Art and Direct Action, Fight Like a Girl
• finish Seely
| 185 | |
Vagina Monologues, Eve Ensler, Clothesline Project |
| 218 | |
Emily's List, Feminism, Mary McLeod Bethune | |
Building an Activist Kit 23 I | 233 |
sound bites, Business Ethics, natural food stores | |
| 247 | |
Alan Guttmacher Institute, Sweatshop Watch, UNFPA | |
| 263 | |
U.S. Census Bureau, Women's Sports Foundation, World Health Organization |
Some quotations from the reading:
pp. 185-6: "Why don't we hear more stories of the countless women who fight back in the streets, on our campuses, and in our homes? Why isn't the lead story about the women who apprehended her attacker and not about the woman who was brutally raped and murdered?... What would it be like for little girls if they grew up knowing their history as fighters? I wonder how this knowledge would have impacted our self-esteem when it came time to defend ourselves--physically but also emotionally. We need to reclaim our history as warriors, respect the fight within us, at the same time we seek peaceful resolution. We need to recognize and respect that women fight everyday for safety, self-determination, and freedom."
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Seizing Power from 'The Woman Warrior' : NPR
Jun 18, 2007 ... Author Diana Abu-Jaber felt empowered by The Woman Warrior: "Hong Kingston's voice edges between poetry and barely controlled rage ...
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B.R.A.V.E. People: dedicated to reducing violence
Toolkit to End Violence Against Women
Warrior Women: Indigenous Resistance and the Red Power Movement
p. 209: "Grass-roots activism is the cornerstone that serves as the foundation for political change. Not only do events like Take Back the Night create a safe place to heal; they also raise awareness about societal and governmental responsibility."
Art and Activism: NO to Violence Against Women
Suzanne Lacy: The Violence Series
• Webbing: Feminism, Political Activism/all the links
FEMINISM, POLITICAL ACTIVISM, AND FEMINIST APPROACHES TO CULTURE
Women's Studies / Women's Issues Resource Sites
Media and Communications Studies Site: Gender
T.V.Reed's Gender & Popular Culture Site
WomenWatch
Center for the Study of Human Rights
Human Rights Watch
Institute for Global Communication: PeaceNet, EcoNet, WomensNet, Anti-RacismNet
Sisterhood is Global Institute
Center for World Indigenous Studies
Women in Global Science and Technology
National Women's History Project
Feminist Bookstore Network
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WMST 250: Women, Art & Culture, Spring 2008
Professor: Katie King
Office: 2101F Woods Hall
Office phone: 301.405.7294 (voice mail)
Email: katking@umd.edu
Course blog: http://wac250spr08.blogspot.com/
(Links to section blogs in Resources on right side)
ASSIGNMENT FOUR: Learning Analysis
A synthetic evaluation of the course and your place in it; similar to a take-home final exam
DUE printed in class, posted to section blog (and to be presented in section and/or lecture)
TUESDAY 13 MAY
The learning analysis gives you an opportunity to talk about what the course has meant to you. It includes:
• your description of the "story" (or argument) of the course.
Examine the syllabus (course descriptions and requirements, the reading and writing assignments), notes from class, freewrites, journal entries, imagining this information as elements in a story about Women, Art and Culture, and the question What counts as Art? What is the story about? What are its parts, and how do they connect together? You will be trying to imagine how the course was constructed, and why it was put together in this particular way.
• put yourself into this story.
How are you a part of the story of the course? What was happening with you are different points in this story? What kind of knowledge did you make in your analysis of everyday life and creative project, your paper on assumptions about art and your freewritings, and how do they all connect? Use the freewrites you did in class, and your class notes to remember your thoughts, questions, ideas. How did these change? What changed them? What were your contributions to the class? If you missed any lectures or sections, account for your absences. What effects did you have on the course, on your group? How did your meetings in small group include you in the story of the class? What worked for you? What didn't work for you? How do you understand that? Connecting your experiences to the different sections of the course is the most important part here.
• discuss 3 readings from the course connecting you to the story of the class.
Choose readings which meant a lot to you. Demonstrate that you've kept up with the reading by showing how widely you've read in the books and the materials on reserve. The most important point here is to explore how these readings connect to the story of the class and how they affected you intellectually as well as in any other ways. What was meaningful and important about them? What did you learn from them? How did they change your relationship to the course, to ideas, issues, politics, feelings? You can talk about how your life was connected to these ideas and feelings. You can suggest relationships with other readings, other courses, other experiences.
This is an exercise in what is called synthesizing--putting things together in new relationships, making a whole shape. It requires imagination. Have fun with it. Good Luck!
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Throughout women glory history, Every PERSIAN / ARYAIAN Parsi women warriors have fought and led troops into battle.
Parsi / Aryaian Warrior Queens, Princesses and other Aryaian women warriors runs from the legendary Persia land marks.
Sadly, we know too little about most of these brave warrior ladies who stood up to the powerful male leaders of their day because history is written by the victors.
Mostly have been real warriors from the Steppes written and told about.
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