The cliché cloakroomSometimes it would be helpful if we could leave our clichés at <strong>the</strong> cloakroom,as this would facilitate serious continuation of our work. In this exercise, westrove to abandon our clichés symbolically by working as if on an assemblyline designed to produce as many clichés as possible; an assembly belt thatconveyed attributes such as: “what men are like” and “what women are like”.Each attribute was written on a piece of paper. The participants worked inteams of three and four. The seminar leaders timed <strong>the</strong> rate of production; itwas almost a competition. After approximately fifteen minutes, all <strong>the</strong> clichéswere finally left at <strong>the</strong> cloakroom – that is, <strong>the</strong> sheets of paper were pinned toa wall in a visual representation of all <strong>the</strong> attributes for “typically male” and“typically female” that we could find.The cemetery bagThe cemetery bag 22 can be conducted <strong>with</strong> various different group sizes. The exerciseis all about a bag and its contents. In this case, we used a practical, collapsiblebrown bag <strong>with</strong> a flower pattern. It contains cemetery candles, matches, oneumbrella, handkerchiefs, and a perfectly-folded plastic bag. The brown bag, stillclosed, is placed in <strong>the</strong> center of <strong>the</strong> room. The participants are asked to imagi<strong>new</strong>ho could be <strong>the</strong> owner of this bag. All assumptions must be justified by <strong>the</strong> object(this kind of coding is <strong>the</strong> basis of <strong>the</strong> qualitative analysis method “GroundedTheory” 23 ). A virtual owner soon develops: old, widowed, in mourning, Catholic,bent, pragmatic, on <strong>the</strong> way to <strong>the</strong> cemetery to light a candle, armed againstrain or prepared for possible shopping, and more. In our experience, <strong>the</strong> virtualperson whose identity is defined by <strong>the</strong> bag and its contents splits <strong>the</strong> participantsinto two camps: One group is wrapped up in <strong>the</strong> available connotations;<strong>the</strong>y created a person and fulfilled <strong>the</strong> task. The o<strong>the</strong>r group remained scepticaland wanted to at least try to fabricate a man, a young woman, etc.At this point, <strong>the</strong> cemetery bag is a symbol for captivity: we are caughtin two-gender-think, in dualistic constructs. In <strong>the</strong> end, <strong>the</strong> participantsshould be encouraged to try to see <strong>the</strong> attributes separated from <strong>the</strong>ir objects.They must look behind <strong>the</strong> object in order to recognize that deeply-anchored,seemingly natural connections are actually socially constructed. At <strong>the</strong> close of<strong>the</strong> exercise, we recommend discussing <strong>the</strong> participants’ general attitudes towards22Haring, 125.23Ibid, 125ff.140
gender, <strong>the</strong> dualistic gender concept, and typically male and typically femalecharacteristics. This discussion requires careful moderation (by <strong>the</strong> seminarleaders) to make sure that everyone has his or her say <strong>with</strong>in this often unpopulardiscussion. Basically, <strong>the</strong> frontline between <strong>the</strong> <strong>feminists</strong> and non-<strong>feminists</strong> hasto be softened or <strong>the</strong> discussion will not delve as deeply as it should.Body work “gender hierarchies”Can roles be switched at all? This unit serves as a starting point for perceptionexperiments and role-playing. The exercise demonstrates how difficult it is todissolve hierarchies. A reflection on gender is playfully introduced by setting<strong>the</strong> scene; meanwhile, <strong>the</strong> tried and tested method can be taken right into <strong>the</strong>classroom.It is well known, nowadays, that drag queens are men who portray<strong>the</strong>mselves as women. Drag kings, women who dress up as men, have alsobecome better known. Delving beyond <strong>the</strong> masquerade, “drag-kinging” canprovide those who desire a physical gender transformation <strong>with</strong> <strong>the</strong> possibilityto try out <strong>the</strong>ir concepts of identity before more irrevocable steps are taken. 24_In this organizationally complex exercise, participants switch roles for twohours. As workshop leaders, we converted <strong>the</strong> seminar room to a performanceroom during <strong>the</strong> evening dinner break. We hung nicely pressed men’s suits,shirts, ties and hats in different sizes on <strong>the</strong> pin walls and flipcharts. We placedwigs, dresses, tops, skirts and eyeglasses on <strong>the</strong> tables. The make-up corner isalso equipped <strong>with</strong> charcoal, lipstick, and eye make-up as well as Mastix skinglue, short-cut artificial hair, glue-on beards, and beard adhesive. There are asmany outfits as <strong>the</strong>re are participants, only as many dresses as <strong>the</strong>re are menand as many suits and shirts as <strong>the</strong>re are women.We explained to <strong>the</strong> participants beforehand that participating in thisexercise is voluntary and asked those who did not want to join to come anyway,but as <strong>the</strong> audience. We announced <strong>the</strong> exercise as something special andprepared <strong>the</strong> participants for a surprise. The exercise began as we expected:very hesitantly. Especially <strong>the</strong> transformation, <strong>the</strong> changing, <strong>the</strong> make-up – allthis is important, it is an experience. While <strong>the</strong> more insecure participantsdecided for a suit or a wig after all, we started to help those already changed– immediately performing as macho or as femme fatal – to do <strong>the</strong>ir make up.The “Men” got genuine hair beards; first <strong>the</strong> courageous ones tried side burns24Judith Jack Halberstam, Female Masculinity (Durham/London: Duke University Press, 2003).141
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Teaching with the Third WaveNew Fem
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© Åse Bengtsson and Catti Brandel
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“This Is Not Therapy!” 75Un/Exp
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PrefaceThe idea of writing this boo
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IntroductionDaniela Gronold, Brigit
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Brandelius who is portrayed on the
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The institutional context of Women
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The chapters present new feminist e
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IntroductionSecond-wave feminism is
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Second-Wave Feminist Generationalit
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and conflictual ones), and since th
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This allows her to conceptualize a
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The Anglo-American and the French t
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To traverse the classifications of
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ing system without a General and wi
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Let me end this chapter by providin
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Buikema tells the story of Sarah Ba
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Roof, Judith. “Generational Diffi
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postmodern capitalism and the impli
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European scope and its neoliberal c
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front. A strong motivation offered
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In her editorial response to Hemmin
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Gender Studies’, 28 I agree with
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expected to play a central role as
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Implications for teaching gender: d
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These re- appropriations cannot be
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Puig de la Bellacasa, Maria. “Fle
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We are both white scholars who grew
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mapped in the first part of project
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able much earlier; therefore the pe
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Using the example of Germany Wollra
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of a link to already existing stere
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The alien’s green colour tells of
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Implications of teaching Critical W
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ness to people with different backg
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theories. This concept can be fruit
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Räthzel, Nora. “Nationalism and
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nism’ in the classroom. Thus, whi
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As a method, memory work focuses on
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ence on the teaching. This was beca
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when we wanted them to do memory wo
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in the consciousness-raising groups
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as a therapeutic method, they not o
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“Empowerment has, however, someti
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- Page 110 and 111: ReferencesBraidotti, Rosi. Metamorp
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- Page 128 and 129: ReferencesBlanchard, Soline, Jules
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