(Re)Engaging Students with Feminism in a Postfeminist World

Total Page:16

File Type:pdf, Size:1020Kb

(Re)Engaging Students with Feminism in a Postfeminist World Teaching the Conflicts: (Re)Engaging Students with Feminism in a Postfeminist World MEREDITH A. LOVE AND BRENDA M. HELmbRECHT What happened to the dreams of a girl president She’s dancing in the video next to 50 Cent They travel in packs of two or three With their itsy bitsy doggies and their teeny-weeny tees Where, oh where, have the smart people gone? Maybe if I act like that, that guy will call me back Porno Paparazzi girl, I don’t wanna be a stupid girl Baby if I act like that, flipping my blond hair back Push up my bra like that, I don’t wanna be a stupid girl —Pink, “Stupid Girls” If representational visibility equals power, then almost-naked young white women should be running Western culture. —Peggy Phelan, Unmarked There is no question that the work of femi- all around” and a “World despaired, their nists has benefited the daily lives, health, only concern [is]: Will they fuck up my and financial status of many American hair?” Certainly, Pink is prone to hyper- women. In fact, some women’s lives have bole, but her questions resonate: do young been so improved that today’s younger women still dream of being world leaders, generation of women may not even know or have their ambitions been curtailed that “we’ve come a long way, baby” and, in lieu of the smaller achievements they perhaps even more importantly, that we can make with their buying power? Peggy still have a long way to go. Even pop cul- Phelan makes a similar point above, noting ture icons themselves, such as the musi- that “almost-naked young white women” cian Pink, recognize the current state of are given great visibility in our culture, gender politics, lamenting the fact that especially in advertisements, television, young women today are more concerned and film; yet it would be preposterous to with what they need to do and buy to suggest that their visibility instantly trans- maintain their image than they are with lates into power. Phelan continues to sug- the positions of power they could some- gest that when women or anyone else who day hold. is “othered” in Western culture (including Pink, an artist we will discuss at some women and men of color, gays, lesbians length in this essay, is searching for “Out- and transsexuals; basically anyone who is casts and girls with ambition,” because not a white, heterosexual male) are given despite the fact that there are “Disasters visibility, this visibility is often accompa- feminist teacher volume 18 number 1 41 © 2007 by the board of trustees of the university of illinois FT 18_1 text.indd 41 9/26/07 2:38:46 PM nied by surveillance, voyeurism, and the woman minoring in women’s studies. desire to possess another (6–7). Thus, for This self-identified “third-wave feminist,” this project, questions about whether a who also works in the women’s center group is in some way made visible or rep- and volunteers at a shelter for abused resented in popular culture may be more women, asked, “Who is Gloria Steinem?” productively framed as follows: What is This student’s commitment to improv- the difference between an assumed image ing the lives of women is commendable, of empowerment and a “real” image of yet we found ourselves troubled by the empowerment? And as feminist educators, fact that a student preparing to graduate how do we help students to tell the differ- with a women’s studies minor has nearly ence? Furthermore, what do the discourses finished her work without learning about of current third-wave feminism and post- Steinem or understanding her contribu- feminism teach women about representa- tion and, perhaps, the contributions of tion, empowerment, and their place in the other second-wave feminists to the overall realm of social action? feminist project. This student has lingered To explore these questions, we dis- in the back of our minds as we researched cuss three products of mass media—the and wrote this article. In many ways, we musician Pink, the Dove Campaign for find ourselves directing our pedagogi- Real Beauty, and the film The Devil Wears cal strategies to reach students like her: Prada. In an attempt to better under- younger students who want to re-engage stand the relationship between young with gender theory and feminism but may women and men and their own ability to be unfamiliar with the analytical tools that effect change, we turn to these images of can support them as they try to find their “strong” and “empowered” women. The place within the feminist movement. Of depiction of women in each of these texts course, the experience of this one student creates an interval where the relation- doesn’t allow us to make generalizations ship between personal empowerment and about the curricula of women’s and gen- visibility via consumerism can be inter- der studies courses. However, we find rogated. Moreover, what we regard as a ourselves wondering if younger feminists consumerism/activism split actually epito- would feel less alone in their beliefs if they mizes the tension that manifests when the could position their ideas and their work discourses of postfeminism and third-wave within a broader historical narrative about feminism become conflated. We suggest gendered struggles and the women’s that teaching to the ideological conflicts movement—within a context that is greater that manifest within this convergence than both themselves and the third-wave can serve to (re)engage students with the feminist movement today. tenets and arguments of feminism. Of course, many feminist scholars have recounted the tension and strain felt by Moving Past the the proponents of third-wave feminism Second/Third Divide and the second wavers that came before them. Yet in the Winter 2004 issue of Ms., In order to ground our inquiry, we turn to Lisa Jervis, one of the co-founders and a an example from the classroom. Recently, former editor of Bitch magazine, claims Brenda had a conversation with a young that the term “third-wave feminism” 42 teaching the conflicts FT 18_1 text.indd 42 9/26/07 2:38:46 PM is no longer useful, in part because of to show that there is “nothing specifically how much has been made of this divide generational about any of these femi- between the questionably demarcated nisms” (108). She contends that there waves. Jervis’s assessment of the so- are too many generalizations made about called generational gap between femi- second wave and third-wave feminism: nisms has a deep history. She writes, “Attributing our differences to generation rather than to politics sets us firmly into The rap goes something like this: Older psychologized thinking, and into versions women drained their movement of of mother/daughter relations—some- sexuality; younger women are uncriti- how, we are never sisters who might have cally sexualized. Older women won’t recognize the importance of pop cul- things to teach each other across our dif- ture; younger women are obsessed with ferences and despite our rivalries” (118). media representation. Older women However, as Jervis and Hogeland argue, have too narrow a definition of what it could be said that too much has been makes a feminist issue; younger women made of the differences between second are scattered and don’t know what’s and third-wave feminism, or that it has important. been discussed too much, at the expense of other, more important conversations. In a 1997 article in Hypatia, Catherine Orr Jervis reminds us that “It’s just so much notes that some third-wave texts reveal easier to hit on the playful cultural ele- a distinctive desire to break away from ments of the third wave and contrast second-wave feminism to create some- them with the brass-tacks agenda—and thing entirely new (32–33); however, Orr impressive gains—of the second wave: It’s also laments the breach between the become the master narrative of feminism’s two waves, writing that “Second wave progression (or regression, as some see ‘moms’ can and should be represented it).” as something more than just oppressive Rather than dwell on the misunder- to their third-wave ‘daughters’” (42). As standings and animosities between sec- an alternative, Orr proposes a supportive ond and third wave, we propose moving relationship: “What we must realize is that the discussion to one that understands the inevitable reworking of the successes the goals and objectives of men and and failures of second wave feminism is women who self-identify as third-wave underway, and the best place for second feminists. We contend that such an under- wave academics to be is where the action standing hinges both on our ability to is. After all, if the second wave is history, account for the effects of postfeminist then perhaps we should get to work on thinking—which generally argues that the demonstrating to the next generation that feminist movement is an historical entity, it is a usable past” (42). at best—and on the ability of the third Lisa Maria Hogeland makes similar wave to function as a coherent front. claims in her 2001 article, “Against Gen- erational Thinking, or, Some Things that Voices of the Third Wave ‘Third-Wave’ Feminism Isn’t.” Hogeland sorts out the various political positions Third-wave feminism, like other femi- taken by feminists in different movements nisms, is not held to one, stable defini- feminist teacher volume 18 number 1 43 FT 18_1 text.indd 43 9/26/07 2:38:46 PM tion. And just as second-wave feminism However, as we shall examine momen- consisted of liberal, material, cultural, and tarily, third-wave voices, even those in this other versions of feminism, the third wave collection, do not always reflect this focus also has several different voices and ideol- on transformation and action.
Recommended publications
  • Exhibit O-137-DP
    Contents 03 Chairman’s statement 06 Operating and Financial Review 32 Social responsibility 36 Board of Directors 38 Directors’ report 40 Corporate governance 44 Remuneration report Group financial statements 57 Group auditor’s report 58 Group consolidated income statement 60 Group consolidated balance sheet 61 Group consolidated statement of recognised income and expense 62 Group consolidated cash flow statement and note 63 Group accounting policies 66 Notes to the Group financial statements Company financial statements 91 Company auditor’s report 92 Company accounting policies 93 Company balance sheet and Notes to the Company financial statements Additional information 99 Group five year summary 100 Investor information The cover of this report features some of the year’s most successful artists and songwriters from EMI Music and EMI Music Publishing. EMI Music EMI Music is the recorded music division of EMI, and has a diverse roster of artists from across the world as well as an outstanding catalogue of recordings covering all music genres. Below are EMI Music’s top-selling artists and albums of the year.* Coldplay Robbie Williams Gorillaz KT Tunstall Keith Urban X&Y Intensive Care Demon Days Eye To The Telescope Be Here 9.9m 6.2m 5.9m 2.6m 2.5m The Rolling Korn Depeche Mode Trace Adkins RBD Stones SeeYou On The Playing The Angel Songs About Me Rebelde A Bigger Bang Other Side 1.6m 1.5m 1.5m 2.4m 1.8m Paul McCartney Dierks Bentley Radja Raphael Kate Bush Chaos And Creation Modern Day Drifter Langkah Baru Caravane Aerial In The Backyard 1.3m 1.2m 1.1m 1.1m 1.3m * All sales figures shown are for the 12 months ended 31 March 2006.
    [Show full text]
  • Feminism in the Twenty-First Century: Does It Need (Re)Branding? Maria Morelli University of Leicester
    Volume 4(1) 2011 FEMINISMS: THE EVOLUTION Feminism in the Twenty-First Century: Does It Need (Re)branding? Maria Morelli University of Leicester ver the years, the media declared the death of feminism with headlines such as O ‘Feminism was something for our mothers’, in the Independent (Levenson 2009) and ‘Feminism outmoded and unpopular’, in the Guardian (Ward 2003); other headlines such as ‘Warning: Feminism is bad for your health’ in the Independent (Dobson 2007) or ‘Bra- burning feminism has reached burn-out’, in The Times (Frean 2003) have attached negative connotations to feminism. Similar headlines have been in and out the news since the 1980s. However, the evidence suggests that young women are formulating their own constructions of feminism as a way to carve out a personal space for the redefinition of their own identity. Following on from this and using the British and Italian situation as case studies, I shall provide evidence for the observation that an array of new feminist activities, including national networks, local groups, and blogs, has recently been formed. This article will demonstrate, first, that the feminist movement today is still very much alive and very much needed, and, secondly, that, even current activists are undeniably adopting methods that are different from those of their foremothers, this does not necessarily imply that feminism has ceased to exist. Although aspects of these issues have already been considered by earlier studies, this article does so from an interesting and original perspective by examining them through a diverse range of sources available within mainstream media: excerpts from newspapers, feminist blogs and the American TV series Sex and the City.
    [Show full text]
  • Ultimate Pink Show Bio Sml.Pdf
    P!NK – Arguably the most popular female artist in current times. With her cheeky demeanor and hard hitting attitude, Pink has proven herself to have the goods to break records with album sales, radio air time and the highest number of ticket sales in an Australian tour. The Ultimate Pink sshow ha reproduced the talents of Pink to bring you the No. 1 tribute to this amazing artist, live on stage. With a 9 piece live band, the Ultimate Pink Show has reproduced the live sound of Pink, like no other. With 2 guitars, keyboards, pumping bass, drums, backing vocalist & 2 stunningdancers, the band is second to none with their punch and live reproduction of Pinks music. There are no sequences or backing tracks used in the live production of this tribute show. Nikki , who plays the part of P!NK, is easily mistaken for the real thing, with her unique look, powerful voice and mannerisms on stage closely matching the stars own. Bursting onto the scene in 2009, The Ultimate P!NK Show has received accolades from many die hard Pink fans as being the most legitimate performance, in comparison to the original Pink. With great sounding audio production and dazzlingd effects an light show, this show certainly attracts and keeps the attention of patrons from the beginning to the end of the show. The Ultimate PINK show is raising funds for the National Breast Cancer Foundation by involving itself in the sale of Pink Ribbon merchandise and offering fund raising performances named ‘P!NK for Cure’ for the Foundation.
    [Show full text]
  • How Second-Wave Feminism Forgot the Single Woman Rachel F
    Hofstra Law Review Volume 33 | Issue 1 Article 5 2004 How Second-Wave Feminism Forgot the Single Woman Rachel F. Moran Follow this and additional works at: http://scholarlycommons.law.hofstra.edu/hlr Part of the Law Commons Recommended Citation Moran, Rachel F. (2004) "How Second-Wave Feminism Forgot the Single Woman," Hofstra Law Review: Vol. 33: Iss. 1, Article 5. Available at: http://scholarlycommons.law.hofstra.edu/hlr/vol33/iss1/5 This document is brought to you for free and open access by Scholarly Commons at Hofstra Law. It has been accepted for inclusion in Hofstra Law Review by an authorized administrator of Scholarly Commons at Hofstra Law. For more information, please contact [email protected]. Moran: How Second-Wave Feminism Forgot the Single Woman HOW SECOND-WAVE FEMINISM FORGOT THE SINGLE WOMAN Rachel F. Moran* I cannot imagine a feminist evolution leading to radicalchange in the private/politicalrealm of gender that is not rooted in the conviction that all women's lives are important, that the lives of men cannot be understoodby burying the lives of women; and that to make visible the full meaning of women's experience, to reinterpretknowledge in terms of that experience, is now the most important task of thinking.1 America has always been a very married country. From early colonial times until quite recently, rates of marriage in our nation have been high-higher in fact than in Britain and western Europe.2 Only in 1960 did this pattern begin to change as American men and women married later or perhaps not at all.3 Because of the dominance of marriage in this country, permanently single people-whether male or female-have been not just statistical oddities but social conundrums.
    [Show full text]
  • The Top 7000+ Pop Songs of All-Time 1900-2017
    The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox
    [Show full text]
  • Women Singer-Songwriters As Exemplary Actors: the Music of Rape and Domestic Violence
    Women Singer-Songwriters as Exemplary Actors: The Music of Rape and Domestic Violence KATHANNE W. GREENE At the 2016 Oscars, Lady Gaga, joined onstage by fifty rape survivors, performed the song “Til It Happens to You.” The Oscar-nominated song by Lady Gaga and Diane Warren was written for The Hunting Ground, a documentary film about campus sexual assault. Over thirty-one million people viewed the Oscar performance, which brought some in the audience to tears, and the video on Vevo has received over twenty-nine million views with another twenty-eight million views on YouTube. The film, video, and performance are the result of a growing political and social movement by young high school and college women to force schools, universities, and colleges to vigorously respond to rape and sexual harassment on campus. In response to complaints filed by more and more young women, the Obama Administration and the Office of Civil Rights (OCR) in the Department Education began investigating claims that schools, colleges, and universities were not actively and adequately responding to claims of sexual assault and harassment despite passage of the Clery Act of 1990. The Clery Act requires colleges and universities to report data on crime on campus, provide support and accommodations to survivors, and establish written policies and procedures for the handling of campus crime.1 Since 2011, the OCR has expanded its efforts to address sexual assault on campuses as violations of Title IX of the Education Amendments of 1972 that prohibits sex discrimination
    [Show full text]
  • 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.
    [Show full text]
  • Songs by Artist
    Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co.
    [Show full text]
  • The Bangkok Five: Ordinary People Pg. 6
    A p r i l 1 3 , 2 0 0 6 Music, Movies and More The Bangkok Five: Ordinary People Pg. 6 Fullerton’s Nightlife Lights Up CSUF Ceramic Artist Showcases Work Entertainment News, Flashback Favorite, Movie Reviews and More APRI L 1 3 , 2 0 0INSIDE 6 [email protected] 2 THE BUZZ Paltrow and Chris Martin wel- personal details of Lopez’s life. comed their baby boy, named Lopez decided to halt the publi- Moses, last weekend. This is the cation by involving lawyers and INSIDE second child for the 33-year-old claiming he made an agreement CONTENTS actress and 29-year-old musi- not to do so. Noa is asking for $5 cian. From births to deaths … million to shut him and his details 02 Entertainment News D12 rapper Proof a.k.a. Deshaun up … New CD releases of the Holton, most notably known for week include country star, Toby Top 10 iPOD Downloads By Mahsa Khalilifar his close friendship with rapper Keith’s White Trash With Money, Daily Titan Columnist Eminem, was killed early this hitting big with his single “Bad 03 Flashback Favorite week, according to MTV News. Day,” which is the song featured Spring is in the air and with The shooting happened ironically when a contestant is kicked off on 04 The Music Scoop Part Sept Easter approaching, that means on Eight Mile Road in Detroit, Fox’s “American Idol” … Daniel the season is at its height, but for near where the famed movie based Powter’s self-titled Daniel Powter 06 The Bangkok Five: celebrities, it seems to mean it’s on the life of the two rappers took … Buckcherry’s 15… New DVD time for new babies … Maggie place.
    [Show full text]
  • Feminist Futures: Trauma, the Post-9/11 World and a Fourth Feminism? E
    Journal of International Women's Studies Volume 4 Issue 2 Harvesting our Strengths: Third Wave Article 5 Feminism and Women’s Studies Apr-2003 Feminist Futures: Trauma, the Post-9/11 World and a Fourth Feminism? E. Ann Kaplan Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Kaplan, E. Ann (2003). Feminist Futures: Trauma, the Post-9/11 World and a Fourth Feminism?. Journal of International Women's Studies, 4(2), 46-59. Available at: http://vc.bridgew.edu/jiws/vol4/iss2/5 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2003 Journal of International Women’s Studies. Feminist Futures: Trauma, the Post-9/11 World and a Fourth Feminism? By E. Ann Kaplani Abstract This article will engage with the possibilities of feminist futures. That there is no monolithic feminism is a good, it at times uncomfortable, fact: positions, actions and knowledge – constantly being contested, questioned, and debated – mean that feminism is alive and well, and always changing in accord with larger social, historical and political changes. However, the ways in which social and political conditions on both local and global levels are impacting on feminism must be addressed. The post-9/11 world is one in which we need to re-think what feminisms have achieved and how the various groups positioned under the term “feminisms” can move forward.
    [Show full text]
  • Reconfigured Traditions Taking Back—Taking Over
    CONFERENCE PLANNING COMMITTEE Helen Klebesadel, Director, UW System Women’s Studies Consortium Kathryn E. Kujawa, Technology Department, UW-Stout Nancy Worcester, Women’s Studies Outreach Coordinator, UW-Madison Laura McCullough, Department of Physics, UW-Stout Susan Turell, Women’s Studies Director, UW-Eau Claire Crystal Huang, Department of Social Science, UW-Stout Deanna Applehans, Stout Solutions • Continuing Education Margarita Hendrickson, UW-River Falls Susan McClelland, Stout Solutions • Continuing Education Sandy Stokes, UW-Green Bay Janet Polansky, Women’s Studies Director, UW-Stout Trista Glover, Vice-President, Stout Student Association Sue Hunt, Department of Art and Design, UW-Stout Eric Furtney, Women’s Studies student, UW-Stout Jan Hare, Department of Human Development, Family Living, and Bao Thao, Women’s Issues Organization, UW-Stout Women's Sphere: Community Education Services, UW-Stout Jana Reeg Steidinger, Memorial Library, UW-Stout Reconfigured Traditions REGISTRATION FORM Taking back—taking over WOMEN’S SPHERE: RECONFIGURED TRADITIONS Name ____________________________________________ University of Wisconsin asks that you voluntarily respond to the questions Engaging, redefining, Self-description ______________________________________ below. The cumulative demographic information will be used to enhance our Mailing Address (please check one - J home J business) programming efforts. and reconstructing __________________________________________________ Gender gendered space Street Address J Male J Female __________________________________________________
    [Show full text]
  • "We're in Charge of What We're Saying, What We Discuss, What We Want to Read": a Qualitative Inquiry Into Adolescent Girls' After-School Book Clubs
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Summer 2010 "We're in Charge of What We're Saying, What We Discuss, What We Want to Read": A Qualitative Inquiry Into Adolescent Girls' After-School Book Clubs Jie Y. Park University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Education Commons Recommended Citation Park, Jie Y., ""We're in Charge of What We're Saying, What We Discuss, What We Want to Read": A Qualitative Inquiry Into Adolescent Girls' After-School Book Clubs" (2010). Publicly Accessible Penn Dissertations. 195. https://repository.upenn.edu/edissertations/195 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/195 For more information, please contact [email protected]. "We're in Charge of What We're Saying, What We Discuss, What We Want to Read": A Qualitative Inquiry Into Adolescent Girls' After-School Book Clubs Abstract This qualitative study examines the ways in which 23 early adolescent and adolescent girls and their literacy teacher co-constructed, participated in, and experienced an after-school book club located in a school setting. The book club met biweekly to discuss a student-selected text (e.g., fiction, non-fiction, song lyrics) over the course of one academic year. Using ethnographic methods, I explored what happened in the after-school book club, and how the girls’ race, gender, and class identities informed their readings of texts and emerged in their talk. From the data I identified several critical themes and learnings. First, the girls understood, talked about, and practiced reading as deeply relational and embedded in human relationships.
    [Show full text]