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The new feminism, according to Walter, deals specifically with the experiences and desires of women below 35, those who take their new advantages and continuing disadvantages for granted. She appeals to such women not to lose their new advantages.
The feminist movement has become an established force on the American political and social scene. Both the small consciousness-raising group and the large, formal organization command the attention of our legislative bodies, media, and general public. Maren Lockwood Carden's new book is the first to look beyond feminist ideas and rhetoric to give a detailed study of the movement—its structure, membership, and history of the organizations that form a major part of present-day feminism. Fair, objective, and comprehensive, her study is based on participant observation and in-depth interviews with rank and file members and local and national leaders in seven representative cities during 1969-1971. In Dr. Carden's analysis, the movement has two divisions. First, the hundreds of small, informal "Women's Liberation" consciousness-raising and action groups. Second, the large, formally structured "Women's Rights" organizations like the National Organization for Women (NOW) and the Women's Equity Action League. For both types of organizations, Dr. Carden covers members' reasons for participation; organizational structure; strategies and actions; and the relationship between ideology and structure, including the attempts by many groups to work as "participatory democracies." She also discusses the development of the movement from the mid-sixties to the present, and evaluates the long-term prospects for achieving the objectives of the various new feminist groups. Anyone interested in organizations, personality and society, and social change will welcome this detailed description and history of a complex and rapidly changing social movement. Highly readable and free of technical jargon, The New Feminist Movement tells us what's been happening to women in the last decade, what they want now, and where they may be headed in the future.
A new way of thinking about data science and data ethics that is informed by the ideas of intersectional feminism. Today, data science is a form of power. It has been used to expose injustice, improve health outcomes, and topple governments. But it has also been used to discriminate, police, and surveil. This potential for good, on the one hand, and harm, on the other, makes it essential to ask: Data science by whom? Data science for whom? Data science with whose interests in mind? The narratives around big data and data science are overwhelmingly white, male, and techno-heroic. In Data Feminism, Catherine D'Ignazio and Lauren Klein present a new way of thinking about data science and data ethics—one that is informed by intersectional feminist thought. Illustrating data feminism in action, D'Ignazio and Klein show how challenges to the male/female binary can help challenge other hierarchical (and empirically wrong) classification systems. They explain how, for example, an understanding of emotion can expand our ideas about effective data visualization, and how the concept of invisible labor can expose the significant human efforts required by our automated systems. And they show why the data never, ever “speak for themselves.” Data Feminism offers strategies for data scientists seeking to learn how feminism can help them work toward justice, and for feminists who want to focus their efforts on the growing field of data science. But Data Feminism is about much more than gender. It is about power, about who has it and who doesn't, and about how those differentials of power can be challenged and changed.
Finalist for the 2011 ForeWord Book of the Year in the Women's Issues Category Crystals, Reiki, Tarot, Goddess worship—why do these New Age tokens and practices capture the imagination of so many women? How has New Age culture become even more appealing than feminism? And are the two mutually exclusive? By examining New Age practices from macrobiotics to goddess worship to Native rituals, Feminism's New Age: Gender, Appropriation, and the Afterlife of Essentialism seeks to answer these questions by examining white women's participation in this hugely popular spiritual movement. While most feminist approaches to the New Age phenomenon have simply dismissed its adherents for their politically problematic racial appropriation practices, Karyln Crowley looks honestly at the political shortcomings of New Age beliefs and practices while simultaneously reckoning with the affective, political, and cultural motivations which have prompted New Age women's individual and collective spiritualities. New Age spirituality is in fact the dynamic outgrowth of a long-standing tradition of women's social and political power expressed through religious writings, art, and public discourse, and is key to understanding contemporary women's history and religion's role in modern American culture alike. Crowley offers a new and provocative assessment of the significance of the New Age movement, seen through a feminist and critical race studies lens.
On the sixtieth anniversary of the Universal Declaration of Human Rights, feminists are at a critical juncture to re-envision and re-engage in a politics of human rights. Interdisciplinary feminist conversations among scholar-activists can both challenge and enrich new directions in feminism and human rights. The scholarly and activist writings that comprise this collection advance both research and critical conversations about feminism and human rights by revealing the transformative potential of a feminist human rights praxis that embraces both critique and collective justice. The editors' method has been to move beyond a wholesale dismissal of human rights so that the book may begin new dialogues that envision transnational, gender and antiracist social justice approaches. This book features work that engages academic critiques of human rights frameworks yet goes further by exploring the potential of human rights activism ‘from below’. These groundbreaking chapters and conversations provide evidence of the persistent challenges and the attendant possibilities inherent in feminist human rights activism and theorizing – they offer this book, underscoring the creative displays of grassroots resistance by women globally and affirming transnational feminist solidarity. This book was published as a special issue of the International Feminist Journal of Politics.
The beginning of this century has brought with it a host of assumptions about the newness of our technologies, globalized economies, and transnational media practices. Our own time is a period marked by experiences of fragmentation, sensation, and shock. The essays here are joined by a common concern to chart another side to modernity--precisely after the shock of the new--when the new ceases to be shocking, and when the extraordinary and the sensational become linked to the boring and the everyday. Patrice Petro explores how the mechanisms of modernism, German cinema, and feminist film theory have evolved, and she discusses the directions in which they are headed. Petro's essays--some published here for the first time--raise such questions as: What roles do television and other media play in film studies? What is the place of feminist film theory in our conceptions of film history? How is German film theory situated within international film theory? Rather than continue to sensationalize sensation, Aftershocks of the New aims to lower the volume of debates over the place of cinema within the culture of modernity. And it accomplishes this by locating them within a more complex matrix of contending sensibilities, voices, and impulses.
"Chris Bobel is a careful ethnographer, respectful of research participants, and while she clearly takes a stand on menstrual activism, she handily defends her proposition that feminism is `finding its balance between reliving its past and creating its future.' Bobel's work, which includes incisive analysis of how third-wave, activists incorporate and update tactics and strategies of the second wave, will be a welcome addition to the scholarship of feminism." Elizabeth Kissling, author of Capitalizing on the Curse: The Business of Menstruation --
The twentieth anniversary release of a groundbreaking feminist text: a powerful indictment of the current state of feminism, and a passionate call to arms Today, people of all genders strive to uphold the goals of feminism and proudly embrace the term, but the movement itself is often beset with confusion and questions. Does personal empowerment happen at the expense of politics? Is feminism for the few—or does it speak to the many as they bump up against daily injustices? What does it mean to say "the future is female"? In 2000, Jennifer Baumgardner and Amy Richards’s Manifesta set out to chronicle the feminism of their generation. They brilliantly revealed the snags in various hubs of the movement—from antipathy to the term itself to the hyped hatred of feminism’s imperfect spokespeople—and showed that these snags had not imperiled the feminist cause. The book went on to inspire a new generation of readers and has become a classic of contemporary feminist literature. In the decades since Manifesta was published, the world has changed in ways both promising and terrifying. This twentieth anniversary edition of Manifesta features an updated bibliography, timeline, and resources, as well as a new introduction by the authors. Expertly unpacking both early women’s history and the Third Wave feminism that seeded the active righteous intersectionality we see today, Manifesta remains an urgent and necessary tool to make sense of our past, present, and future.
Outspoken critic Jessa Crispin delivers a searing rejection of contemporary feminism . . . and a bracing manifesto for revolution. Are you a feminist? Do you believe women are human beings and that they deserve to be treated as such? That women deserve all the same rights and liberties bestowed upon men? If so, then you are a feminist . . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more. Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression. Praise for Jessa Crispin, and The Dead Ladies Project "I'd follow Jessa Crispin to the ends of the earth." --Kathryn Davis, author of Duplex "Read with caution . . . Crispin is funny, sexy, self-lacerating, and politically attuned, with unique slants on literary criticism, travel writing, and female journeys. No one crosses genres, borders, and proprieties with more panache." --Laura Kipnis, author of Men: Notes from an Ongoing Investigation "Very, very funny. . . . The whole book is packed with delightfully offbeat prose . . . as raw as it is sophisticated, as quirky as it is intense." --The Chicago Tribune