Bibliographic record
Abstract
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 feminist—thanks to the lingering influence of Riot Grrrl culture, and the spice-y girl ethos it helped usher in—both 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 earlier—with 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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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.007 | 0.007 |
| Scholarly communication | 0.004 | 0.003 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.004 |
| Insufficient payload (model declined to judge) | 0.008 | 0.002 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".