The military has been traditionally defined as a masculine institution; actually it may be the most prototypically masculine one of all social institutions. Therefore, whenever women soldiers appear in public, they seem to be standout since people tend to think that for women to participate, either the military has to be perceived as transform to make it more compatible with how women are, or women have to be perceived as changing in ways that make them more suited for military service. Many changes have occurred in the past several decades. This period has witnessed a mushrooming of attention to women’s contribution to the army. More and more women soldiers are allowed to actually fight on the frontline or engage in violent and dangerous tasks. It seems that society started to recognize female’s ability as protectors of their countries, giving them space to choose whatever they want, including stepping on battlefields. Many people perceive this phenomenon as a huge progress of feminism, while others cast doubts on it. Interested in this issue, I would like to focus on female soldiers, especially Chinese women soldiers, in my webevent.
In tandem with Amophrast, Colleen Ryanne, aybala05, and S. Yaeger
Continuing conversations for the year
-After the revamped Q-Forum during Customs Week we will have continuing conversations periodically through the year. These conversations will be open to the entire school, not just first years. There will be three larger conversations, one in the fall and two in the spring.
Working title not yet here: what it means to be queer here and not there
How do we translate a queer space into spaces that we are less comfortable in/feel less safe in/etc.?
The first post-Customs Week Q Forum discussion, it will cover issues such as coming out, the idea of being out and all that entails, and talking with people from home/family about queer life at Bryn Mawr. This conversation will take place the week before Fall Break by hall, and will be open to anyone. There will most likely be follow up events hosted by Rainbow Alliance during Out Week (week we get back from Fall Break).
Theoretical Hosts: HA's and CDAs
Several things inspired the idea for MC and my teach-in for this class. The thought of engaging all of our senses in Feminism is fascinating. Recalling the "This is What A Feminist Looks Like" movement that went around recently, we thought that perhaps we could go further than just looks. We got the idea to do something similar to the "This is What A Feminist Looks Like" movement, and ask people what they thought about the other senses. We chose to ask them what FEMINISM looks/tastes/smells/sounds/feels/emotionally feels like, as opposed to what A FEMINIST etc. This was because A) it would be more useful to explore feminsm as an ideal as opposed to the people who perscribe to it, and B) we were probably going to get a lot of flesh-related responses that were not going to be useful. In class we dealt a lot with taste and feminism, and for the Book of Salt we even did a small taste workshop; Anne even talked brieftly about how she had once started the class with a "sensory smorgasboard," an idea that caught us and brought us to the final project we presented. We decided to take the responses people gave us and bring them into class so that the class could experience feminism the way their peers were experiencing it.
To Begin. . .
As an avid TV junkie, I have stayed up many a night to watch re-runs of the shows “Teen Mom” and “16 & Pregnant.” I know you are probably rolling your eyes if you're not a fan of the “reality” TV phenomenon, but these shows have affected me in a way that other “reality” based shows never could. (...So understandable when thinking about their consistent lack of depth: there are not a multitude of thought-provoking conversations that follow the documentation of rainbow Jello shots and women pulling out other’s hair extensions). These shows have affected me partly because I am the product of unplanned pregnancy to a fifteen-year-old girl myself, and a subsequent adoption. I find the show to be a way to help me begin to understand what I meant to my birth mother at age fifteen, the prime time for being a devoted Frito Lay consumer and wearing exactly what the mannequin wears.
For our final web event, sekang, dchin and I reflected on the process of our class presentation and asked ourselves the questions we had asked others for the interviews we conducted.
*Both videos are long, so please allow time for loading before watching.
In the first video we reflect on our motivation for our class presentation, the process of interviewing strangers at Philadelphia train stations, the process of editing those interviews and how the product we created related back to the discussions we have had in Critical Feminist Studies this spring.
In the second video, we interview each other in the same style that we conducted the interviews for our class presentation. We then reflect on being asked these questions and our new perspectives on documentary filmmaking.
The Editing Process
[just speak nearby the borders of our minds] <-- link
This is a piece about borders. About communities. About movement and restrictions and ideologies. I wanted to interrogate how feminism is at times bounded by qualifiers, that is, to differentiate between French feminism and Third-World Feminism, and the ways in which those are both appropriate and constructed such that the result is constructed identities viewed as essential.
Among artists in the 20th and 21st century, explicit reference to prior works has become a mode of producing pieces. This may be in the form of collage or pastiche of some kind, and in video art, it is typically through found footage that these references can be made. Video Artists like Dara Birnbaum have spoken on the power of reappropriating footage, specifically, in her case, from popular media sources, but some of the logic remains in what I have done. Birnbaum wanted the agency to engage with the images being presented to her, to take ownership and subvert their meanings to create new meaning, asserting that she wanted to “talk back” to the media. Further, she asserts:
Alexandra Jane and Rebecca's video from the beginning of class of 4/24
I’m working to develop and create a storyboard for the video piece I want to produce for my final project, but I am wondering if the directive and narrative-reflective form of the storyboard. That is, this happens, then this, then this. And that is not the kind of video I want to make, nor does it reflect the way I do my work, so I’m not sure if I should try to conform to the process, that it might make my work better, or if I should just do as I typically do, which is to be a bit more organic in my process, although perhaps less deliberate?
Exploring Women in Violence
For a long time, the focus of domestic violenceand crime commitment has been put on men, who are believed as conductors of a vast majority of violence. bell hooks in her book Feminism is for Everybody (2000), yet suggests that women’s involvement in violent crime has increased over the past decade. I therefore want to explore women’s role in conducting violent crimes. What makes them commit violence? Is there a link exists between violence against women and women’s involvement in violence? Does it undermine the importance of feminism because women violence-perpetrators show the masculinity in their behaviors? This paper begins with a snapshot of violent women offenders in the US. The theories that have been proposed to explain women’s violent behaviors, as well as the factors that have been found to place women at-risk for violence, are subsequently reviewed. Finally, a discussion of women in violence and its connection with feminism and programs targeting violent behaviors among women offenders are highlighted.