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Teaching Gender in Social Work - MailChimp

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We have used these ideas <strong>in</strong> classes on social work history and on social<br />

work theory and practice and research methods. All types of students found<br />

it a very valuable experience, which reveals the constructed nature of social<br />

problems and the ideology that has always been embedded <strong>in</strong> social policy and<br />

social work. Photos represent<strong>in</strong>g various activities of orphans <strong>in</strong> <strong>in</strong>stitutions<br />

are viewed <strong>in</strong> our study 10 as messages <strong>in</strong> the wider ideological and cultural context<br />

of the 1930–1940s, echo<strong>in</strong>g professional media discourse created around<br />

the pr<strong>in</strong>ciples and values of Soviet upbr<strong>in</strong>g<strong>in</strong>g and presented <strong>in</strong> chronicles and<br />

children’s c<strong>in</strong>ematography. We exam<strong>in</strong>e and discuss with students the pictures<br />

from the orphanages’ albums, which manifest such pr<strong>in</strong>ciples as social hygiene,<br />

collectivity, ‘cultureness’, and labour participation, all of which are cornerstones<br />

of the concept of <strong>in</strong>stitutional upbr<strong>in</strong>g<strong>in</strong>g (Figure 1).<br />

The political-ideological context <strong>in</strong>fluenc<strong>in</strong>g the selection of materials, def<strong>in</strong>es<br />

the limits of <strong>in</strong>dividual freedoms and the subjectivity of the figures, which tend to<br />

be represented <strong>in</strong> a social rather than <strong>in</strong>dividual dimension. Some visual units of<br />

analysis that we have considered as texts, are subjected to deconstruction, <strong>in</strong> order<br />

to show the <strong>in</strong>terconnectedness between consumption and production <strong>in</strong> the practice<br />

of photography. Welfare policy is considered a contextual background for the<br />

understand<strong>in</strong>g of ideology and specific social practices of care and control, embedded<br />

<strong>in</strong> the images themselves and <strong>in</strong> their own histories of creation and use.<br />

Figure 1. Photo from<br />

the album of a children’s<br />

orphanage <strong>in</strong> 1947.<br />

This image portrays<br />

social hygiene and<br />

collectivity as elements<br />

of socialist upbr<strong>in</strong>g<strong>in</strong>g<br />

– the children are depicted<br />

as self-sufficient,<br />

discipl<strong>in</strong>ed, clean and<br />

happy.<br />

10<br />

Pavel Romanov and Elena Iarskaia-Smirnova, “Landscapes of memory: read<strong>in</strong>g photo albums” <strong>in</strong> Visual Anthropology:<br />

new visions of social reality, ed. E. Iarskaia-Smirnova, P. Romanov and V. Krutk<strong>in</strong> (Saratov: Nauchnaia<br />

kniga, 2007): 146-168 (<strong>in</strong> Russian).<br />

63

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