Pub Date : 2007-04-06DOI: 10.2979/NWS.2007.19.1.106
Ronni Armstead
This essay focuses on the music of the Black, all-female Cuban hip-hop group Las Krudas as a form of feminist activist art. Analyzing the group's lyrics and its members' self-conscious identification as feminists reveals insight into the role of music as a public forum that makes visible the social, sexual, and economic oppression of African-descended women in Cuban society.
{"title":"'Growing the Size of the Black Woman': Feminist Activism in Havana Hip Hop","authors":"Ronni Armstead","doi":"10.2979/NWS.2007.19.1.106","DOIUrl":"https://doi.org/10.2979/NWS.2007.19.1.106","url":null,"abstract":"This essay focuses on the music of the Black, all-female Cuban hip-hop group Las Krudas as a form of feminist activist art. Analyzing the group's lyrics and its members' self-conscious identification as feminists reveals insight into the role of music as a public forum that makes visible the social, sexual, and economic oppression of African-descended women in Cuban society.","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"19 1","pages":"106 - 117"},"PeriodicalIF":0.0,"publicationDate":"2007-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2007-04-06DOI: 10.2979/NWS.2007.19.1.156
E. Lauter
Not only does the phrase "feminist activist art" not appear in these three books about the visual and performing arts at the turn of the twenty-first century, but, except for a handful of essays in Goodman and de Gay and a scattering of images from the 1960s through the 1990s in McQuiston, feminist thought is not prominent and feminist artworks are not reproduced. While not overtly feminist, most, though not all, of the texts collected in these volumes, do show signs of having been influenced by feminist theory and feminist achievements in the arts but, in general, the feminist movement in art of the past 30 years is a ghostly presence. Although this lack of emphasis in books purporting to address art and social change is troubling, there are aspects of each book that could be useful to teachers and students of Women's Studies who want to consider activism in conjunction with both feminism and the practice of art. Lizbeth Goodman and Jane de Gay's The Routledge Reader in Politics and Performance is intended to complement Goodman's earlier anthology, Reader in Gender and Performance (1998), which directly and extensively addressed feminist approaches to performance. Billed as the first comprehensive collection of selected texts that range across politics, ideology, and performance, the reader begins with the writings of early twentiethcentury theater giants such as Artaud, Grotoski, Stanislavski, and Brecht. The book then traces seven currents in theater, performance art, cultural studies, postcolonial studies, sexuality, and gender studies through the mid-1990s (the book went to press in 1999). Goodman, Director of the Institute for New Media Performance Studies at the University of Surrey and author of Contemporary Feminist Theatres (1993), invited eight practitioner-scholars to edit and introduce the texts within thematic sections
{"title":"Feminist Activist Art: Losing the Edge?","authors":"E. Lauter","doi":"10.2979/NWS.2007.19.1.156","DOIUrl":"https://doi.org/10.2979/NWS.2007.19.1.156","url":null,"abstract":"Not only does the phrase \"feminist activist art\" not appear in these three books about the visual and performing arts at the turn of the twenty-first century, but, except for a handful of essays in Goodman and de Gay and a scattering of images from the 1960s through the 1990s in McQuiston, feminist thought is not prominent and feminist artworks are not reproduced. While not overtly feminist, most, though not all, of the texts collected in these volumes, do show signs of having been influenced by feminist theory and feminist achievements in the arts but, in general, the feminist movement in art of the past 30 years is a ghostly presence. Although this lack of emphasis in books purporting to address art and social change is troubling, there are aspects of each book that could be useful to teachers and students of Women's Studies who want to consider activism in conjunction with both feminism and the practice of art. Lizbeth Goodman and Jane de Gay's The Routledge Reader in Politics and Performance is intended to complement Goodman's earlier anthology, Reader in Gender and Performance (1998), which directly and extensively addressed feminist approaches to performance. Billed as the first comprehensive collection of selected texts that range across politics, ideology, and performance, the reader begins with the writings of early twentiethcentury theater giants such as Artaud, Grotoski, Stanislavski, and Brecht. The book then traces seven currents in theater, performance art, cultural studies, postcolonial studies, sexuality, and gender studies through the mid-1990s (the book went to press in 1999). Goodman, Director of the Institute for New Media Performance Studies at the University of Surrey and author of Contemporary Feminist Theatres (1993), invited eight practitioner-scholars to edit and introduce the texts within thematic sections","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"19 1","pages":"156 - 165"},"PeriodicalIF":0.0,"publicationDate":"2007-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2007-04-06DOI: 10.2979/NWS.2007.19.1.89
Rachel V. Kutz-Flamenbaum
This article examines feminist performance activism in the context of the contemporary anti-war movement. Using data gathered through ethnographic participant observation, formal and informal interviews, and content analysis from October 2002 through January 2005, this article describes and analyzes the use of performance activism by three women's anti-war groups as an activist repertoire used to challenge cultural assumptions about gender. This paper argues that these groups used a combination of norm-embracing and norm-challenging performance elements to integrate gender into the anti-war agenda and promote a feminist ideology among fellow protesters and suggests that different combinations were more or less effective.
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Pub Date : 2007-04-06DOI: 10.2979/NWS.2007.19.1.137
Beverly Naidus
Various approaches to bringing a feminist and activist perspective to teaching art are explored. The author draws on both the writings and work of other artists and educators and her own development as a feminist and socially engaged artist and teacher in order to highlight crucial elements of this perspective. Practical suggestions are presented for curricula and teaching methods that may be adapted to a wide variety of educational contexts. The author concludes that the feminist critique of patriarchy and multiple systems of oppression have profoundly shaped her art-making and teaching and that art pedagogy can provide an effective means of engaging those who have not previously included such a critique or perspective in their world view.
{"title":"Profile: Beverly Naidus's Feminist Activist Art Pedagogy: Unleashed and Engaged","authors":"Beverly Naidus","doi":"10.2979/NWS.2007.19.1.137","DOIUrl":"https://doi.org/10.2979/NWS.2007.19.1.137","url":null,"abstract":"Various approaches to bringing a feminist and activist perspective to teaching art are explored. The author draws on both the writings and work of other artists and educators and her own development as a feminist and socially engaged artist and teacher in order to highlight crucial elements of this perspective. Practical suggestions are presented for curricula and teaching methods that may be adapted to a wide variety of educational contexts. The author concludes that the feminist critique of patriarchy and multiple systems of oppression have profoundly shaped her art-making and teaching and that art pedagogy can provide an effective means of engaging those who have not previously included such a critique or perspective in their world view.","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"19 1","pages":"137 - 155"},"PeriodicalIF":0.0,"publicationDate":"2007-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2007-04-06DOI: 10.2979/NWS.2007.19.1.201
E. Birmingham
In fall 2003, NWSA Journal's special issue "Gender and Modernism Between the Wars, 1918-1939," Margaret McFadden noted in her editor's introduction, "Making the Modern," that at the Modernist Studies Association conference of 2003 only about 8 percent of the sessions dealt with women or gender. She draws from that evidence the conclusion that "gender questions have not yet made it to the academic mainstream of modernist studies" (ix). That same issue of the journal included the review essay, "Feminist Relocations of Gender and Modernism," by Bonnie Kime Scott. Scott reviewed seven books published from 1997 to 2001 in order to consider the intersections of gender and modernism. And since 2003, interest in modernity (and gender) has continued to fuel interdisciplinary scholarship and shape contemporary perceptions of the modern and how it was made. But despite the number of books on gender and modernity published in the past ten years, these books are underreviewed except in feminist journals like this one, suggesting that gender questions still are not making it into the mainstream of modernist studies, though modernist studies have found their way into the mainstream of feminist conversation. The three books with which this review concerns itself share a set of preoccupations with issues of not only gender and modernity but also of space (both literal and metaphoric) as a factor shaping and defining both. Liz Conor's book, The Spectacular Modern Woman, argues that Australian women who had the power to do so-usually white women-actively cultivated modern images of themselves to present in public spaces, reshaping notions of femininity by and against the figure of the "modern appearing woman." Lucy Fischer also considers the image of the modern woman, but in Designing Women: Cinema, Art Deco, and the Female Form, she focuses instead on the stylistic and aesthetic aspects of cinematic space
2003年秋天，在NWSA杂志的特刊“1918-1939年战争期间的性别与现代主义”中，玛格丽特·麦克法登在她的编辑引言“创造现代”中指出，在2003年的现代主义研究协会会议上，只有大约8%的会议涉及女性或性别。她从这些证据中得出结论，“性别问题还没有进入现代主义研究的学术主流”(ix)。同一期杂志包括了邦妮·金·斯科特(Bonnie Kime Scott)的评论文章《性别与现代主义的女权主义重新定位》(Feminist Relocations of gender and Modernism)。斯科特回顾了1997年至2001年间出版的七本书，以思考性别与现代主义的交集。自2003年以来，对现代性(和性别)的兴趣继续推动着跨学科的学术研究，并塑造了当代对现代性及其形成方式的看法。但是，尽管在过去的十年里出版了很多关于性别和现代性的书，但这些书除了在像这本这样的女权主义期刊上发表之外，都没有得到足够的评论，这表明性别问题仍然没有进入现代主义研究的主流，尽管现代主义研究已经进入了女性主义对话的主流。这三本评论所关注的书本身都有一系列的关注，不仅是性别和现代性的问题，还有空间(无论是字面上的还是隐喻上的)作为塑造和定义这两者的因素。利兹·康纳在《引人注目的现代女性》一书中认为，有能力这样做的澳大利亚女性——通常是白人女性——积极塑造自己在公共场所的现代形象，通过或反对“现代女性形象”来重塑女性气质的概念。露西·菲舍尔也考虑了现代女性的形象，但在《设计女性:电影、装饰艺术和女性形式》一书中，她关注的是电影空间的风格和美学方面
{"title":"Modernity and the Renegotiation of Gendered Space: A Review Essay","authors":"E. Birmingham","doi":"10.2979/NWS.2007.19.1.201","DOIUrl":"https://doi.org/10.2979/NWS.2007.19.1.201","url":null,"abstract":"In fall 2003, NWSA Journal's special issue \"Gender and Modernism Between the Wars, 1918-1939,\" Margaret McFadden noted in her editor's introduction, \"Making the Modern,\" that at the Modernist Studies Association conference of 2003 only about 8 percent of the sessions dealt with women or gender. She draws from that evidence the conclusion that \"gender questions have not yet made it to the academic mainstream of modernist studies\" (ix). That same issue of the journal included the review essay, \"Feminist Relocations of Gender and Modernism,\" by Bonnie Kime Scott. Scott reviewed seven books published from 1997 to 2001 in order to consider the intersections of gender and modernism. And since 2003, interest in modernity (and gender) has continued to fuel interdisciplinary scholarship and shape contemporary perceptions of the modern and how it was made. But despite the number of books on gender and modernity published in the past ten years, these books are underreviewed except in feminist journals like this one, suggesting that gender questions still are not making it into the mainstream of modernist studies, though modernist studies have found their way into the mainstream of feminist conversation. The three books with which this review concerns itself share a set of preoccupations with issues of not only gender and modernity but also of space (both literal and metaphoric) as a factor shaping and defining both. Liz Conor's book, The Spectacular Modern Woman, argues that Australian women who had the power to do so-usually white women-actively cultivated modern images of themselves to present in public spaces, reshaping notions of femininity by and against the figure of the \"modern appearing woman.\" Lucy Fischer also considers the image of the modern woman, but in Designing Women: Cinema, Art Deco, and the Female Form, she focuses instead on the stylistic and aesthetic aspects of cinematic space","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"19 1","pages":"201 - 210"},"PeriodicalIF":0.0,"publicationDate":"2007-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2007-04-06DOI: 10.2979/NWS.2007.19.1.226
Helen V. Emmitt
{"title":"Adrienne Rich: The Moment of Change (review)","authors":"Helen V. Emmitt","doi":"10.2979/NWS.2007.19.1.226","DOIUrl":"https://doi.org/10.2979/NWS.2007.19.1.226","url":null,"abstract":"","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"19 1","pages":"226 - 227"},"PeriodicalIF":0.0,"publicationDate":"2007-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2007-04-01DOI: 10.2979/NWS.2007.19.1.39
K. Raizada, Guerrilla Girls (Group of artists), DAM! : Dyke Action Machine (Organization), Toxic Titties (Group of artists)
In 1970, in an unsuspecting rural community in central California, Judy Chicago married feminist studies with art-making at Fresno State University, promising future generations of women new, expressive forms of art with activist aims. Since then, activist strategies and aesthetic concerns have metamorphosed as each new generation of feminist artists puts feminist theory into practice. Recently, I had the pleasure of engaging three feminist activist art groups-the Guerrilla Girls, Dyke Action Machine (DAM!), and the Toxic Titties-in a discussion regarding their practices. In this interview, the women addressed their methodologies, the challenges each collective faces today, and the future of feminist activist art practices. For all three groups, a strong visual language, subversive wit, and collective identity serve as key weapons for their interventions into the worlds of art, politics, and the media, exposing domains where gender, racial, and sexual injustice still lurk. Of the three groups, the Guerrilla Girls has the longest history, bursting onto the art scene in the early 1980s. By that time, the headiness of the first wave of the feminist art movement was long gone; feminism was no longer "in," if it ever had been in commercial galleries and museums. Instead, the 1980s were characterized by record-breaking prices for works created by a select group of young, male art stars, effectively marginalizing the conceptual and activist practices that dominated the previous decade. And, despite years of feminist agitation, museums continued to organize large, group exhibitions of contemporary art with virtually no women artists represented. In June 1984, the Museum of Modern Art (MoMA) opened one such blockbuster exhibition in which only ten percent of the 169 artists chosen were women (Guerrilla Girls 1995, 13). The message was clear: the art world was still a male-dominated arena of culture. MoMA's gross oversight was the impetus for the Guerrilla Girls' most famous campaign on the streets of New York City, where the group surreptitiously plastered the walls, kiosks, and construction fences of SoHo and the East Village with provocative posters that exposed the sexist practices of the art world. In straightforward, bold, block letters, the posters questioned What do these artists have in common? and blatantly listed every prestigious art gallery that showed less than ten percent of women artists' work along with the names of the male artists whom the galleries represented (Guerrilla Girls 1995, 8) (Fig. 1). Over the ensuing two decades, the Guerrilla Girls have continued to unabashedly parry and thrust with the art world, wielding their sassy
1970年，在加州中部一个毫不知情的乡村社区，朱迪·芝加哥(Judy Chicago)在弗雷斯诺州立大学(Fresno State University)将女权主义研究与艺术创作结合起来，向未来几代女性承诺，将以激进主义为目标的新颖、富有表现力的艺术形式。从那时起，随着每一代新女性主义艺术家将女性主义理论付诸实践，活动家的策略和审美关注也发生了变化。最近，我很高兴地与三个女权主义激进艺术团体——游击队女孩、堤坝行动机器(DAM!)和有毒乳头——就他们的做法进行了讨论。在这次采访中，她们谈到了她们的方法，每个集体今天面临的挑战，以及女权主义活动家艺术实践的未来。对于这三个群体来说，强烈的视觉语言、颠覆性的智慧和集体认同是他们介入艺术、政治和媒体世界的关键武器，揭露了性别、种族和性别不公正的领域。在这三个组合中，“游击队女孩”的历史最悠久，于20世纪80年代初闯入艺术舞台。到那时，女权主义艺术运动第一波浪潮的狂热早已远去;女权主义不再“流行”，即使它曾经出现在商业画廊和博物馆里。相反，20世纪80年代的特点是，由一群精选的年轻男性艺术明星创作的作品价格破纪录，有效地边缘化了主导前十年的概念和激进主义实践。而且，尽管女权主义运动持续了多年，但博物馆仍在组织大型的当代艺术群展，几乎没有女性艺术家的代表。1984年6月，现代艺术博物馆(MoMA)举办了一场这样的轰动展览，169名入选艺术家中只有10%是女性(Guerrilla Girls 1995,13)。传达的信息很明确:艺术界仍然是男性主导的文化舞台。MoMA的严重疏忽是游击队女孩在纽约街头最著名的活动的动力，在那里，该组织秘密地在SoHo和东村的墙壁、亭和建筑围栏上贴满了挑衅性的海报，揭露了艺术界的性别歧视行为。这些海报用直白、粗体、大写的字体问:这些艺术家有什么共同之处?并公然列出了每一家展示女性艺术家作品少于10%的著名艺术画廊，以及画廊所代理的男性艺术家的名字(游击女孩1995,8)(图1)。在随后的20年里，游击女孩继续肆无忌惮地与艺术界进行派对和冲击，挥舞着她们的时髦
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Pub Date : 2007-04-01DOI: 10.2979/NWS.2007.19.1.181
M. Flanagan, S. Looui
In an era when new technology and media increasingly infiltrate all facets of our lives, and progress on gender, racial, and other forms of equity appears excruciatingly slow, now seems a critical time to examine new technologies and their potential value for feminist activism. Since its public emergence in the late 1980s, the internet has been simultaneously criticized as oppressive and heralded as empowering for different communities. In this review, we will examine some of the emerging forms that feminist activist art is taking in relation to the internet and consider how technology has contributed to the goals of feminist artists and activists. It is important to contextualize this review by considering the conflicted term "cyberfeminism" (Braidotti 1996; Gajjala 1999; Sollfrank 2002). Since the mid-1990s, the term cyberfeminism has been used to investigate the ways in which technology, especially new media and internet technology, and gender interact. Cyberfeminists investigate the celebratory yet contradictory nature of new technologies and work to determine methods of appropriation, intervention, or parallel practice to insert women's issues into the dominant technology discourse. While many women working with technology have regarded this term suspiciously, feminist activist artist Faith Wilding pointed to the possibilities and optimism inherent within it. In her influential article, "Where is Feminism in Cyberfeminism?" Wilding asserts that "cyberfeminists have the chance to create new formations of feminist theory and practice which address the complex new social conditions created by global technologies" (1 998). Prominent feminist theorist Rosi Braidotti noted that a central aim of cyberfeminism was the breakdown and disintegration of contemporary gender boundaries (1996). Cyberfeminism as a liberatory ideal has not yet achieved its potential, in part because of larger societal pressures surrounding the information technology fields. If a fundamental aim of cyberfeminism is to change and reorganize social and political realities by engaging technology to address gender issues, little progress has been achieved for women. In the United States, for instance, the dearth of women, especially women of color, in computer science and technology studies and professions has been described by researchers as a social justice issue (Wardle, Martin, and Clarke 2004). Female enrollment in information technology academic areas continues to decline, and the current gender imbalance in computing and new technology areas such as game and software development, hinders progress for women in social equity, equal access, and empowerment
在一个新技术和新媒体日益渗透到我们生活的方方面面，而性别、种族和其他形式的平等进展却极其缓慢的时代，现在似乎是审视新技术及其对女权主义运动潜在价值的关键时刻。自20世纪80年代末公开出现以来，互联网一直被批评为压迫性的，同时也被誉为赋予不同社区权力的。在这篇评论中，我们将研究女权主义活动家艺术与互联网相关的一些新兴形式，并考虑技术如何为女权主义艺术家和活动家的目标做出贡献。重要的是，通过考虑“网络女权主义”这一冲突术语，将这一评论置于背景中。Gajjala 1999;Sollfrank 2002)。自20世纪90年代中期以来，网络女权主义一词被用来研究技术，特别是新媒体和互联网技术与性别的相互作用方式。网络女权主义者研究新技术的庆祝性和矛盾性，并致力于确定挪用、干预或平行实践的方法，以将女性问题插入主流技术话语中。虽然许多从事技术工作的女性对这个词持怀疑态度，但女权主义活动家艺术家费斯·怀尔丁指出了它内在的可能性和乐观主义。在她颇具影响力的文章《网络女权主义中的女权主义在哪里?》Wilding断言，“网络女权主义者有机会创造女权主义理论和实践的新形态，以解决全球技术创造的复杂的新社会条件”(1998)。著名的女性主义理论家罗西·布雷多蒂(Rosi Braidotti)指出，网络女性主义的一个中心目标是打破和瓦解当代性别界限(1996)。网络女权主义作为一种解放理想尚未发挥其潜力，部分原因是围绕信息技术领域的更大的社会压力。如果网络女权主义的根本目标是通过利用技术解决性别问题来改变和重组社会和政治现实，那么女性的进步就微乎其微。例如，在美国，女性，特别是有色人种女性在计算机科学和技术研究和专业领域的缺乏被研究人员描述为社会正义问题(Wardle, Martin, and Clarke 2004)。信息技术学术领域的女性入学率持续下降，目前在计算和新技术领域(如游戏和软件开发)的性别失衡阻碍了女性在社会公平、平等机会和赋权方面的进步
{"title":"Rethinking the F Word: A Review of Activist Art on the Internet","authors":"M. Flanagan, S. Looui","doi":"10.2979/NWS.2007.19.1.181","DOIUrl":"https://doi.org/10.2979/NWS.2007.19.1.181","url":null,"abstract":"In an era when new technology and media increasingly infiltrate all facets of our lives, and progress on gender, racial, and other forms of equity appears excruciatingly slow, now seems a critical time to examine new technologies and their potential value for feminist activism. Since its public emergence in the late 1980s, the internet has been simultaneously criticized as oppressive and heralded as empowering for different communities. In this review, we will examine some of the emerging forms that feminist activist art is taking in relation to the internet and consider how technology has contributed to the goals of feminist artists and activists. It is important to contextualize this review by considering the conflicted term \"cyberfeminism\" (Braidotti 1996; Gajjala 1999; Sollfrank 2002). Since the mid-1990s, the term cyberfeminism has been used to investigate the ways in which technology, especially new media and internet technology, and gender interact. Cyberfeminists investigate the celebratory yet contradictory nature of new technologies and work to determine methods of appropriation, intervention, or parallel practice to insert women's issues into the dominant technology discourse. While many women working with technology have regarded this term suspiciously, feminist activist artist Faith Wilding pointed to the possibilities and optimism inherent within it. In her influential article, \"Where is Feminism in Cyberfeminism?\" Wilding asserts that \"cyberfeminists have the chance to create new formations of feminist theory and practice which address the complex new social conditions created by global technologies\" (1 998). Prominent feminist theorist Rosi Braidotti noted that a central aim of cyberfeminism was the breakdown and disintegration of contemporary gender boundaries (1996). Cyberfeminism as a liberatory ideal has not yet achieved its potential, in part because of larger societal pressures surrounding the information technology fields. If a fundamental aim of cyberfeminism is to change and reorganize social and political realities by engaging technology to address gender issues, little progress has been achieved for women. In the United States, for instance, the dearth of women, especially women of color, in computer science and technology studies and professions has been described by researchers as a social justice issue (Wardle, Martin, and Clarke 2004). Female enrollment in information technology academic areas continues to decline, and the current gender imbalance in computing and new technology areas such as game and software development, hinders progress for women in social equity, equal access, and empowerment","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"19 1","pages":"181 - 200"},"PeriodicalIF":0.0,"publicationDate":"2007-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The anti-prison movement in the United States is a growing activist front, partly because the numbers are so shocking and getting worse. It's hard to avoid beginning with the numbers for just that reason. For example, according to the Bureau of Justice Statistics, in 2001, there were 470 inmates for every 100,000 U.S. residents. Four years later, despite the surge of activism, in 2005, there were 488 inmates per 100,000 residents. Nationally there are now more than eight times as many women incarcerated in state and federal prisons and local jails than there were in 1980. That means there are approximately 200,000 incarcerated women in the United States. But if you count all forms of correctional supervision probation, parole, jail, and state and federal prison, more than one million women are now behind bars or under the control of the criminal justice system. Recently, the Real Cost of Prisons Project (RCPP) reported, "one out of every 109 women in America is incarcerated, on parole or probation." RCPP provides more numbers, figures showing us that incarceration in America is about race. These numbers are stunning and determinative: While African Americans make up 13% of the population, and 13% of the drug users in the United States, 35% of people arrested for drug-related crimes are African Americans, 55% of people convicted for drug-related
{"title":"Interrupted Life: Incarcerated Mothers in the United States","authors":"R. Solinger","doi":"10.2979/MER.2007.7.2.63","DOIUrl":"https://doi.org/10.2979/MER.2007.7.2.63","url":null,"abstract":"The anti-prison movement in the United States is a growing activist front, partly because the numbers are so shocking and getting worse. It's hard to avoid beginning with the numbers for just that reason. For example, according to the Bureau of Justice Statistics, in 2001, there were 470 inmates for every 100,000 U.S. residents. Four years later, despite the surge of activism, in 2005, there were 488 inmates per 100,000 residents. Nationally there are now more than eight times as many women incarcerated in state and federal prisons and local jails than there were in 1980. That means there are approximately 200,000 incarcerated women in the United States. But if you count all forms of correctional supervision probation, parole, jail, and state and federal prison, more than one million women are now behind bars or under the control of the criminal justice system. Recently, the Real Cost of Prisons Project (RCPP) reported, \"one out of every 109 women in America is incarcerated, on parole or probation.\" RCPP provides more numbers, figures showing us that incarceration in America is about race. These numbers are stunning and determinative: While African Americans make up 13% of the population, and 13% of the drug users in the United States, 35% of people arrested for drug-related crimes are African Americans, 55% of people convicted for drug-related","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"20 1","pages":"25 - 26"},"PeriodicalIF":0.0,"publicationDate":"2007-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69777234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Narrative of Power: Essays for an Endangered Century, and: Heart Politics Revisited, and: The Feminization of Racism: Promoting World Peace in America (review)","authors":"M. R. Sawyer","doi":"10.1353/NWSA.2006.0060","DOIUrl":"https://doi.org/10.1353/NWSA.2006.0060","url":null,"abstract":"","PeriodicalId":88071,"journal":{"name":"NWSA journal : a publication of the National Women's Studies Association","volume":"18 1","pages":"206 - 210"},"PeriodicalIF":0.0,"publicationDate":"2006-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NWSA.2006.0060","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66454649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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