a week without class: of work ahead, and of meditations and celebrations....

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Tuesday 26 November, NO CLASS: WORK AHEAD DAY for Website & Learning Analysis

• Look at and download Instructions for the Learning Analysis: LOOK AT END OF SCHEDULE FOR INSTRUCTIONS TO SUBMIT!
• What are you curating on your website? How does it include what you have learned in this class? Could it be an on-going portfolio of your experiences?

• On the last day of class for the website you will turn in a screenshot or digital pic of your website main or Splash page, a drawing or screenshot of the structure of your site. You will give the url or web address, a few sentences about why you chose your platform and its best features for your purposes, and a bit about why you structured it as you did. 

Thursday 28 November, NO CLASS: THANKSGIVING BREAK 

Many meanings to Thanksgiving, this time and all times. In the midst of celebrations consider the histories of all entangled through these days....

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Workshop 2: Dynamics

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Tuesday 19 Nov & Thursday 21 Nov

Tuesday we will share our work poster session style: divide in two groups, and all move around talking to each other about work during the class time. Thursday we will have a conversation about what we learned, noticed, thought about, and draw from the last class presentations. Make notes after Tuesday so you can run the discussion yourselves on Thursday.

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graded assignments: paper, poster, learning analysis, logbook, prototyping

Five kinds of assignments are required in this class:

• a research paper with visual handout for workshop display (enough handout print-outs for all in class), • a research poster for workshop display, documented with digital pictures (hardcopy in class, electronic to be emailed), • a final learning analysis, • a logbook, • some techno-crafty prototyping activities, some done during class

The first three: paper, poster, learning analysis, allow you to position the work for the class in various frameworks, or knowledge worlds. In each of these you will work on research, analysis, and critical thinking. Some of this will be in traditional academic forms, some in emerging scholarly practices, but it is possible to combine these also with the techno-crafty delights cons have always shown off as well. And papers and poster projects may be be done with partners or individually, as you choose.

The logbook will help you organize your projects: when you started them, how many drafts you completed, who you worked with, where you are in what you have done, and what still needs to be done. It will be turned in four times during the semester (the first in time for early warning grades), and you won’t get credit for any assignments until the final version is turned in on the last day of class with the final version of the learning analysis. You can download a template for the logbook at: https://docs.google.com/file/d/0BzmKs1Fz7m9uWWVJQ25DSHZsYlU/edit

·       Workshop 2: Dynamics in Our Field of Women’s Studies 

For our second workshop you will create either a paper & handout or poster & pics (whichever you did not do previously) in order to explore how feminists remember, participate in, and analyze the dynamics in our field of women’s studies. What is its history? What ways of analyzing power are best? How do particular disciplines locate the central concerns of women’s studies? How do feminist scholars share the work they do? You will explore two class texts carefully, and chose EITHER • to analyze Hewitt’s book through the analysis (eyes, lens) of Berger’s The Intersectional Approach OR • to analyze Berger’s book through the analysis (eyes, lens) of Hewitt’s No Permanent Waves • Berger’s collection demonstrates paradigm shifts in our field. NOTICE that it explores how to think THROUGH feminisms ABOUT feminisms. Hewitt’s book demonstrates that history doesn’t stand still. NOTICE and ask, why do we keep remaking our feminist pasts? No matter which of these approaches you take, also NOTICE that you will need to do some additional research. ALSO NOTICE how useful the Transforming Scholarship book is for thinking about these issues from a personal perspective. You may want to include analysis from it in your project as well. You will also need to use the web to follow-up or look in greater detail at the kinds of feminisms displayed here, other ways of thinking about histories of feminism, and ways all of these are promoted in popular and scholarly media. Always make a point of connecting projects to class readings and lectures.

Presenting and discussing in workshop mode means that by attending and listening we will all benefit from the hard work of everyone. Notice that both sorts of projects in both workshops should be begun several weeks ahead of their due dates. Not only do you need this time to do the additional research required, but to get good grades you need to • write papers in at least three drafts, and • plan out posters carefully to demonstrate both the results of your research and also how you got to those results.

How to practice reframing as a kind of analysis will emerge out of mini-lectures and their resources, so attending class faithfully and taking good notes will make this work a lot easier. Lecture materials are displayed on the class website, to be reviewed at any time. In college courses ALWAYS use your projects to demonstrate how you uniquely put together, or synthesize, class readings, mini-lectures and discussion. Make a point of displaying that you are doing all the reading and attending all the classes. Doing this clearly and carefully will demonstrate that this is your own work, and ensure your credit for honesty and for real engagement with the course.

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WORKSHOP 2 NEXT WEEK! YOU SHOULD BE IN THE THICK OF IT!

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Tuesday 12 November, Coming together and pulling apart, which is which? Why care?
·       From the two sections of Berger you have not yet read, choose one section that interests you, and three (or more) articles from that section. NOTE DATES OF PUBLICATION!
·       LOOK UP THE THREE AUTHORS ON THE WEB and bring in some stories you can figure out about them as activist scholars.

What different sorts of intersectionality do each of the authors you chose work with? How would you describe the differences? How does it make their work as scholars or activists meaningful?

Thursday 14 November, Comparing epistemological projects
·       From the three sections of Hewitt, choose another section that interests you, and three (or more) articles from that section. NOTE DATES OF PUBLICATION!
·       LOOK UP THE THREE AUTHORS ON THE WEB and bring in some stories you can figure out about them as folks with epistemological projects. What are these?

What epistemological projects are happening in these articles? How can you tell? What intersectionalities do they each need to use?

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as a game? 
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freewrites & discussion

* Coming together and pulling apart, which is which? Why care?

* What different sorts of intersectionality do each of the authors you chose work with? How would you describe the differences? How does it make their work as scholars or activists meaningful?

* What epistemological projects are happening in these articles? How can you tell? What intersectionalities do they each need to use?

a quest: pairs & report

Map it out for Workshop 2!

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1) where does the quest begin? <Hewitt >> Berger or Berger >> Hewitt?>

2) who are your companions? <which books/authors most helpful here>

3) what attributes do you and your companions share? <skills, careabouts...>

4) how do these attributes shape the quest? <boundary objects, collectives, epistemological projects?>

5) looking ahead to the goal from where you are now: what can you

see so far along the way of the quest, about how feminists remember, participate in, and analyze the dynamics in our field of women’s studies. What is its history? What ways of analyzing power are best? How do particular disciplines locate the central concerns of women’s studies? How do feminist scholars share the work they do?

a quest: proto map

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image: http://www.wizards.com/dnd/article.aspx?x=dnd/4dmxp/20120209

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TUESDAY'S AGENDA:

MAKE NOTES ON:

1) work with collaborator? class partner plans to review your materials before next Tuesday.

2) from which collection's POV will you analyze the other collection?

3) what careabouts are you using for your hook in your project?

4) pull out to share: timelines & author packets

DISCUSS IN PAIRS:

5) are you thinking of each collection as =a collective, =an epistemological project, =as one or more boundary objects? come up with ideas about how to use each for your project

6) discuss timelines and author packets

7) reread description of Workshop 2 together: discuss, ask each other questions, consider if you have questions for the class as a whole

GOING AROUND THE CLASS:

8) what have you both discussed about collectives, epistemological projects, boundary objects?

9) show off your timelines and author packets and share what you learned from doing them.

10) ask questions of the class about workshop 2.

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OVER THE WEEKEND, BRING IN FOR TUESDAY:

We discussed in the last class where you need to be on Tuesday for Workshop 2 next week! 

=You should have figured out whether you are working with a collaborator or not.

=You should have figured out HOW you will figure out the Point of View (POV) of each collection! 
(possibilities and necessities: Editors' stated intentions; what the editor actually DOES as well as what they say they want to do; how the individual authors are grouped in sections and what that means; what the individual authors SAY and DO; how the collection WORKS AS A COLLECTIVE ENTERPRISE! that is to say, as an epistemological project! Use Davis to help you figure this out! We will discuss all this in the coming week!) <Link to one web group working as a collective and their explanation: pic on right>

=From the POV of which collection will you analyze the other? How will you be sure to notice when this is different (and not) from your own POV?

=Bring in one or more timelines: one for both books? one for each? put on these some important feminist historical moments, esp. one's mentioned in essays! (One student googled each author and their essay and noticed that some essays became whole books later!)

=WHAT ASPECT OF ALL THIS DO YOU NOTICE THAT CALLS TO YOUR INTERESTS AND CAREABOUTS? That is the hook for your project! Find it now!

THIS IS THE TIME TO HAVE READ AND REREAD INSTRUCTIONS FOR THIS WORKSHOP! COME WITH YOUR QUESTIONS! YOU SHOULD HAVE STARTED DRAFTING WRITING AND POSTERING -- MAYBE BOTH -- THIS WEEKEND SO THAT YOU HAVE QUESTIONS! 

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timelines and more!

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NOTICE THAT WORKSHOP 2 IS WEEK AFTER NEXT! TIME TO GET WORKING ON IT! QUESTIONS? LOOK CAREFULLY AT ASSIGNMENTS TAB NOW! 

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FOR TODAY: half our time devoted, first, to:

1) TIMELINES for both book collections
2) your web author packets for the essays you read

Word Template? or a poster? 
Whichever you choose, BRING THEM TO CLASS TODAY, THURSDAY!

second half of class will be reports on what you did last week, and what I did! yay!
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TUESDAY'S MESSAGE, ALSO SENT OUT ON EMAIL: 
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Hi Folks! I'm sick. Some of you know all about how this feels, having had this yourself already. 

I am in the coughing strangling phase and people to people interaction is unproductive for all. 

I am excited to hear about your class adventures last week and know you all did a great job. 

I have put up in the next post the work for this week, and I ask you to do it all, ready to work with it all on Thursday, when I anticipate we will be back together again. 

For Tuesday, I ask that you create TIMELINES for both book collections, and bring them, and your web author packets for the essays you read, to class on Thursday. We will use these as a center of our discussions then. 

You can create timelines for both books -- ALL THE ESSAYS -- with the word template (link in next post) OR YOU CAN MAKE POSTERS, like the prototype ones we did before! 

Whichever you choose, BRING THEM TO CLASS ON THURSDAY! 

See you then, and thanks for being such a great group! 

Jumping around!

>>DYNAMICS IN OUR FIELD OF WOMEN’S STUDIES: NOTHING STAYS STILL

Tuesday 29 October, KATIE AT UPENN, YOU RUN THE CLASS!

·       Berger and Radeloff, all of Section 2 (Chs 3 & 4)

Thursday 31 October, KATIE AT UPENN, YOU RUN THE CLASS!

·       Berger and Radeloff, all of Section 3 (Chs 5 & 6). You have finished the book!

For this whole week, with the aid of some class facilitators, you will run both classes yourselves. You will finish up the Berger and Radeloff book and talk about it and the issues it raises or speaks to in ways most meaningful to you all collectively. Working together without the teacher is a special activity: may it be especially enjoyable! If you like you can also use this time to look ahead to Workshop #2 as well!

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And where was Katie while you all were meeting? At Queer Method at the University of Pennsylvania. 

Katie's talksite is here: http://fembooo.blogspot.com/p/slides-and-handout.html

Look at her slide show!
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Tuesday 5 November, Make it all alive! These are people! How do you come to care about them?

·       From the three sections of Berger we have not yet read (II, III, IV), choose one section that interests you, and three (or more) articles from that section. NOTE DATES OF PUBLICATION and include on timeline/s!

·       LOOK UP THE THREE AUTHORS ON THE WEB and bring in some stories you can figure out about them as people.

Scholarly collections can be exciting, and they can be a bit dry. How do we make them alive and connect with the folks who write for them? What are these authors careabouts, and how do they intersect with your own?

Make timelines for everything! You are welcome to customize this Word Template (version handed out earlier), or make your own in any format! Bring these in to share! Posters are good! 

Thursday 7 November, Not just words on a page! People live in worlds! Connect yours here too!

·       From the three sections of Hewitt, choose one section that interests you, and three (or more) articles from that section. NOTE DATES OF PUBLICATION & include on timeline/s!

·       LOOK UP THE THREE AUTHORS ON THE WEB and bring in some stories you can figure out about them as people in particular worlds.

This is a book about histories and how the past looks different at different times to different people. What experiences have you had with pasts with meanings that changed? How do the folks here you looked at change pasts and why? What worlds do they inhabit and why does that matter?

REMEMBER OUR WEB AUTHOR PACKETS! BRING IN AS MANY AS YOU CAN, BUT ESPECIALLY FOR THE ARTICLES YOU READ IN BOTH COLLECTIONS! 

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