina Ross) ABSTRACT This inquiry builds upon Black Feminism and Critical Race Feminist frameworks by exploring the juxtaposition between Black Women and Queer Black Women. It is also an exploration of the similarities between Queer Black Women and Black Women and how they interact with femininity and masculinity, patriarchy, and heteronormativity. Claiming digital space through podcasting, it honors the power of counter narratives by employing autoethnographical story telling. -
Feminism - a Bird’S Eye View
Vol. 3 No. 2 March, 2015 ISSN: 2320 - 2645 FEMINISM - A BIRD’S EYE VIEW Dr.T.G.Akila Assistant Professor, Department of English, National College (Autunomous) Tiruchirappalli – 620 001 The word Feminism differs from person to person, basically it is a kind of a protest against social and economical restriction on women. From the beginning, women are fighting to free themselves from male oppression. In America, feminist are outspoken. In France, it refers to sexual restrictions and in Britan, feminism implies equality among men and women. “Feminism in English Fiction”, is an article written by Chaman Nahal. In it he defines feminism as: a mode of existence in which the woman is free of the dependence syndrome. There is a dependence syndrome: whether it is the husband or the father or the community or whether it is a religious group, ethnic group. When women free themselves of the dependence syndrome and lead a normal life, my idea of feminism materialises. Women are marginalized from the time in immoral. Society and tradition only keep women under control. In such scenario, it is interesting to quote Simone de Beauvoir: One is not born, but rather becomes a woman. No biological, psychological or economic fate determines the figure that the human female presents in society; it is civilization as a wholethat produces this creature, intermediate between male and eunuch, which is described as feminine. She considers that women gain equality in terms of intellectual and professional, though they lose their dignity. Feminism has gained momentum by writers like Michele Wallace, Kate Millett, Elaine Showalter and Alice Walker. -
FEMINIST THEORY from Margin to Center
FEMINIST THEORY from margin to center bell hooks south end press Copyright © 1984 by bell hooks Copyrights are still required for book production in the United States. However, in our case it is a disliked necessity. Thus, in any properly footnoted quotation of up to 500 sequential words may be used without permission, as long as the total number of words quoted does not exceed 2000. For longer quo tations or for greater volume of total words, authors should write for permission to South End Press. Typesetting and production at South End Press. Library of Congress Cataloging in Publication Data Hooks, Bell. Feminist theory from margin to center. Bibliography: p. l.Feminism-United.States-Evaluation. 2.Afro American women-Attitudes. 3. Marginality, Social-United States. I. Title. HQ1426.H675 1984 305.4'2'0973 84-50937 ISBN 0-89608-222-9 ISBN 0-89608-221-0 (pbk.) Cover design by Sharon Dunn South End Press 116 St. Botolph St. Boston, Ma. 02115 Printed In The U.S. For us sisters-Angela, Gwenda, Valeria, Theresa, Sarah For all we have shared for all we have come through together for continuing closeness table of contents Acknowledgments vii Preface ix Chapter 1 Black Women: Shaping Feminist Theory 1 Chapter 2 Feminism: A Movement to End Sexist Oppression 2 Chapter 3 The Significance of Feminist Movement 33 Chapter 4 Sisterhood: Political Solidarity Between Women 43 Chapter 5 Men: Comrades in Struggle 67 Chapter 6 Changing Perspectives on Power 83 Chapter 7 Rethinking the Nature of Work 95 Chapter 8 Educating Women: A Feminist Agenda 107 Chapter 9 Feminist Movement to End Violence 117 Chapter 10 Revolutionary Parenting 133 Chapter 11 Ending Female Sexual Oppression 147 Chapter 12 Revolution: Development Through Struggle 157 Notes 164 Bibliography 171 acknowledgments Not all women, in fact, very few have had the good fortune to live and work among women and men actively involved in feminist movement. -
AIDS Activist History Project
AAHP AIDS Activist History Project Interview Transcript 64 2018.002 Interviewee: Earl Pinchuk Interviewers: Ryan Conrad Collection: Montreal, QC Date of Interview: February 16, 2018 Earl Pinchuk Interview – T64 1 AIDS Activist History Project 16 September 2018 Persons present: Earl Pinchuk – EP Ryan Conrad – RC [START OF TRANSCRIPT] RC: So, we’re here in Montreal, and it’s February 16th, 2018. I’m interviewing Earl Pinchuk for the AIDS Activist History Project. And, I know I didn't say this, but any questions—we're focusing from the early-to-mid '80s, to about the 1996 moment. And if we go beyond that, that's fine. But we can't do everything, so that's really where we're trying to narrow our focus. Also, if there are any questions that you don't want to answer, you don't have to answer them. EP: Okay. RC: We usually start with a number of questions that we ask everyone, just to open up the conversation. And so, when did you first hear about AIDS, and what was it that you heard? EP: Well, I believe it was July of 1981. And, of course, the famous New York Times article that came out, about "gay cancer," there was a rare form of cancer that was killing gay men in New York. It could have been Los Angeles, too. So, that grabbed our attention, because it was something that was killing gay men. But it was not called AIDS at the time. So, that would have been July of 1981. I was nineteen.