Category: Women’s & gender studies

The final paper assignment for this course is to choose a Native woman, either from class or your own personal interest, and prepare a 5-to-10-page research paper about this person, who they are, and how their work enforces tribal sovereignty.
You are required to use at least three sources that are either books, primary source interviews, or online journals. If you are unfamiliar with using books and journals, please check out the Healey library page https://www.umb.edu/library/ and contact me or the folks at Healey library if you need assistance with finding materials.
Please submit a 12 point font, double-spaced word document, including subtitles and page numbers.
Included in the paper should be a properly formatted reference list, with at least five sources. Please use the APA style guide for formatting.
I have selected already who the paper will be on and wrote a proposal already to get my topic accepted so I will attach my proposal and it will also have the sources you need to cite properly in the final paper using apa.
make sure not to use AI as this teacher is very particular about AI use or any plagiarism and is very strict and uses AI checkers.

Respond to two classmates posts must be at least 100 words in length to each response and demonstrate critical thinking, engagement with course material, and a meaningful attempt to engage in discourse.

Week Four Discussion.
Prior to beginning work on this discussion forum, read Simone de Beauvoir: An InterviewLinks to an external site.. Watch Judy ChicagoLinks to an external site(https://fod-infobase-com.eu1.proxy.openathens.net/p_ViewVideo.aspx?xtid=9054&loid=562369).. Also review Carrie Mae WeemsLinks to an external site(https://carriemaeweems.net/)., Joy HarjoLinks to an external site(https://www.joyharjo.com/)., and Maya Lin Studio(https://www.mayalinstudio.com/).
Option 1: Discussion Question: The Intersection of Art and Social Change
This week, we will focus on the four key creative women featured in the overview, resources and instructor guidance: Simone de Beauvoir (1908-1986), Margaret Walker (1915-1998), Georgia O’Keeffe (1887-1986), and Judy Chicago (b. 1939).  These women, like so many others from the midpoint of the 20th century on, were at the forefront of innovations and modernism, creating works that not only reflected the changing culture, but served as catalysts for more change.
Focusing on at least two of the four key women, discuss how they contributed to culture and social change.  Also, consider how these women represent some of the dynamic changes in gender and cultural identity during this period. In sum, your response should address the ways women’s art and social movements intersect in the second half of the 20th century. To support your discussion, use examples of their work, quotes from their own words in interviews, as well as claims by others regarding the significance of these key women.
Note on multimedia: to make our forum more manageable, use only one image or clip per post and select “medium” size from the options. Not to limit, but make our thread a bit more manageable, so we can see and discuss it all. Relate the multimedia to your text and explain why you are using it.
Note: Attach Margaret Walker interview to the discussion prompt or announcement
OPTION 2: Radical Feminist Art
In the 1950s Simone de Beauvoir established the theoretical basis for the so-called Second Wave of feminism which flourished throughout the 60s and found expression in the work of women artists especially in the 70s and 80s. For more on these ideas, check out my Week 4 Instructor Guidance.
For this discussion find a woman artist from the 1970s and 80s (other than Judy Chicago, who you will write about in your Journal) who highlighted feminist issues in her work. You may choose a novelist, poet, playwright, painter, sculptor, dancer, musician, composer, or performance artist. Post a literary text, visual image, multimedia (audio or visual) that represents her work. Explain how her art highlights feminist issues raised by the work of de Beauvoir.

Week Four Discussion.
Prior to beginning work on this discussion forum, read Simone de Beauvoir: An InterviewLinks to an external site.. Watch Judy ChicagoLinks to an external site(https://fod-infobase-com.eu1.proxy.openathens.net/p_ViewVideo.aspx?xtid=9054&loid=562369).. Also review Carrie Mae WeemsLinks to an external site(https://carriemaeweems.net/)., Joy HarjoLinks to an external site(https://www.joyharjo.com/)., and Maya Lin Studio(https://www.mayalinstudio.com/).
Option 1: Discussion Question: The Intersection of Art and Social Change
This week, we will focus on the four key creative women featured in the overview, resources and instructor guidance: Simone de Beauvoir (1908-1986), Margaret Walker (1915-1998), Georgia O’Keeffe (1887-1986), and Judy Chicago (b. 1939).  These women, like so many others from the midpoint of the 20th century on, were at the forefront of innovations and modernism, creating works that not only reflected the changing culture, but served as catalysts for more change.
Focusing on at least two of the four key women, discuss how they contributed to culture and social change.  Also, consider how these women represent some of the dynamic changes in gender and cultural identity during this period. In sum, your response should address the ways women’s art and social movements intersect in the second half of the 20th century. To support your discussion, use examples of their work, quotes from their own words in interviews, as well as claims by others regarding the significance of these key women.
Note on multimedia: to make our forum more manageable, use only one image or clip per post and select “medium” size from the options. Not to limit, but make our thread a bit more manageable, so we can see and discuss it all. Relate the multimedia to your text and explain why you are using it.
Note: Attach Margaret Walker interview to the discussion prompt or announcement
OPTION 2: Radical Feminist Art
In the 1950s Simone de Beauvoir established the theoretical basis for the so-called Second Wave of feminism which flourished throughout the 60s and found expression in the work of women artists especially in the 70s and 80s. For more on these ideas, check out my Week 4 Instructor Guidance.
For this discussion find a woman artist from the 1970s and 80s (other than Judy Chicago, who you will write about in your Journal) who highlighted feminist issues in her work. You may choose a novelist, poet, playwright, painter, sculptor, dancer, musician, composer, or performance artist. Post a literary text, visual image, multimedia (audio or visual) that represents her work. Explain how her art highlights feminist issues raised by the work of de Beauvoir.

Freedom and Control: Power Dynamics and Gender
Prior to beginning work on this discussion forum, watch Influential Mestiza Writer: Sor Juana Inés de la CruzLinks to an external site(https://digital-films-com.eu1.proxy.openathens.net/p_ViewVideo.aspx?xtid=37452&loid=49435)., Phillis WheatleyLinks to an external site.(https://digital-films-com.eu1.proxy.openathens.net/p_ViewVideo.aspx?xtid=44852&loid=171219), and The Story of Women and Art: Episode 2Links to an external site. Also read and listen to This Is the Amazing Story of Baroque Composer Barbara StrozziLinks to an external site.(https://www.classicfm.com/discover-music/barbara-strozzi/).
By Day 1 of the week, your instructor will post a discussion question. Respond to your instructor’s question with a first response, due on Day 3. In your first response, embed a multimedia piece, such as a short clip of a video, a link to an audio, or an image that supports or enhances the textual evidence in your response. Remember the multimedia enhances your discussion but does not replace it.
Week 2 Discussion Question: Freedom & Control: Power Structures and Gender Ideology
This week, let’s explore the dynamics of power structures in the lives of creative women during the Baroque Era (17th century) and later, as society—and the market for art—changed dramatically with the rise of the middle class in the 18th and early 19th centuries. Important to an understanding of power structures, is the concept of intersectionality which can be defined as the ways that interconnected social categories such as race, class, and gender interact to form experience and identity, especially as related to power. Some of the power structures were legal (women did not have equal rights under the law, for example); others were class and race biases (poet Phillis Wheatley was bought as a slave by her wealthy owners and Elizabeth Ratcliffe worked as a servant for her wealthy employers, for example). And then, there was the gender ideology that prescribed domestic roles for women, often with little or no education (discussed by Mary Wollstonecraft). And the church whose convents could provide creative spaces for women, but whose control could shift dramatically if women, like Sor Juana Ines de la Cruz, overstepped the intellectual and creative boundaries expected of them.
For this question, discuss several factors that discouraged or limited women’s creativity during the 17th and 18th centuries and into the early years of the 19th century. Be sure to consider how different social categories impacted their lives and work (for example, race and class). How did women challenge these power structures that attempted to discourage their creativity? How successful were they with these challenges? Use examples in text and multimedia to illustrate your discussion.
For this post make sure that you take some time to acquaint yourselves to some women composers of the Baroque Period and what little opportunities they had to obtain patronage, as in an institution like the church, a court or a theater. The few that did manage to make a career of composing against adversity had determination and some powerful patrons, and in some cases, a supportive family in addition to great talent, as with Barbara Strozzi of Venice.
Also don’t miss watching A. Vickery’s video on the “Story of Women in Art” Part II. Here you will see a visually stunning video of women artists and craftswomen from the 18th c. in Britain to the end of the 18th c. in France and Italy. This century was known for its great talent in male painters and architects, as in Gainsborough, Hogarth, Reynolds and Robert Adam. However, there were women of enormous talent in both the crafts, painting, sculpture, print making and fashion. How did some of them reach the heights of patronage and fashion to make their own livelihoods? Did they all need aristocratic patronage, as did Elizabeth Vigee Lebrun? How did some influence fashion design in fabrics, like Anna Garthwaite in London? What became of these women latter in their lives? See this video for the answers to these questions.

I would like to explain this order and emphasize my request.
1. this short article order is my first final paper main idea draft; if you work well, I will ask you to complete the second order for me. You will be paid for two orders !!
2. The information( in the 6th ) is about how this final paper needs to be completed and the requirements.
3. Based on the final essay requirement (in the 7th), please use the reading resources I provide, find the connections, and write down the key points, reason, and thesis in 250 words.
4. I will provide you with all the readings I needed you to read and analyze in the final requirement (on the 7th). Look carefully at the request!! It asked you to combine them to answer the question.
5. Please let me know if you have any questions!! I mentioned already If you can complete this order, you will be able to receive more fees for my second order.
6 . Here is the order 250 words content request. Briefly discuss the two research chapters that you propose to bring into conversation with each other to “answer” the final paper assignment question. Be sure to explain specifically, with reference to the chapters, what it is about these two research studies that will make for an interesting, important compare-contrast paper.
7. Here is the information that you need to read very carefully and use the right readings from:
Use two of the readings:
(1)Body Battlegrounds- Ch. 7: “Yelling and Pushing on the Bus: The Complexity of Black Girls’ Resistance”
by Stephanie Sears & Maxine Leeds Craig
(2)Scholarly readings -Sandibel Borges-“We have to do a lot of healing”: LGBTQ migrant Latinas resisting and healing from systemic violence
Your paper should be guided by a strong, specific thesis, one or two sentence statement that answers the question and states your main position; the rest of your paper then, supports your position and presents evidence for it from the readings. In a short paper like this, put your thesis/position in the introduction.
Be sure to define “embodied resistance” by referring to the “Introduction session in the readings of Body Battlegrounds, which is the same book above. Also, be sure to define any other concepts used in the readings that you are discussing (e.g., “transgressive Black femininity,” or “sexual citizenship,” or “monosexual,” etc.).
In your paper, support your position by comparing and contrasting the forms of embodied resistance analyzed in each research study and integrate good supporting evidence from the research to make your case.
write a persuasive essay that takes a position on this question: which form of embodied resistance that you have studied makes a more significant challenge to dominant gender and/or sexuality expectations that so many people experience as oppressive and exclusionary — and how does this form of embodied resistance do so?
Compare and contrast two forms of embodied resistance to demonstrate how the form you select”works” (what is it that the people actually challenge, do, create, say, etc.), and explain why you think it is more likely to help build a more just, more fair, and more livable society for people in the U.S. today.
You may choose one form over another or explain that in different ways and at different levels of society, each form of embodied resistance is important to challenging the status quo and creating change. If you think that both forms of embodied resistance have a role to play, you must explain specifically (and briefly) the “different ways” and “different levels.”
In your conclusion, answer this question: how does this form of embodied resistance (the one you favor as making more of a challenge to the status quo) present an example of “corporeal politics” that Timothy Snyder’s Lesson 13. argues is key to resisting autocracy in the U.S. today?

In this class we will cover a variety of different sexuality topics. Consider topics that spark your curiosity with an interest in learning more, either discussed in class or not. Explore this topic and write a 2-3 page paper describing the topic. Cite at least two peer reviewed research articles. The paper must be typed, double spaced, Times New Roman, 12-point font (references included and cited using APA 7 th edition format).
The topic to write about is on love and intimacy

1)After visiting an archive of your choice, you will compose a 1 page paper describing this experience of researching feminist archives. Please be sure to describe your findings, how they relate to what we have discussed in class, and what it was like to EXPERIENCE an archive. You should include at least two readings from the syllabus in the analysis. (Readings are attached). This essay should demonstrate your understanding of the lectures and assigned readings.
2)Create a informational poster that features some pictures (or screenshots) of the archive and describes your findings and how it relates to class.
https://www.archives.nyc/blog/2021/3/19/the-inspiring-women-archive
Link for Archive
This is a two parter assignment, one that composes an essay, and another that a “poster” should be made. That is why it is only two pages

Assignment: Write the short essay of “gender delight,” following the approach of poet and author Ross Gay.
I provide the reading for you in this request.
Please use the reading to provide a good short quote or brief paraphrase from the reading (from “preface” and”Infinity”) that helps you understand or explain the meaning of your “gender delight.”
In Gay’s writing, a delight certainly includes something that is “very pleasing,” but may also include sadness, or fear, or anger, or curiosity, or frustration, and it links to broader social issues, like oppression, freedom, and equality.
Here is the guide from my Professor:
Begin the essay with an experience or observation of “gender delight” from everyday life (i.e., something related to masculine, feminine, or non-binary forms of gender expression, or feminist or queer challenges to sex/gender norms, etc.). Then, as Ross Gay does, reflect on the meanings of the experience, observation, dream, or memory that you present. (If “delight” in some form doesn’t resonate with you, briefly this, and then focus on another aspect of an experience or observation of gender.)
When possible, comment on the ways that this gender delight is shaped by experiences and ideas having
to do with race, ethnicity, color, class, sexuality, culture, religion, age, disability, etc.
Don’t spend too much time describing a situation or an interaction. Instead spend most of your words “analyzing” or carefully looking at a few key aspects of the situation of gender delight and assessing its
meaning.

Assignment: Write the short essay of “gender delight,” following the approach of poet and author Ross Gay.
I provide the reading for you in this request.
Please use the reading to provide a good short quote or brief paraphrase from the reading (from “preface” and”Infinity”) that helps you understand or explain the meaning of your “gender delight.”
In Gay’s writing, a delight certainly includes something that is “very pleasing,” but may also include sadness, or fear, or anger, or curiosity, or frustration, and it links to broader social issues, like oppression, freedom, and equality.
Here is the guide from my Professor:
Begin the essay with an experience or observation of “gender delight” from everyday life (i.e., something related to masculine, feminine, or non-binary forms of gender expression, or feminist or queer challenges to sex/gender norms, etc.). Then, as Ross Gay does, reflect on the meanings of the experience, observation, dream, or memory that you present. (If “delight” in some form doesn’t resonate with you, briefly this, and then focus on another aspect of an experience or observation of gender.)
When possible, comment on the ways that this gender delight is shaped by experiences and ideas having
to do with race, ethnicity, color, class, sexuality, culture, religion, age, disability, etc.
Don’t spend too much time describing a situation or an interaction. Instead spend most of your words “analyzing” or carefully looking at a few key aspects of the situation of gender delight and assessing its
meaning.