The Role of the Next Generation in Shaping Feminist Legal Theory
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1 GOV 1029 Feminist Political Thought TIMES to BE CONFIRMED
GOV 1029 Feminist Political Thought TIMES TO BE CONFIRMED: provisionally, Tuesday 1:30-2:45, Thursday TBC Fall Semester 2020 Professor Katrina Forrester Office Hours: TBC E-mail: [email protected] Teaching Fellows: Celia Eckert, Soren Dudley, Kierstan Carter, Eve O’Connor Course Description: What is feminism? What is patriarchy? What and who is a woman? How does gender relate to sexuality, and to class and race? Should housework be waged, should sex be for sale, and should feminists trust the state? This course is an introduction to feminist political thought since the mid-twentieth century. It introduces students to classic texts of late twentieth-century feminism, explores the key arguments that have preoccupied radical, socialist, liberal, Black, postcolonial and queer feminists, examines how these arguments have changed over time, and asks how debates about equality, work, and identity matter today. We will proceed chronologically, reading texts mostly written during feminism’s so-called ‘second wave’, by a range of influential thinkers including Simone de Beauvoir, Shulamith Firestone, bell hooks and Catharine MacKinnon. We will examine how feminists theorized patriarchy, capitalism, labor, property and the state; the relationship of claims of sex, gender, race, and class; the development of contemporary ideas about sexuality, identity, and gender; and how and whether these ideas change how fundamental problems in political theory are understood. 1 Course Requirements: Undergraduate students: 1. Participation (25%): a. Class Participation (15%) Class Participation is an essential part of making a section work. Participation means more than just attendance. You are expected to come to each class ready to discuss the assigned material. -
The Literacy Practices of Feminist Consciousness- Raising: an Argument for Remembering and Recitation
LEUSCHEN, KATHLEEN T., Ph.D. The Literacy Practices of Feminist Consciousness- Raising: An Argument for Remembering and Recitation. (2016) Directed by Dr. Nancy Myers. 169 pp. Protesting the 1968 Miss America Pageant in Atlantic City, NJ, second-wave feminists targeted racism, militarism, excessive consumerism, and sexism. Yet nearly fifty years after this protest, popular memory recalls these activists as bra-burners— employing a widespread, derogatory image of feminist activists as trivial and laughably misguided. Contemporary academics, too, have critiqued second-wave feminism as a largely white, middle-class, and essentialist movement, dismissing second-wave practices in favor of more recent, more “progressive” waves of feminism. Following recent rhetorical scholarly investigations into public acts of remembering and forgetting, my dissertation project contests the derogatory characterizations of second-wave feminist activism. I use archival research on consciousness-raising groups to challenge the pejorative representations of these activists within academic and popular memory, and ultimately, to critique telic narratives of feminist progress. In my dissertation, I analyze a rich collection of archival documents— promotional materials, consciousness-raising guidelines, photographs, newsletters, and reflective essays—to demonstrate that consciousness-raising groups were collectives of women engaging in literacy practices—reading, writing, speaking, and listening—to make personal and political material and discursive change, between and across differences among women. As I demonstrate, consciousness-raising, the central practice of second-wave feminism across the 1960s and 1970s, developed out of a collective rhetorical theory that not only linked personal identity to political discourses, but also 1 linked the emotional to the rational in the production of knowledge. -
The Radical Feminist Manifesto As Generic Appropriation: Gender, Genre, and Second Wave Resistance
Southern Journal of Communication ISSN: 1041-794X (Print) 1930-3203 (Online) Journal homepage: http://www.tandfonline.com/loi/rsjc20 The radical feminist manifesto as generic appropriation: Gender, genre, and second wave resistance Kimber Charles Pearce To cite this article: Kimber Charles Pearce (1999) The radical feminist manifesto as generic appropriation: Gender, genre, and second wave resistance, Southern Journal of Communication, 64:4, 307-315, DOI: 10.1080/10417949909373145 To link to this article: https://doi.org/10.1080/10417949909373145 Published online: 01 Apr 2009. Submit your article to this journal Article views: 578 View related articles Citing articles: 4 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsjc20 The Radical Feminist Manifesto as Generic Appropriation: Gender, Genre, And Second Wave Resistance Kimber Charles Pearce n June of 1968, self-styled feminist revolutionary Valerie Solanis discovered herself at the heart of a media spectacle after she shot pop artist Andy Warhol, whom she I accused of plagiarizing her ideas. While incarcerated for the attack, she penned the "S.C.U.M. Manifesto"—"The Society for Cutting Up Men." By doing so, Solanis appropriated the traditionally masculine manifesto genre, which had evolved from sov- ereign proclamations of the 1600s into a form of radical protest of the 1960s. Feminist appropriation of the manifesto genre can be traced as far back as the 1848 Seneca Falls Woman's Rights Convention, at which suffragists Elizabeth Cady Stanton, Lucretia Coffin Mott, Martha Coffin, and Mary Ann McClintock parodied the Declara- tion of Independence with their "Declaration of Sentiments" (Campbell, 1989). -
Feminisms 1..277
Feminisms The Key Debates Mutations and Appropriations in European Film Studies Series Editors Ian Christie, Dominique Chateau, Annie van den Oever Feminisms Diversity, Difference, and Multiplicity in Contemporary Film Cultures Edited by Laura Mulvey and Anna Backman Rogers Amsterdam University Press The publication of this book is made possible by grants from the Netherlands Organisation for Scientific Research (NWO). Cover design: Neon, design and communications | Sabine Mannel Lay-out: japes, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 676 7 e-isbn 978 90 4852 363 4 doi 10.5117/9789089646767 nur 670 © L. Mulvey, A. Backman Rogers / Amsterdam University Press B.V., Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents Editorial 9 Preface 10 Acknowledgments 15 Introduction: 1970s Feminist Film Theory and the Obsolescent Object 17 Laura Mulvey PART I New Perspectives: Images and the Female Body Disconnected Heroines, Icy Intelligence: Reframing Feminism(s) and Feminist Identities at the Borders Involving the Isolated Female TV Detective in Scandinavian-Noir 29 Janet McCabe Lena Dunham’s Girls: Can-Do Girls, -
Carol Hanisch, June 1, 2006
Reflections on the 1960s Women's Liberation Movement as "racist," post by Carol Hanisch, June 1, 2006 An exerpt from: Carol Hanisch, “The Personal is Political”, Attacking Women, Carnival of Feminists 17, and What the Heck Posted by Heart ⋅ June 22, 2006 ⋅ 22 Comments http://womensspace.wordpress.com/ I came across a really interesting and recent feminist forum on the subject of the political being personal entitled, Hanisch Forum on the Personal is Political held from May 26 through June 11, 2006, and described as follows: From May 26 through June 11, 2006, "The 'Second Wave' and Beyond" hosted a special forum among scholars and activists led by Carol Hanish and inspired by her article "The Personal is Political" and the new introduction published below. Please read the discussion in the archives (with comments by Carol Hanisch, Judith Ezekiel, Chude [Pam] Allen, Ariel Dougherty, [Margaret] Rivka Polatnick, Kimberly Springer, Stephanie Gilmore, and Cathy Cade). Here is an example of one of Hanisch's comments in the forum, dated June 1, 2006 (note: "WL" and "WLM" are acronyms for "Women's Liberation" and "Women's Liberation Movement"): I have to admit to being a bit flabbergasted by the direction of this discussion of "The Personal Is Political" as racist and/or excluding Black women. I have been aware of many attacks on the what is called "Second Wave Feminism" by the ensuing "Waves" (particularly in Women's Studies) as white and middle class, but I wasn't aware that it was now going after some of the cornerstone ideas of our movement. -
How to Write Feminist Legal History: Some Notes on Genealogical Method, Family Law, and the Politics of the Present
How to Write Feminist Legal History: Some Notes on Genealogical Method, Family Law, and the Politics of the Present Ann Genovese Genealogy does not oppose itself to history as the lofty and profound gaze of the philosopher might compare to the molelike perspective of the scholar; on the contrary, it rejects the metahistorical deployment of ideal significations and indefinite teleologies. It opposes itself to the search for ‘origins’. Michel Foucault, ‘Nietzsche, Genealogy, History’ (1971)1 We are arguing for a political perspective in historical research and writing, a suggestion which must disturb every academic vigilant in pursuit of the ‘value-free’ … It is only by seeking and recognizing political relevance in history that we can bring it more directly into the battle of ideas ... Sally Alexander and Anna Davin, ‘Feminist History’ (1976)2 What is the purpose of feminist legal histories, and how can we write them, especially in Australia in our own times? In this essay I explore, in the spirit of dialogue, how we might confront the tension between legal history’s intellectual traditions, and the political effects of law’s legacies in the present. This question of method is an important inference in this collection’s conversation about ‘who owns the legal past’. My premise is that for many legal history projects, especially in a settler-colonial state like Australia, writing about law historically requires a conscientious identification of law’s present paradoxes, discontinuities, and iterations. To this end, this chapter will be in three parts. First, a description of the historiographical problems I have encountered in my current project, which is an account of how feminism and law met in the 1970s. -
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. -
GOV 1029 Feminist Political Thought
GOV 1029 Feminist Political Thought Tuesday, Thursday 12-1.15 Fall Semester 2018 Professor Katrina Forrester Office Hours: Tuesday, Thursday 2-3 Office: CGIS K437 E-mail: [email protected] Teaching Fellow: Leah Downey E-mail: [email protected] Course Description: What is feminism? What is patriarchy? What and who is a woman? How does gender relate to sexuality, and to class and race? Should housework be waged, should sex be for sale, and should feminists trust the state? This course is an introduction to feminist political thought since the mid-twentieth century. It introduces students to classic texts of late twentieth-century feminism, explores the key arguments that have preoccupied radical, socialist, liberal, Black, postcolonial and queer feminists, examines how these arguments have changed over time, and asks how debates about equality, work, and identity matter today. We will proceed chronologically, reading texts mostly written during feminism’s so-called ‘second wave’, by a range of influential thinkers including Simone de Beauvoir, Shulamith Firestone, bell hooks and Catharine MacKinnon. We will examine how feminists theorized patriarchy, capitalism, labor, property and the state; the relationship of claims of sex, gender, race, and class; the development of contemporary ideas about sexuality, identity, and gender; and how and whether these ideas change how fundamental problems in political theory are understood. 1 Course Requirements: Participation (25%) includes (a) active participation in discussion (15%); and (b) weekly responses: each week you will send 2-3 brief questions/ comments about the reading to your TF by 5pm the day before section (10%) Paper 1 (25%) 5-6 pages due October 18 4pm. -
TOWARD a FEMINIST THEORY of the STATE Catharine A. Mackinnon
TOWARD A FEMINIST THEORY OF THE STATE Catharine A. MacKinnon Harvard University Press Cambridge, Massachusetts London, England K 644 M33 1989 ---- -- scoTT--- -- Copyright© 1989 Catharine A. MacKinnon All rights reserved Printed in the United States of America IO 9 8 7 6 5 4 3 First Harvard University Press paperback edition, 1991 Library of Congress Cataloging-in-Publication Data MacKinnon, Catharine A. Toward a fe minist theory of the state I Catharine. A. MacKinnon. p. em. Bibliography: p. Includes index. ISBN o-674-89645-9 (alk. paper) (cloth) ISBN o-674-89646-7 (paper) I. Women-Legal status, laws, etc. 2. Women and socialism. I. Title. K644.M33 1989 346.0I I 34--dC20 [342.6134} 89-7540 CIP For Kent Harvey l I Contents Preface 1x I. Feminism and Marxism I I . The Problem of Marxism and Feminism 3 2. A Feminist Critique of Marx and Engels I 3 3· A Marxist Critique of Feminism 37 4· Attempts at Synthesis 6o II. Method 8 I - --t:i\Consciousness Raising �83 .r � Method and Politics - 106 -7. Sexuality 126 • III. The State I 55 -8. The Liberal State r 57 Rape: On Coercion and Consent I7 I Abortion: On Public and Private I 84 Pornography: On Morality and Politics I95 _I2. Sex Equality: Q .J:.diff�_re11c::e and Dominance 2I 5 !l ·- ····-' -� &3· · Toward Feminist Jurisprudence 237 ' Notes 25I Credits 32I Index 323 I I 'li Preface. Writing a book over an eighteen-year period becomes, eventually, much like coauthoring it with one's previous selves. The results in this case are at once a collaborative intellectual odyssey and a sustained theoretical argument. -
Carried Away: 'Revisioning' Feminist Film Theory Toward a Radical Practice
MA MAJOR RESEARCH PAPER Carried away: 'revisioning' feminist film theory toward a radical practice Submitted by Kimberley Radmacher - Supervisor: Professor Scott Forsyth The Major Research Paper is submitted in partial fulfillment ofthe requirements for the degree of Master of Arts Joint Graduate Programme in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada April 30, 2004 Carried away: 'revisioning' feminist film theory toward a radical practice The question of women's expression has been one of both self-expression and communication with other women, a question at once of the creation/invention of new images and of the creation/imaging of new forms of community. Ifwe rethink the problem of a specificity of women's cinema and aesthetic forms in this manner, in terms of address- who is making films for whom, who is looking and speaking, how, where, and to whom--then what has been seen as a rift, a division, an ideological split within feminist film culture between theory and practice, or between formalism and activism, may appear to be the very strength, the drive and productive heterogeneity of feminism. 1 It's difficult to believe that after over 30 years of feminist theory "breaking the glass ceiling" is still a term often heard from women professionals. Still, while women continue to make up a trifling percentage of CEOs in Fortune 500 companies, and are continually paid 72% of the wages of their male counterparts,2 small advances continue to be made by women in both these areas? Yet, one profession that stands out as persistently keeping women on the outside looking in is mainstream filmmaking, especially directing. -
FEMINIST and GENDER THEORY for HISTORIANS: a Theoretical and Methodological Introduction
University of North Carolina at Chapel Hill, Department of History History/WMST 730 (graduate course) (Cross-listed with the Department of Women’s Studies) FEMINIST AND GENDER THEORY FOR HISTORIANS: A Theoretical and Methodological Introduction SPRING 2018 DRAFT SYLLABUS Instructor: Karen Hagemann Time of the Course: Wednesday, 5:30 – 8:00 pm Location of the Course: HM 425 Office Hours: Tuesday 1-3 pm or by appointment Office: Hamilton Hall 562 Email: [email protected] SHORT DESCRIPTION After more than forty years of research, it is time for a critical stocktaking of the theoretical and methodological developments in the field of women's and gender history. The course will therefore acquaint students with the major development of the field since the 1970s and consider the texts of authors such as Judith Bennett, Gisela Bock, Judith Butler, Kathleen Canning, R.W. Connell, Natalie Z. Davis, Evelyn Brooks Higginbottam, Joan Kelly, Gerda Lerner, Joan W. Scott, Sonya O. Rose, and John Tosh, in a chronological and systematical order, to understand how and why the theoretical and methodological debates developed in a specific direction. AIMS AND AGENDA OF THE COURSE Recovering the lives of women from the neglect of historians was the goal of women's history from its inception. Its methodology and interests have evolved over time as it has become established as an academic discipline. From its early origins in cataloguing great women in 15 September 2017 2 history, in the 1970s it turned to recording ordinary women's expectations, aspirations and status. Then, with the rise of the feminist movement, the emphasis shifted in the 1980s towards exposing the oppression of women and examining how they responded to discrimination and subordination. -
Historiographies of Women in Early Cinema [Review Of: E
UvA-DARE (Digital Academic Repository) Historiographies of women in early cinema [Review of: E. Hill (2016) Never done : a history of women's work in media production; J.M. Gaines (2018) Pink-slipped : what happened to women in the silent film industries?; M. Hennefeld (2018) Specters of slapstick & silent film comediennes] Ozgen-Tuncer, A. DOI 10.25969/mediarep/4178 Publication date 2019 Document Version Final published version Published in NECSUS License CC BY-NC-ND Link to publication Citation for published version (APA): Ozgen-Tuncer, A. (2019). Historiographies of women in early cinema: [Review of: E. Hill (2016) Never done : a history of women's work in media production; J.M. Gaines (2018) Pink- slipped : what happened to women in the silent film industries?; M. Hennefeld (2018) Specters of slapstick & silent film comediennes]. NECSUS, 8(1), 273-281. https://doi.org/10.25969/mediarep/4178 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands.