"Oh! Dogma (Up Yours!)": Surfing the Third Wave
Pourquoi ce travail est dans la base
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Notice bibliographique
Résumé
As the present moment/youngest generation of the feminist movement, the generation is suffering from Baby Sister Syndrome. While more and more young women are identifying as feministâthanks to the lingering influence of Riot Grrrl culture, and the spice-y girl ethos it helped usher inâboth the popular media and older generations within the women's movement itself simply cannot dismiss them fast enough. Third wave women in the arts are labeled Postfeminists, Do-me Feminists, and Bad Girls by the media, and their various activist statements are compared, inexplicably, alongside those of thirty, forty, one hundred years earlierâwith regard for neither their logic within the feminist continuum nor the extra-movement influences that have shaped third wave sensibilities. These are young women whose femaleness was informed by rock, by punk, by a do-it-yourself ethos in which anything went as long as you came out with what you felt was some real grasp on yourself and your power when you emerged. Third wave artists and musicians don't fit into a traditional feminist party line, largely because they understand that there never was one in the first place. Abandoning an academic tone in honor of the subject at hand, in this essay I address the influence of pop culture upon third wave feminism in hopes of putting some of this generation's unique perspectives into context. Blending autobiography and 80s pop and punk history, I also address the ways in which the pluralistic ideals of the era's constructionist feminism were well-suited to our pop education. This pluralism would give many of us a language through which we might put such guilty pleasures into perspective, defend the transformative appeal of heroines beyond The Earth Goddess, and even wade into the useful pool of essentialist thought without fear of being drowned there. Through this analysis, I hope to make steps toward helping bridge the gap between young feminist artists and their foremothers, as young women struggle to make their predecessors' victories and challenges relevant to their own lives.
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,010 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle