Saturday, April 6, 2013

Everything You Wanted to Know About the World Wide Web As A Teaching And Learning Tool (1999)


Katie King with David Silver

Earlier versions of this paper were originally introduced as presentations for
the Mini-Center for Teaching Interdisciplinary Studies, May 10, 1999 and for
Academic Information Technology Services (now Office of Information
Technology), June 10, 1999

Introduction: Aspects Of The Web

  1. "teaching with technology": using the Web in teaching,
     teaching how to use the Web;
  2. research on the web: teaching how to research on Web, doing
     one's own research;
  3. cyberculture: teach how to use Web as a site for critical
     analysis of contemporary culture, analyzing the social
     forces constructing the Web oneself.

The Web as a Teaching and Learning Tool has three aspects: 1) the "teaching
with technology" part: that is, using the Web in one's own teaching, and also
teaching students to use the Web in one's classes; 2) the research part:
teaching students to use the Web as a research tool specifically, and using it
oneself for one's own research; 3) the cultural part: teaching students about
how the Web is part of contemporary culture and to use the Web as a site for
critical analysis, and to be critical oneself about this moment in history and
how the Web is an element of social forces as varied as the complexities of
globalization on the one hand, and world wide struggles for social justice on
the other.

I do research and teaching in a field I call "Feminism and Writing
Technologies." My department is Women's Studies. The Web is one of the sites
of my teaching and research and one of the tools I use in my research and
teaching. I'm concerned with the Web as a writing technology, defined
historically by the struggles for power it embodies, and I pay special
attention to struggles for social justice.

I teach one course that specifically focuses on the Web. It's called Women in
the Web: Ways of Writing in Historical Perspective. It's a course that looks
at issues of women and technology very broadly. But other courses I teach also
incorporate Web materials: Lesbian Communities, for example, uses Web
materials because international human rights movements now publish globally on
the Web; Nationalities, Sexualities and Global TV, among other things, studies
the media communities that create themselves in chat rooms, listservs and
commercial and fan Web sites; and Women, Art and Culture, an intro to women's
studies, is enriched by the new arts and artist sites on the Web, especially
those of Native American artists, or other artists engaged in social activism.

Now frankly, my ideas for ways to use the Web in classes far outstrip my
actual uses. I have gone through fits and spurts of ideas and implementation
of those ideas, and the amount of work and especially time involved are two of
the great limiting factors, but so are other factors such as access to
equipment and software (my own and my students'), resistance on the part of
students, colleagues and frankly at times myself, and a concern not to just
jump for new bells and whistles (fun as I think they are, truly!) but to be
sensible about what I get for the amount of time and work involved for both
myself, but also for my students. How useful are these new technologies
anyway, and aren't older technologies often just as good, or even better for
particular purposes or particular students or particular moments in my time?

Getting Started On The Web

   1. read, reread and re-reread all documentation. Like poetry,
      return to it after trying it out in the world;
   2. at first keep a little notebook beside the computer for
      notes and inspirations;
   3. give yourself 3-4 days to explore the Web full time and to
      see trial and error learning in action.

 I go through fits and starts using the Web. My first breakthrough was during
 my sabbatical, using the Web for my own research. To get going I needed
 several kinds of resources:

    * chunks of time I didn't have during the school year when everything was
      scheduled. Even more, I needed especially the mental space to get
      excited about something new, rather than feel overburdened by
      increasing demands -- to really have fun with the Web!
    * equipment and software, and getting that part together also took time:
      getting it, installing it and learning to use it, none of these
      elements was straightforward or easy; some of it cost money, although I
      also took advantage of all university resources I could, but during my
      sabbatical I was not at my own institution which made things more
      complicated;
    * education: including classes (I took ones at the university library to
      begin with), books (I bought stuff that looked good in the local
      bookstore), and friends and support people (all computer learning
      requires a great deal of oral transmission of information, official and
      unofficial).

 In my view, the most important element of learning stuff using new
 technologies is to value trial and error learning. I think we tend to
 associate trial and error learning with stages of learning we think we are
 somehow beyond. But trial and error learning is not about the acquisition of
 unsophisticated knowledge, although it does foreground elements of learning
 such as play, risk-taking, learning primarily by mistake, loss of control,
 and oral transmission of information. For some scholars these are familiar
 and even preferred forms of learning and knowledge-making, but frankly, for
 most, they are not. So for many of us, teachers, students and researchers,
 we are going to be learning in our non-preferred learning styles. And one
 consequence may be that we expand our repertoire of ways of learning. But
 support and coaching and time to make things fun are absolutely essential
 given the trial and error learning which is required. And trial and error
 learning, like games, does turn out to be FUN!

 Some concrete tips then: For yourselves or to share with students:

   1. read, and reread and re-reread all documentation. Being a literary
      sort, I think you have to read documentation like poetry: that is, you
      read it the first time for what you initially get out of it, then think
      about it, connect it to your life a bit, then reread it with those new
      insights guiding what seems important the second time around, look for
      new patterns of meaning, then again go off and really work to see that
      stuff in the world, or in this case, you play on the computer or the
      Web trying out what you think you understood, then re-reread, this time
      going: oh, yes! I recognize that I did that! Or that's what I should
      have done then! Or how do you do that thing I was trying to do.... and
      so on.

   2. keep a little notebook by the computer at first, to write down how you
      got to some great Web site, or what little software thing you needed to
      do something, or what phone number to call for support services, or
      what problem you had you need to ask someone for help about, or notes
      on great thoughts you had in the middle of some Web search. AND
      ESPECIALLY NOTE MISTAKES YOU MADE! They are among your best resources
      for learning. Let this little notebook be a kind of coach, and even
      write down encouraging words to read when you feel frustrated and want
      to break the computer.

   3. If at all possible, give yourself a block of time, something fairly
      substantial, say three or four days, in which each day all you do is
      work on the Web. You will make the best use of the learning curve this
      way: you will learn more each day, and the improvement will be
      dramatic. This will give you a big psychological boost and the concrete
      value of trial and error learning will be very visible this way.

Fantasizing How To Use The Web And The Intervention Of Reality: What To Do
When Reality Strikes!

   1. have a backup plan and create redundant formats for
      materials;
   2. recognize that you may learn how to do something in order
      to discover that it's not for you;
   3. notice that knowing how something is done is useful for
      encouraging others, and for evaluation and collaboration;
   4. don't assume that using the Web is an all or nothing
      thing;
   5. be sure to have as much fun as possible and to communicate
      how much fun it is;
   6. notice that doing something rather minimal may work very
      well and be enlivening.

You may be wondering why I'm not up here showing you Web sites, using computer
generated overheads, or better yet Power Point to make this presentation to
you. No question that doing any or all of these would make this a much nicer
presentation, easier to listen to, able to engage a greater number of learning
styles. It would be visually more interesting, and allow for more conceptual
absorption. So these are some of the great reasons to use the Web and other
new technologies in classes and in all presentations. They are really great
and truly make a difference!

BUT REALITY INTERVENES! And that is what I will be an example of over and over
here. In a way that is I think, hopeful but also realistic. I didn't do these
things because I didn't have the resources at home in my increasing outdated
home computer system. This summer I'm working at home on my next book, and
frankly I only had a certain amount of time to prepare to speak with you. So
speaking is largely it! But let me make an example of this situation, not just
justify it. All presentations using new technologies have to have several
redundant formats. In other words, you need to be able to do what you need to
do in each case if the technology fails or is unavailable. Because at some
point it will fail or be unavailable. And having alternate formats makes it
possible to be calm in the face of error: this is the Zen of trial and error
learning. When I first began using a word processor on a mainframe computer in
the late 70s early 80s, the computer system would crash every few minutes!
Literally every few minutes! You had to save sentence by sentence, or you
would lose everything, and you had to sit in front of a blank screen for a few
minutes at least every hour or so. At first I could hardly bear this, but over
time I got into the Zen of it: I made notes during the down times, I learned
to save unconsciously and automatically, I waited in lines for computers in
labs, and read and wrote drafts while waiting. And when other folks were
trashing their computers in rage, I got into intervening and teaching them how
to use the system, and how to think about what was happening and how to take
advantage of the situation. So I hope to do something like that today, without
the computer rage part.

Let me give another example of what I'm calling the intervention of reality: I
learned Power Point here a few summers ago, and I just loved it! It was so
much fun! The class was wonderful, the software was exciting, and I could
easily imagine all kinds of uses for it. BUT I have never again used it. I
tried to get the software for my workstation in my department, and at that
particular time my department didn't want to buy it. I thought of buying it
myself, and played with presentation possibilities but the research venues I
thought of using it in for presentations required a lot of lead time for
getting the technology and I'm not a long lead time person. The faculty
mentor, David Sicilia, who showed us how he uses Power Point on our campus,
was wonderful, and I am convinced by him that when you've got all the
equipment together it's as straightforward as any other way of preparing a
lecture, but after a while I realized that I don't really do lecturing
particularly in my classes. He does big lecture courses, but I really don't.
In other words, Power Point was fabulous....for someone else. At least right
then, even maybe right now. But learning Power Point was not a waste of time.
In fact, I'm sure I will be using Power Point sometime in the near future,
that future just hasn't come yet. I'll be using it when it becomes just a
little bit easier for me to consolidate the resources it requires. And until
then it matters to know what Power Point can do. For example, having taken the
class in Power Point made it possible for me to encourage one of my graduate
students using it for his presentations, and even for oral exams; made it
possible for me to evaluate the work of other students and scholars using
Power Point in research venues, and made it simple for me to collaborate
easily with another presenter in one presentation in which he had set up a
Power Point show for our joint work.

My big insight was that learning the new technologies for teaching and
research is not an all or nothing thing. Although I have to say, I have to
relearn this one over and over again. I admit that when I see the big projects
of some of my colleagues I'm more than a little bit envious, and I am tempted
to use their great work as another way of feeling inadequate in my own work
and teaching, and to feel burdened that oh, my god! now on top of everything I
already do, I've got to do this too! And my students often feel the same way,
and this gives me empathy for their concerns.

After I took this course a couple of summers ago, I was very fired up and got
going on a new course in which I did the most with the Web that I have so far.
And it was incredibly fun! I put up class Web sites, taught my students how to
make Web pages, included their Web pages with my own class pages, began a
research Web site, found lots of resources on the Web, and so on. I was able
to include teaching with technology, doing research myself and teaching my
students to do research on the Web, and to engage them in the kind of research
on the cultural elements of the Web that I wanted to work on. I was using the
Web everyday, was working on my own Web pages nearly everyday, was trying to
recruit the colleagues in my department, was trying to get my department to
get various resources to do a department Web page, and to think about our
curriculum and teaching in relation to Web materials. As the master teacher
for our graduate teaching assistants, I was teaching them how to use the Web,
was giving presentations about using the Web: in other words, I was all fired
up, devoted an amazing amount of time to Web stuff and was very excited and
pleased. All of it was really fun!

No one around me was quite so excited and pleased, except for a few students
who were fabulous and made me feel great about these projects. My colleagues
were vaguely interested, but only if it was no additional work or time, which
of course was impossible. The graduate students were willing, but our
department didn't have equipment for them to use. Then I got sick, and for a
year I had to put everything that wasn't just the absolute minimum work on
hold. Graduate students I had cultivated for their interest in Web work
drifted off to work with other folks who were continuing these concerns, I
couldn't keep up my Web sites, or keep up with teaching how to make Web pages
in all my classes as I had begun to do before. The only thing I did continue
during that period was during my lunch hour I did Web searches for sites I was
interested in, and printed out pages and URLs for each of my classes of
relevant materials. I rarely had time to do other than mention them in classes
and pass around printouts. I was embarrassed about how outdated my Web pages
were, and I still am and they still are. Go look at them and you will see. I
even forgot my webspinner password and for a long time was too embarrassed to
try and find out how to access webspinner again.

But I learned that even this minimal handing around Web sites was enlivening
for my classes. Students referred to it in their evaluations of the course,
and mentioned using Web materials in some of their class projects, even though
I didn't teach them about using them. More students were getting this kind of
teaching in other courses too, so I wasn't the only source of information for
them anyway. And my outdated Web research site was mentioned in a scholarly
resource analysis of my field, accurately calling it outdated, but encouraging
in its analysis of my intentions and the possibilities of sites like mine.

Including Web Materials In Stages, With Concerns For Different Populations, Of
Students, And With Care For Oneself

   1. be ready to begin all over again if necessary, remember
      it's like poetry!
   2. you may create an entire class for Web work from the
      ground up, or you may include a bit more each time you
      teach the class again;
   3. challenging students' assumptions may include both
      questioning and justifying learning new technologies,
      addressing social concerns for those who haven't thought
      about them and those who are paralyzed by them, and
      require lots of coaching, handholding, encouraging
      risk-taking, and rewarding mistakes;
   4. reward your own violated assumptions about learning,
      teaching and researching;
   5. be willing for everything to take more time than you
      thought, and rather than pay the price by working harder
      and harder, do things in stages, over a longer time frame;
   6. reward your own mistakes and share with others what was
      hard, but also talk about what was fun, modeling how to
      learn something new.

This last semester I began all over again, but this time I had to do so in a
much more scaled back version than I had begun with. It's been very
frustrating to not be doing as much as I was before, and I've had to think
about using Web resources in classes as a stage process instead. That is,
thinking about how to include a bit more each time I teach the class again,
rather than create it all from the ground up. In several classes I thought I
was going to do more than I actually got going, and had promised more than I
could actually deliver. This was embarrassing and disappointing, but not at
all a disaster. Sometimes it actually worked out to some advantage for some
students. It was not as good for the gung-ho students who were the ones who
enjoyed the Web materials the most in that first class I did, but frankly lots
of those students have gotten that in other classes now. It worked better for
the students who had more difficulty, phasing things in at a pace they could
match easily, even letting them ask for more before it was offered, so that
they felt like they were on top of the curve. Still, I was embarrassed when a
student said, "I thought we were going to learn more about using the computer
than we did." I had thought so too, but I just couldn't pull it all off last
semester.

Recently I gave a presentation on teaching with Web materials with an American
Studies graduate student, David Silver, who is now very experienced. We
discovered that we had very different student constituencies, and that this
mattered in our approaches to using Web materials. I teach in a women's
studies program, my students are not exclusively but largely women and to some
extent are a fairly multicultural population as well. Many of these students
are reluctant to use computer resources. They are commuters, they often have
less access to such equipment and software, or have little time given that
they have to work and / or have demanding family responsibilities. On top of
that, many women have had experiences of being pushed away from computer
materials and resources, have not been the market that such technology has
been manufactured for, have been socialized to avoid the kind of risk-taking
that the trial and error learning requires, and have learned a kind of
math-type anxiety in dealing with what they think of as technology. (I find it
amazing that my students don't consider sewing machines, for example, as
technology. One student said: "its only technology if its new and male!" For
her the Web was still new and male, although I think I got her to question
that too.) And beyond even that, my students are very concerned about what
they feel are social issues related to technology. Some may consider
technology, as I just said, "male," but most are concerned that not everyone
has access to new technologies and that this creates new forms of inequality.
They do not wish to spend large amounts of income on new commodities that
become outdated very quickly, and they feel that these concerns are
justifiably "feminist." Many think that feminists should, in a principled way,
boycott, reject or resist new technologies. For some this may also justify
resistances that are unconsciously psychological, that have to do with the
socialization of women. This is very much in contrast with the groups David
finds himself teaching: there many are drawn from technical fields, such as
engineering, most of the students are white men, and most are uncritically
pro-technology, progress and commerce. David's challenge is to introduce some
questioning, some doubts, some critical reflection on computers, the Web, the
social forces they are part of, and to focus some of the technical knowledge
and energy of the students on large cultural questions. He doesn't have to do
as much hand-holding or encouraging when it comes to teaching skills as I do.
He doesn't have to justify why we are using or studying new technologies at
all. Each of us feels like we are having to challenge the assumptions of our
students, and when we compared them, it seemed to be in diametrically opposite
ways.

While David and I probably have somewhat exaggeratedly divergent populations
of students, comprising the two polar extremes, still a cross-section of
students is going to include both of these kinds of populations and teaching
with and about technology will more and more require teaching strategies that
do both questioning and justifying learning new technologies, addressing
social concerns for those who haven't thought about them at all and those who
are sometimes virtually paralyzed by them, and that include a lot of coaching
and handholding as well as encouraging risk-taking and rewarding mistakes.

What one does for students, one must do for oneself as well: reward your own
violated assumptions about learning, teaching and researching, in order to
value the processes you are going through in including these materials. Notice
what actually happens rather than what you hoped would happen, and value that
too. Be willing for everything to take more time than you thought, and rather
than make yourself pay the price by working harder and harder, do things in
stages, over a longer time frame, and notice what you can learn about the
process by stretching it all out. Reward your own mistakes, and share with
others what was hard, but also talk about what was fun. Students will also
appreciate that you are modeling learning something new in front of them,
showing them by example how to learn something. My own favorite teachers were
always the ones willing to model learning and I am inspired by their example.

Some Teaching Activities

   1. one class Web pages;
   2. computer experiences reflection paper;
   3. cyberculture summit;
   4. students gather links and resources and evaluate for class
      use;
   5. students create class Web page.

For me one of the things that is the most fun is teaching students to make web
pages. This last semester in both my classes I did a single two and a half
hour html class. I gave them a handout, which I tried to make as
self-explanatory as possible, and tried to include all the information I could
about connecting so they could replicate what they had done when I wasn't
around and without notes from orally transmitted information. (This is much
harder to do than it sounds! I'm still not sure exactly how successful I am on
this.) With Ellen Borkowski's help we set up computer accounts for each
student in a class account, and made reservations for a computer lab. We all
arrived together, and when the students used the handout individually I went
around and consulted with them one on one. I encouraged them to help each
other, to sit in pairs and figure the handout out with another person and to
ask questions of each other. The most exciting moment, for them and for me, is
when they first use the web browser to see their Web page! Even the most
skeptical, jaded or resistant person finds it amazing to realize that this
screen is now on the Web. I designed the handout so that they are able to
finish it in less time than we have scheduled for the lab, and I encourage
them to use that time to find out more on the web itself about how to make Web
pages, looking for background color charts, for clip art, for other Web
tutorials. I hand out information from the computer center on peer courses, on
lab locations and hours, and other support services. I try to give them
resources to be as autonomous in their learning of the Web as possible, so
that they are in control of the pace and kind of learning. Some of the
students just take off like rockets from this point, and by the end of the
semester are virtually web masters! Others don't even go back to their Web
page again. In neither class have I made making a web page an actual graded
assignment. But they all, those off like rockets, and those who stop there,
say that this was one of the most important classes of the semester, although
it is important to different students for different reasons. Some think of it
purely instrumentally: they learned a new skill that they hope to cash in on.
Some use it as a way of understanding what work goes into making a Web page,
so that they can evaluate Web pages differently in the future as they use
them. Others think of their Web pages as ways of communicating with the world,
and feel published, and work to connect with others on the Web. Still others
think about the forms of activism the Web makes possible, and engage with such
activism. Some start off gung-ho and encounter difficulties and limits of
time, money and equipment, and notice and talk about those. Personally, I
consider all of these consequences to be valuable, and although I understand
teachers who, including such materials, also require products for grades, I've
found for my own resistant population, that leaving that all up in the air,
makes the learning less stressful and more fun, and this is what I'm
emphasizing myself.

Even before learning the Web pages, in the Women in the Web course I had
students write a short paper, "Reflections on computer experiences." I
explained, "Say what you know how to do, what you've had troubles with and
why, what's fun, what isn't fun, what you refuse to do and why, what you love
and why, what equipment you have access to, and what you wish you could do." I
thought of this as a mini-survey, gathering information on the students I
would use to plan activities and discussions. I was unprepared for how much
they took this assignment to heart, what personal stories they told, and the
sophistication of their reflections on these experiences, needs and interests.
All of the papers were emotionally moving, and I asked students if they would
consent to our collecting the papers in a folder, so that others in the class
could read them. They did consent. I would do this exercise again, and would
like to think more about how to follow up this paper with activities that
build on it.

When I did the presentation with David Silver he had a class activity that I
haven't tried out yet but am excited to. He analyzed his class in terms of
disciplines and mind sets, and made a list of the groups he saw in the class,
from engineers and business majors, to a final category he called and students
self-described as "freaks." He had them put themselves into these groups and
each group met to come up with what they thought were the most important
issues relating to cyberculture and contemporary social concerns. Each group
then gave a mini-presentation to the class about what these issues were and
why they were important to their group and to the class as a whole. David
calls this activity the "Cyber Summit."

Finally I also want to suggest that class activities can be resources for
redesigning the course in subsequent semesters. Students can gather links and
evaluate Web sites for that term and for future versions of the course. They
can create a class Web page, that subsequent course versions can use and
elaborate. These are also ways of working in Web materials in stages, over
time, with less intensive labor on the teacher's part.

Some Readings

  1. Elizabeth Castro. 1997. HTML for the World Wide Web. Peachpit. (find
     latest edition.)
  2. Tim Evans. 1996. Ten minute Guide to HTML. Que. (find latest edition.)
  3. Rye Senjen. 1996. The Internet for Women. Spinifex.
  4. Lynn Cherny, ed. 1996. Wired_Women: Gender & New Realities in Cyberspace.
     Seal.
  5. Melanie Stewart Millar. 1998. Cracking the Gender Code. Second Story.
  6. Richard J. Barnet. 1994. Global Dreams. Touchstone.
  7. Ziauddin Sarddar, ed. 1996. Cyberfutures: Culture and Politics. NYU.
  8. Steven G. Jones, ed. 1997. Virtual Culture: Identity and Communication.
     Sage.

Some URLs

   * Gender & Race in Media: Cyberspace
     www.uiowa.edu/~commstud/resources/GenderMedia/cyber.html
   * Women'Space (both web site and paper magazine in redundant formats)
     www.womenspace.ca/
   * Media and Communications Studies Site
     www.aber.ac.uk/~dgc/medmenu.html
   * Media History Project
     www.mediahistory.com
   * WomenWatch
     www.un.org/womenwatch/
   * Native Web
     www.nativeweb.org/
   * Dickinson Electronic Archives
     jefferson.village.virginia.edu/dickinson/
   * Katie's still outdated HomePage
     www.inform.umd.edu/WMST/wmstfac/kking/
   * Katie's syllabus Women in the Web:
     www.inform.umd.edu/WMST/400s/488Ks91.html

The Authors

 Katie King is an Associate Professor in the Women's Studies Department and
 Program and an Affiliate Faculty Member in Comparative Literature and
 American Studies at the University of Maryland. In Spring of 1999 she was a
 MITH Faculty Fellow. David Silver is a doctoral candidate in American
 Studies at the University of Maryland, the founder of the Resource Center
 for Cyberculture Studies, and during academic year 1999-2000 a graduate
 assistant for MITH. 

Thursday, April 4, 2013

feminist spirit


www.inform.umd.edu/WMST/wmstfac/kking/syl/spirit.html
pink zigzag

At the Root of this Longing: Reconciling a Spritual Hunger and a Feminist Thirst


WMST 468A Feminist Cultural Studies: Women and Spirituality
syllabus online at: http://www.inform.umd.edu/WMST/wmstfac/kking/syl/spiritsyl.html/

Professor: Katie King
Office: 2101F Woods HallUniversity of Maryland, College Park 
Office phone: 301.405.7294 (voice mail)
Email: kk15@umail.umd.edu
Homepage: http://www.inform.umd.edu/WMST/wmstfac/kking/ 

Course Description

Is feminism at odds with religion? How do religion and spirituality intertwine and separate? How do feminists connect to, critique, transform and remember spiritual experience and their places in world religions? What have been women's contributions to religion and spirituality historically? When feminists alter, shape, retell and interpret sacred scriptures, rituals and traditions, what happens? What meanings are kept and what discarded or reunderstood? These are some of the complicated questions we will explore in this course. The U.S. is one of the most religious countries in the world. How has that affected the course of feminisms here? What does U.S. feminism owe to religious and spiritual communities and histories? It will be through the interdisciplinary methods of feminist cultural studies that we will explore such issues and their connections to contemporary life and politics.

Required Texts (also on reserve at McKeldin Library)

(available at the University Book Center)  Also start looking through the "Religion" and/or "Spirituality" and "Women's" section in each bookstore you go to. Consider making a trip to a local College Park bookstore: Vertigo Books (on Rt. One; 7346 Baltimore Ave.; tel. 301.779.9300).
  • Each Saturday check out Religion in the Metro section of the Washington Post; you can find it online at: http://www.washingtonpost.com/wp-dyn/metro/religion
  • You will find a class resource, Linking Perspectives on Contemporary Expressions of Faith, online at: http://www.inform.umd.edu/WMST/wmstfac/kking/syl/spirit.html/
  • Carol Lee Flinders. 1998. At the Root of this Longing. Harper SanFrancisco
  • Rita M. Gross & Rosemary Radford Ruether. 2001. Religious Feminism and the Future of the Planet. Continuum
  • Arvind Sharma & Katherine K. Young, eds. 1999. Feminism and World Religions. SUNY
  • Rosemary Skinner Keller & Rosemary Radford Ruether, eds. 1995. In Our Own Voices: four centuries of American women's religious writing. Westminster John Knox
  • Debra Nussbaum Cohen. 2001. Celebrating Your New Jewish Daughter. Jewish Lights
  • Rosemary Edghill. 1994. Speak Daggers to Her in Bell, Book, and Murder. Forge
  • Starhawk. 1979, 1999. The Spiral Dance. Special 20th Anniversary Ed. Harper SanFrancisco
  • Anita Diamant. 1997. The Red Tent. Picador
  • Elisabeth Schussler Fiorenza, ed. 1993. Searching the Scriptures: a feminist introduction. Crossroad Herder

  •  
    All materials have been ordered for reserve at McKeldin (which doesn't mean they will necessarily be available immediately since some have to be located first). I suggest you be strategic about which books you buy, which you share with other students in class (please do this), and which you read on reserve. You are responsible for readings even if materials ordered for reserve are not yet there. Don't wait until the last minute to make arrangements for access to materials, because they will not all be simply obtainable. You may have to scout around a bit for access to some (especially if you don't buy them) and you will definitely have to coordinate with others in the class.

    Summary of Assignments

    (1) JOURNAL & SPIRITUAL FRIENDSHIPS; AD HOC WEEKLY ASSIGNMENTS.
    [All together will be 25% grade] DUE: weekly as assigned.
    * What sort of journal?
    All of us will keep journals during the class. They will not be graded, in fact, they will never be turned in and I will never ask to see them. We will be doing different kinds of journal writing in class, and you will be asked to either read from the journal, or to paraphrase some of the things you wrote about. I will pass around some journal exercises for us all to do at home too. Keeping a spiritual journal is one of the activities of the course. It could be in your regular class notebook, but I suggest you create something special to keep it in to honor your journey through the course.
    * What is a spiritual friendship?
    Quaker Trish Roberts says in her pamphlet More Than Equals: "Spiritual friendships are meetings with another person to talk about one's faith life, insights and spiritual discoveries." In this class you need to cultivate a friendship with at least one other person. Perhaps it will be only to help each other with assignments. Or perhaps you'll both choose to engage in this kind of meeting together to discuss spiritual insights and discoveries. I'll be happy to share Quaker pamphlets on spiritual friendship if you want that sort of guidance. Or you can create yourselves whatever kind of connection is meaningful to you two. Perhaps you'll want to share bits from your journals. There will be exercises in class and outside class for which you will need to work with this class friend.
    * What are these ad hoc assignments?
    These are given out a class or two before hand, to be typed and handed in class. These are not graded, but you do get points for them, and points will be deducted if they are late, even with a good excuse. Therefore you must always check with other students to make sure you are aware of any assignments given in class and should try to turn these in on time, or give to someone to turn in for you, if at all possible. Think of them like pop quizzes. The point of these assignments is to keep folks doing the work week by week, coming faithfully to class, and preparing well. You may want to keep copies for yourself to put into your journal.
     
  • The first ad hoc assignment is a list of your own violated assumptions. (1 pg typed.) Due 4 Sept
  • The second one includes choosing your journal and make a beginning collage in it. Due 6 Sept
  • Another one will be a reflection paper, in which you share writing with your spiritual friend. (2-3 pgs typed; 1-2 pgs of your writing, 1 pg/paragraph of response.) Due 25 Sept
  • Others will be assigned in class on an ad hoc basis. So come to class, find out what's due, keep up with the reading!

  • (2) EXPLORING MORE THAN ONE RELIGIOUS TRADITION OR SPIRITUALITY.
    [25% grade] DUE: 23 Oct
    We've come to our questions about women & spirituality from many different journeys. Is there a tradition that calls to you? Perhaps as a curiosity, perhaps as a wound, perhaps as a fear, perhaps as an inspiration, perhaps as a home. Choose two traditions you wish to explore in this class: a comfortable one and one that is in tension with that comfort, in tension in some way that seems important to explore. How can you put these two traditions into dialogue? As Rosemary Reuther says, think of it "as an intercultural journey which does not lend itself to a new synthesis, but rather a development of the ability to partially experience another religious way that can't be synthesized in a new union." This assignment can be done with a partner, perhaps your spiritual friend, although you should each write up a separate report. You can work on analysis together and should edit each other's work. Extra credit for a research visit to a faith community not your own / 6-8 pgs.
    (3) FEMINIST RECONSTRUCTIONS OF RELIGIONS, TRADITIONS, PRACTICES AND SPIRITUALITIES.
    [25% grade] DUE: 20 Nov
    Which feminist understandings, discoveries, transformations, creations of spirituality, faith traditions, religious and spiritual practices, sacred stories, forms of action for social justice speak out to you? Explore one or a grouping of several, engaging in research and perhaps also in other exploratory forms of knowledge and meaning-making. This assignment must be thoroughly grounded in and use course readings with footnotes and bibliography to show how materials are used. It can use creative as well as analytic forms: including personal autobiographical information, art work, dance and movement, writings of all sorts, whatever you can come up with. It may build upon and extend other assignments. It should figure out ways to include web-based information. Extra credit for a research visit to a faith community not your own (and not one you visited for Ass. #2). / 10-15 pgs. of writing; in itself fulfilling assignment or to accompany any additional creative forms.
    (4) LEARNING ANALYSIS.
    [25% grade] DUE: 11 Dec
    A synthetic assignment similar to a take home exam. Requires you to describe the argument of the course, report your experience of the course week by week within that argument, compare this class to other women's studies and interdisciplinary courses, and to analyze the materials of the course that mattered most to you. The assignment also allows you to give feedback about how well the course worked for you and ways it didn't. / 7-8 pgs.

     Reading and Writing Assignments

    This is an intensive reading course, so be sure you think about readings week to week rather than class to class, so that you can plan how to use your time intelligently. If, in an unusual circumstance, you find yourself unable to complete the reading for a particular class, be savvy and choose a piece you will have time for, and know that piece thoroughly. This will enable you to participate in discussion no matter what. Enjoy all this great stuff!
     

    INTRODUCTION TO THE FEMINIST CULTURAL STUDY OF WOMEN'S SPIRITUALITY

    Thursday 30 August—Introduction to Women's Spirituality and Interreligious Dialogue
    * Robin Deen Carnes & Sally Craig, "Women's Spirituality Today," Sacred Circles (1-13), handed out in class
    * Rita Gross & Rosemary Radford Ruether, "A Dialogue about Dialogue," Religious Feminism (5-21), handed out
    * Take more handouts on "spirituality" for next class reading
    * After class go to McKeldin Reserves and make reading plans
    * Make plans for access to the web; see Katie if you need helpTuesday 4 September—Braided Meanings of Spirituality: histories and ways of thinking
    * Finish both essays from last time, share all handouts with partner
    * Catherine Albanese, Introduction to American Spiritualities (1-15), handed out last class
    * Bil Gilbert, "In Good Spirits," Smithsonian (6/01, 22, 24, 26), handed out last class
    * Pema Chodron, "The Awakened Heart," Shambhala Sun (9/01, 32-37), handed out last class
    DUE: first ad hoc assignment: a list of your own violated assumptions / 1 pg. TYPED
    Thursday 6 September—Journeys, Journals, and Visions
    * Christina Baldwin, Chaps. 1 & 2 in Life's Companion: Journal Writing as a Spiritual Quest (3-31), handed out
    * Starhawk, Spiral, journal advice: read pages indexed under "Book of Shadows"
    * Begin Flinders, Longing (1-82)
    DUE: second ad hoc assignment: choose your journal and make beginning collage / 1 pg. TYPED
    Tuesday 11 September—Resisting Patriarchy, Reinhabiting the Sacred Feminine
    * Flinders, Longing (83-274)
    Thursday 13 September—Problematizing Power & Women in the Hindu Tradition
    * Finish Flinders, Longing (274-340)
    * In World Religions, Narayanan, "Brimming with Bhakti" (25-77)
    Tuesday 18 September—CANCELLED FOR ROSH HASHANAH
    Thursday 20 September—Insiders, Outsiders and Other's "Definitions of Key Terms"
    * Nayan Shah, "Sexuality, identity and the uses of history," Lotus of Another Color (113-132), handed out
    * Katherine Young, Introduction to World Religions (1-24)
    * In World Religions, Gross, "Revalorization Buddhism" (78-109)

    ROUTES TO DIALOGUE, CRITICAL SCHOLARSHIP AND ACTIVISM

    Tuesday 25 September—Lifestories
    * Start Religious Feminism & the Future of the Planet (1-104)
    DUE: ad hoc assignment: share writing on own roots & routes to dialogue with spiritual friend, turn in this with paragraph of response / 2-3 pg. TYPED; 1-2 writing, 1 responseThursday 27 September—CANCELLED FOR YOM KIPPUR
    Tuesday 2 October—Planetary Futures, Feminist Responses
    * Finish Religious Feminism (107-230)
    Thursday 4 October—Critiquing Religions, Critiquing Feminisms
    * In World Religions, Woo, "Confucianism & Feminism" (110-147)
    * In World Religions, Laughlin & Wong, "Feminism and/in Taoism" (148-178)
    Tuesday 9 October—Multicultural Worlds of Women and Religion
    * Voices: Intro & Chaps. 1 & 2 (1-108)
    Thursday 11 October—Roots of Feminisms in Religious Fundamentals
    * In World Religions, Radford Ruether, "Feminism in World Christianity" (214-247)
    * In World Religions, Hassan, "Feminism in Islam" (248-278)
    Tuesday 16 October—Listening to the Silences, Posing Vital Questions
    * Voices: Chaps. 3 & 4 (109-152)
    * In World Religions, Umansky, "Feminism in Judaism" (179-213)
    Thursday 18 October—Voices of Wisdom, Alternative Communities
    * Voices: Chaps. 8 & 9 (341-423)
    Tuesday 23 October—What I've learned from Dialogue and Exploration
    * Voices: Chap. 10 (425-467)
    DUE: Ass. #2: exploring more than one religious tradition or spirituality / 6-8 pg. TYPED

    SACRED AFFIRMATIONS AND HOLY CHALLENGES: FEMINIST RECONSTRUCTIONS

    Thursday 25 October—Welcoming Everyone
    * Begin Debra Cohen, Welcoming, Foreword, Ackn., Intro, Parts I & II (xi-38)Tuesday 30 October—Raise This Child to a Long Life
    * Finish Welcoming (41-227)
    Thursday 1 November—Transforming the Legacy of The Women's Bible
    * Searching: Preface, Intro, Chaps. 1-3 (ix-63)
    Tuesday 6 November—Us and the World of the First Century BCE
    * Searching: Chaps. 18 & 19 (272-310)
    Thursday 8 November—Rebirth of An Ancient Religion—I MAY BE AT ASA
    * Starhawk, Spiral, Intros, Chaps. 1-4 (ix-101)
    Tuesday 13 November—Making Up Traditions
    * Rosemary Edghill, Speak Daggers to Her
    Thursday 15 November—Creating Religion: Toward the Future
    * Starhawk, Spiral, Chaps. 5-7, 13 (102-153, 214-229) & whatever else you'd like to read
    Tuesday 20 November—Alternative Religious Practices, Histories, Contexts
    * Begin reading The Red Tent, as you have time; read it over Thanksgiving
    DUE: Ass. #3: feminist reconstructions of religions, traditions, spiritualities / 10-15 pgs. of writing TYPED; in itself fulfilling assignment or to accompany any additional creative forms.
    Thursday 22 November—CANCELLED FOR THANKSGIVING
    * Read in The Red Tent

    REVELATORY DISCOURSES: WOMEN'S COMMENTARIES AND MANIFESTATIONS

    Tuesday 27 November—What Happens Under the Red Tent?
    * Finish The Red TentThursday 29 November—The Truth Lies Elsewhere
    * Ellen Frankel, The Five Books of Miriam, Prologue, Intro, Chaps. 7-12 (xv-xxiii, 49-89), on reserve
    Tuesday 4 December—Shifting the Paradigm: whose Mary is this?
    * Searching: Chaps. 8, 21, 22 (117-129, 326-350)
    * "The Gospel of Mary," The Nag Hammadi Library (523-527), on reserve
    * King, "The Gospel of Mary Magdalene" in Searching the Scriptures Vol. II: A Feminist Commentary (601-634), on reserve
    Thursday 6 December—The Utterance that cannot be restrained
    * Searching: Chaps. 14, 16, 17 (205-224, 241-271)
    * "The Thunder: Perfect Mind," The Nag Hammadi Library (295-303), on reserve
    * McQuire, "Thunder, Perfect Mind" in Searching the Scriptures Vol. II: A Feminist Commentary (39-54), on reserve
    Tuesday 11 December—Where did this class take me?—LAST CLASS!
    DUE: learning analysis / 7-8 pgs TYPED
     

    LEARNING ANALYSIS for WMST 468A

    a synthetic evaluation of the course and your place in it; similar to a take-home final exam
    DUE: learning analysis / 7-8 pgs TYPED; compact is good!The learning analysis gives you an opportunity to talk about what the course has meant to you.  It includes:
    (1)  your description of the argument or story of the course.
    Examine the syllabus (course descriptions and requirements, the reading and writing assignments), WWW sites, notes from class, any freewrites, lists and preps for class, imagining this information as elements in an argument about the braided strands of spirituality, women, religion, social justice, transformations of traditions, histories of religions and feminisms.  What is the argument of the course?  What are the parts of this argument, 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.  Pay special attention to titles for sections and days in the Reading and Writing Assignment outline. Imagine them as if in a Table of Contents to a book and try to understand the argument of this "book" of the course.
    (2)  put yourself into this story.
    How are you a part of the argument of the course?  What was happening with you at different points in this argument?  What kind of knowledge did you make yourself in your analysis of readings, in your responses to others' work, in your investigations on the Web, and how do the insights you developed connect?  Use the lists you did for 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?  What effects did you have on the course, on your partners?  How did your responses to other people's work include you in the argument of the class?  What worked for you?  What didn't work for you?  What could have been better? Be sure to account for your absences from class, and talk about what you did to keep up and how you know that you got the stuff you missed.
    (3) put the class into the context of a feminist curriculum.
    How does this course connect with work from other women's studies courses? What are some similarities and differences? How does it allow you to look back over these kinds of courses, and what kind of sense does it help you make of them? Did you get tools from this class that will help you continue your feminist education/politics/life? How, why? What are the ideas for the future this class has helped you envision? What did you learn about your spiritual life? What did you learn about connecting to religion, tradition, spirit, feminism?
    (4)  discuss 4 readings and 2 web sites from the course connecting you to the class.
    Choose readings which meant a lot to you, and web sites of substance that helped you think and connect.  Demonstrate that you've kept up with the reading by showing how widely you've read in the course materials.  How do these readings connect to the argument of the class?  How did they affect you?  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 synthesizing--putting things together in new relationships, making a whole shape.  It requires imagination.  Have fun with it.  Good luck!
     

    feminist futures acros the media


    Women's Studies 498K
    Feminist Futures Across the Media
    feminism and cultural studies
    Dr. Katie King
    2101F Woods Hall
    Office telephone: 301.405.7294 (voice mail)
    E-mail: kk15@umail.umd.edu
    Homepage: http://www.inform.umd.edu/WMST/wmstfac/kking/
     
     
    Course Description

    What does it take to create new worlds? How is this the goal of feminists? Cultural studies enables feminists to chronicle women's lives as they are lived daily and to explore how cultural materials are the tools of feminist play, of feminist analysis and of feminist change. Elise Boulding tells us "the recovery of play and playfulness for adults is an important part of the recovery of the social imagination." She encourages us to see that "we are ready to enter into the active imagining of something that does not yet exist, the dreaming of the world as we would like it to be." In this class we will engage feminism and cultural studies as gateways to the imagining of worlds and futures across many media. TV, film, the internet, zines, science fiction and other writings of many kinds and in many forms of publication and enactment are some of these media. Marleen Barr coins the term "feminist fabulation" to describe "feminist fiction that offers us a world clearly and radically discontinuous from the patriarchal one we know, yet returns to confront that known patriarchal world in some cognitive way." Playfulness and new forms of knowledge and imagination are necessary to create feminist futures. Becoming familiar with skills and tools for such creation is the point of this course.

    Required Texts

    Required texts are available at the Student Union Bookstore and also on reserve at McKeldin Library. Also start looking through the "Women's" section in each bookstore you go to, and consider making a trip to a women's bookstore such as Lammas in D.C. (Dupont Circle Metro; 1607 17th St. NW; tel. 202.775.8218.) This is a lesson in feminism too!
    • Pamela Sargent, ed. 1995. Women of Wonder: The Contemporary Years (Vol. 2). Harcourt Brace.
    • Marleen S. Barr. 1993. Lost in Space. U. North Carolina.
    • Melanie Millar. 1998. Cracking the Gender Code. Second Story.
    • Karen Green and Tristan Taormino, eds. 1997. A Girl's Guide to Taking Over the World. St. Martin's.
    • Margaret Cavendish. 1992. The Blazing World and Other Writings. Penguin.
    • Octavia Butler. 1993. Parable of the Sower. Warner.
    • Julia Ecklar. 1995. Regenesis. Ace.
    • Elise Boulding. 1988. Building a Global Civic Culture.Syracuse.
    Summary of Assignments and Grading

    Since this class meets only once a week, the assumption is that you will spend MORE time than usual reading, writing and preparing for class. Ordinarily you should budget 3 hrs of prep time for each hr of class time, so think approximately 9 hrs prep time each week. (Some of which goes into graded assignments. The more you work on these consistently each week too the better you'll be able to budget your time conveniently.)
    1. Speculative Fiction Project Prospectus DUE 6 OCT [20% grade] Chose a partner to brainstorm with. Explore Barr's Lost in Space. Read around in it. What texts does she refer to that intrigue you? What would you like to read, view, consider? What could you connect across media? Chose one or two chapters in Barr to explore for your project. Chose a text she discusses in them, and then yourself make connections thematically and conceptually to other media: tv, film, web, internet, arts, zines, political theory, activisms. Each partner turn in a two pg. prospectus of a project that connects these. Project may be collaborative or individual.
    2. Speculative Fiction Project DUE 17 NOV [40% grade] Fifteen page written analysis based on project prospectus. Describe briefly in presentation in class. If collaborative, should be closer to twenty five pages.
    3. Learning Analysis DUE 8 DEC [40% grade] Eight to ten page written analysis of the argument of the course and your trajectory through it. Includes analysis of syllabus, of your project, of readings and of new understandings of media and feminist futures, political, artistic, activist.

    Reading and Writing Assignments

    1 Sept.--The Day Before the Revolution: an introduction to feminist futures What does envisioning the future have to do with the kinds of social change feminists care about? Which media represent futures you find important? How can you learn to engage with feminist futures in media you don't yet know and know how to like? How does this matter? * (handout in class) Le Guin, "The Day Before the Revolution" * make arrangements to see tv shows and films on cable, video and broadcast. Make tv and film buddies in class. Start watching shows like Xena, Star Trek: Voyager, Buffy the Vampire Slayer. What others would you suggest? * make arrangements for web access now. Some assignments will be on the web.
    8 Sept--Taking over the World Across the Media What are some of the media in which futures are represented? Which ones are friendly to feminism and why? Which ones seem unlikely for feminists envisioning futures and why? How can you tell? * Psych out Barr, Lost, Green, Girl's Guide and Sargent, Women Vol. 2. ("Psych out" means you examine the book itself, as an object, note its date of publication, who published it and what that means, read all prefatory material--Table of Contents, copyright info, acknowledgments, prefaces, introds, anything else of that sort--and all concluding material--author info, permissions, bibliographies, reference materials, index, anything else of that sort. For example, in Green, read everything in roman numerals and everything after p. 201. In Sargent, read everything up to p. 20, and p. 391 and after. In Barr, read everything up to p. 17 and 223 and after.) In Barr also read Chap. 1 "Thelma and Louise"; in Green and Sargent, pick one item from the table of contents to read. Be prepared to say why you chose that item and to discuss it in class.
    15 Sept--Octavia Butler Does Not Write About Zap Guns What expectations do you have about science fiction? How does Butler violate them? How does she use them? How does Barr discuss this? What does playing with your expectations have to do with creating feminist futures? Why would feminists talk about utopian futures? distopian futures? other descriptions? * Read Barr, Chap. 8 on Octavia Butler and Read Butler, Parable of the Sower * FOR NEXT WEEK! Make arrangements to see Xena well before hand! Check out web sites; links from my home page.
    22 Sept--What's Past is Not Passed: futures of the past, pasts of the future Some SF deliberately confuses us about whether some story is in the past or the future. Why? How does the past have to be changed in order to create new futures? How can we retell stories of the past in order to envision feminist possibility or disaster? How do we know when such pasts or futures are actually "feminist" and why does that matter? * Read McIntyre, "Of Mist, and Grass, and Sand" in Sargent, Women Vol. 1 (on reserve). Psych out Cavendish, Blazing (esp. read intro). Watch at least two episodes of Xena. You might like to see my video tapes of two episodes about Caesar, with a famous kiss between Xena & Gabrielle. These episodes are "The Quest" and "Destiny." Ask me about seeing them, maybe have a viewing party. Look up episode outlines at Xena web sites. See my web site for links. * KATIE WILL BE GIVING A TALK ABOUT XENA ON PANEL 2-4:30PM SATURDAY 25 SEPT ON CAMPUS. YOU ARE INVITED.
    29 Sept--Making Worlds: authors and activists What connections between peace and something one might call "feminism" are drawn by these two authors? What role does peace-making play in their feminist futures and in their expectations of women? * Read Cavendish, Blazing, pp. 119ff. (You might like to glance over the Epilogue first, p. 224). Read Boulding, "Women's Movements and Social Transformations" (from 1995 The Future: Images and Processes) and Appendix 2 from Boulding, Building a Global Civic Culture, "Imaging a World Without Weapons" (both on reserve).
    6 Oct--Expanding Our Sense of Time and History What kind of "learning community" (Boulding's term) do we need to develop to imagine feminist futures? How does Green's A Girl's Guide contribute to and / or challenge Boulding's assumptions about communities? * Psych out Boulding, Building (all up to p. 3; everything after p 167). Also read Chap. 1 and Epilogue. Read Green, section "Runaway Daughters." 1) Speculative Fiction Project Prospectus DUE
    13 Oct--Using the Mind in New Ways: problems of knowing What knowledges do different generations of feminists have that each doesn't know how to see or to value in the other? What knowledges do we have ourselves because we live in this particular historical moment that we don't know how to see or value? How does the social imagination change the future? * Read Boulding, Chaps, 5,6,7 and Green, section "Princess Phone." * Arrange to see Star Trek ahead of time.
    20 Oct--Shifting the Terms of Sexualities: adult play across media What is the role of play in creating feminist futures? What kinds of "play" do these materials engage? * Read Barr, Chap. 9 and Green, section "Slumber Party." Also Read Helford, "Kirk's Multiple Masculinities," in 1996 Enterprise Zones (in wmst lib). Watch at least two episodes or one film of something Star Trek. * Arrange to bookmark slash web sites before hand.
    27 Oct--Making Fun with the Future: playing is the most important thing we ever do in our lives Transgression and subversion are two forms of play that feminists and avant garde artists and cultural workers engage in. Fans and fandoms are worlds of play. Which of these kinds of play are you familiar with? Which interest you most? least? why? How does humor and joking fit into creating new worlds? * Read the "TREK" section in Penley's 1997 NASA / TREK and Part III: "Transgression and Identity" in Bacon-Smith, 1992 Enterprising Women (both in wmst lib). Read some slash fan fiction, on web, in wmst lib, wherever.
    3 Nov--Mirror, Mirroring: bodies across media The body is the site of many kinds of play in this postmodern historical moment. How do feminists understand this play? Which forms are feminist? How do you know? * Read Green, sections "Mirror, Mirror," "The Parent Trap," and "Dear Diary." Watch at least two episodes of Buffy: The Vampire Slayer on tv. [We may watch film "The Body Beautiful" in class, or perhaps have presentation about Jennie-cam on the internet.]
    10 Nov--A Future of Different Questions What tools does cultural studies offer for feminist analysis of new technologies? What sort of feminist emerges from or in opposition to digital culture? What futures do Cyberfeminists imagine? *Read Millar, Cracking the Gender Code.
    17 Nov--Futures Praxis: the craft and skills of creating futures During this class we will try to create a workshop similar to the one Boulding creates for imaging a world without weapons. What focus should our feminist futures world have? How should we transform Boulding's structure for our purposes? What kinds of questions and pasts will we ask folks to consider? How will we engage memories? How will we produce consequence mapping and world construction? What will be the Future's History? * Read Boulding, Chap 8. 2) Speculative Fiction Project DUE
    24 Nov--NO CLASS FOR THANKSGIVING
    1 Dec--Workshop on Feminist Futures Having created our workshop on feminist futures, today we will participate in the workshop ourselves. What's the difference between making the workshop and participating in it? * Read Ecklar, Regenesis. Also Read introductions to each volume of Sargent, Women of Wonder. Chose five short stories from the Contemporary Collection to read also.
    8 Dec--LAST DAY!--Sharing Our Experiences of Feminist Futures Be prepared to discuss your learning analysis with the class. What was the argument of the course as you analyzed it? Which readings did you focus on? How did you fit into the argument of the class? * Read five more stories from Sargent, Women Vol. 2. 3) Learning Analysis DUE

    technology stories


    Ohmann helps us think about the various kinds of storylines we tell about technologies:
    • All but the last storyline have drawbacks from a feminist point of view, but you still need to notice why even feminists might tell such stories:
    • Especially you want to notice which storylines you tend to use yourself, that is to say, how your assumptions position you inside one or more of these stories, and what you might want to do about that.
    • I am going to use tv in my examples of each of these "narratives":
    STORYLINE ONE: technological determinism:the narrative in which we elaborate the social consequences that follow inevitably upon "the seemingly accidental invention" of the tv
    a person using this storyline could say, for example:
    "TV caused middle-class families of the 50s to retreat from community life and intensify their nuclear focus huddled together around the warm glow of the living room tv set."another example is when a journalist says:
    "technologies acquire historical weight by reshaping the human condition."THE PROBLEM WITH THIS STORYLINE:
    it misleadingly suggests that consequences are inevitable, that technologies are singular, and that human intentions are incidental to technological inventionWHY PEOPLE MIGHT USE THIS STORYLINE:
    it offers a dramatic sense of discontinuity and significance, and makes it clear we live in historical flux.
    STORYLINE TWO: symptomatic technology:the narrative in which TV, invented on the social margins, is used by central forces informing society
    a person using this storyline could say, for example:
    "Our children have become either passive zombies or ravenous consumers of junk through their long hours of tv viewing."another example is when a progressive critic says:
    "Digital hype abut the AOL-Time Warner merger is a symptom of rapacious late capitalism’s death grip on every new market."THE PROBLEM WITH THIS STORYLINE:
    it misleadingly suggests that technological invention is marginal to other, more important great social forces which exploit such inventionWHY PEOPLE MIGHT USE THIS STORYLINE:
    it conveys great urgency for change, and sometimes accompanies a manifesto for how to accomplish such change, detailing good guys and bad guys.
    STORYLINE THREE: neutral technology:the narrative in which TV can be put to an amazing multitude of uses, oppresive and democratic, sexist and feminist, altruistic and profit-making.

    a person using this storyline could say, for example:
    "TV could either contribute to or work against teenage drinking; for every ad for drinking visible during the broadcast of athletic events, there is also some anti-drinking homily delivered by national and local stations and advertizers."another example is when an activist says:
    "Computers are not the problem, it is everyone not having access to them that is the concern."THE PROBLEM WITH THIS STORYLINE:
    it misleadingly suggests that technologies are not created within fields of power
    WHY PEOPLE MIGHT USE THIS STORYLINE:
    it might allow people who see an "other side," to instead de-escalate their rhetoric and reconsider with whom they want to make allies.
    all three storylines make invisibleprocesses of the production of the technology and their agents and intentions.instead we should think of technology as"itself a social process, saturated by the power relations around it, continually reshaped according to some people’s intentions." (Ohmann)all three storylines create mystifications
    • mystifications: make something appear natural, normal, acceptable, real, taken for granted.
    • Some grammatical and linguistic clues Ohmann points out, that show that a mystification is taking place:
    1. phrases like "the computer" "as if it were a single stable device."
    2. using such phrases as grammatical agents (subjects of sentences) and
    3. using phrases like "man," "the mind," and "the human condition."
    Example of such mystifications: (from Walter Ong, Orality and Literacy)
    "the alphabet or print or the computer enters the mind, producing new states of awareness there."The problem with this kind of sentence is that it is
    "implying that the technology somehow came before someone’s intention to enable some minds to do some things….[making it appear] that technologies interact with people or with ‘culture’ in global, undifferentiated ways…." (Ohmann)
    rather than remembering that:technology is "itself a social process, saturated by the power relations around it, continually reshaped according to some people’s intentions." (Ohmann)
    WE CAN CALL A FEMINIST DE-MYSTIFICATION:
    technology as frozen social relations
    "[where technologies serve] as an arena of interaction among classes, races, and other groups of unequal power." (Ohmann) "technology as frozen social relations" is a term used by feminist technoscience theorist Donna Haraway.
    such feminist demystifications allow us to create newly usable pasts (consider Marguerite Makes a Book) and alternative presents (consider Harcourt) and imagine possible futures(consider feminist SF, such as Suzette Hadin Elgin's Naïve Tongue); and to scrutinize pasts, presents and futures such as the ones we explore in Star Trek and Xena.