Page 96 - Šolsko polje, XXXI, 2020, 5-6: Teaching Feminism, ed. Valerija Vendramin
P. 96
šolsko polje, letnik xxxi, številka 5–6
family in California, her parents were divorced and the lived in average
American circumstances”. The rapid success following her getting mar-
ried did not affect her feminist values:
She still talks about the same things, cares about the same issues and tries to pro-
mote feminism in every way possible. She was always the girl for change and by
marrying she found the ideal platform to continue loudly telling the world what
she really thinks. (CF–1)
In this framework, the word feminism is explicitly mentioned. The
text’s temporal dimension is such that it almost completely deals with the
present, that is, the past is mentioned only in connection with the conti-
nuity of expressing feminist attitudes. Feminism is discussed affirmative-
ly; it is almost presented as mainstream, something immanent and normal
for every woman. It is suggested that the advocates of feminism are bold
and self-conscious women.
Feminist Activism
The theme of feminist activism, unlike other thematic frameworks, pre-
sents feminism through much more serious and complex stories, regard-
less of whether they come from the area of social activism, academic com-
munity or culture.
The actors of this thematic framework are women such as Seyran
Ates, feminist, human rights activist and a female imam who founded
a mosque and says she is fighting against political Islam and patriarchy.
Another is the sociologist Sara R. Farris, who wrote the book In the Name
of Women’s Rights: The Rise of Femonationalism dealing with oriental-
ist theories and theories of gender, race and social reproduction, particular-
ly as they apply to the analysis of migrant women in Europe. Another arti-
cle featured the news that the activist, actress and producer Jelena Veljača,
who had co-organised the “Justice for little girls” protest demanding a sys-
tem of helping victims of sexual abuse, was a guest on Croatian television.
She had commented on the #MeToo movement and argued with the TV
host about the relationship of the producer Harvey Weinstein and actress
Salma Hayek after the actress had published a column in The New York
Times in which she broke a 14-year silence and spoke about the nature of
Weinstein’s sexual demands she had experienced while they were work-
ing together.
Under actors, I included feminist authorships or cult achievements
such as, for example, the Vienna premiere of an opera composed and di-
rected by women featuring a libretto based on the biographical novel by
Virginia Woolf Orlando: A Biography because the said novel questions
94
family in California, her parents were divorced and the lived in average
American circumstances”. The rapid success following her getting mar-
ried did not affect her feminist values:
She still talks about the same things, cares about the same issues and tries to pro-
mote feminism in every way possible. She was always the girl for change and by
marrying she found the ideal platform to continue loudly telling the world what
she really thinks. (CF–1)
In this framework, the word feminism is explicitly mentioned. The
text’s temporal dimension is such that it almost completely deals with the
present, that is, the past is mentioned only in connection with the conti-
nuity of expressing feminist attitudes. Feminism is discussed affirmative-
ly; it is almost presented as mainstream, something immanent and normal
for every woman. It is suggested that the advocates of feminism are bold
and self-conscious women.
Feminist Activism
The theme of feminist activism, unlike other thematic frameworks, pre-
sents feminism through much more serious and complex stories, regard-
less of whether they come from the area of social activism, academic com-
munity or culture.
The actors of this thematic framework are women such as Seyran
Ates, feminist, human rights activist and a female imam who founded
a mosque and says she is fighting against political Islam and patriarchy.
Another is the sociologist Sara R. Farris, who wrote the book In the Name
of Women’s Rights: The Rise of Femonationalism dealing with oriental-
ist theories and theories of gender, race and social reproduction, particular-
ly as they apply to the analysis of migrant women in Europe. Another arti-
cle featured the news that the activist, actress and producer Jelena Veljača,
who had co-organised the “Justice for little girls” protest demanding a sys-
tem of helping victims of sexual abuse, was a guest on Croatian television.
She had commented on the #MeToo movement and argued with the TV
host about the relationship of the producer Harvey Weinstein and actress
Salma Hayek after the actress had published a column in The New York
Times in which she broke a 14-year silence and spoke about the nature of
Weinstein’s sexual demands she had experienced while they were work-
ing together.
Under actors, I included feminist authorships or cult achievements
such as, for example, the Vienna premiere of an opera composed and di-
rected by women featuring a libretto based on the biographical novel by
Virginia Woolf Orlando: A Biography because the said novel questions
94
