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Let me end this chapter by providing two concrete examples from myteaching practice. The examples are intended to demonstrate how a genderstudies classroom can be and has been constructed on the basis of third-wavefeminism. They should also show how two generations of gender studies scholarswork together.In the course ‘Historiography of Feminist Ideas,’ which was set up by afirst-generation gender-studies scholar (Prof. Rosi Braidotti) and which I havealso taught with the third-wave feminists dr. Cecilia Åsberg and Eva Midden,MA, I begin by asking the students to list their Top 5 of feminists. This exercise,which Braidotti invented, I make them do at home, but we discuss it inclass. The text by De Lauretis serves as reading material for the first session.I proceed by asking a random student for her Top 5, and write the names onthe white board. This I do several times, which results in a cartography orseveral cartographies of feminists. Because of the fact that cartographies areeasy to access, that is, they are non-directive, I will ask at a certain point whatthe students think of the map(s) on the white board. What is the definitionof ‘feminism’ that pops up? Which feminists are missing? Which kinds of womenare overrepresented? What are the problems with representation? Thesequestions usually lead to thought-provoking discussions which show that thestudents know a lot already about feminism, that is, they identify (with) acertain feminism. This is knowledge which gets to be traversed along the way.A third-wave feminist methodology is constituted and followed by means offamiliarizing the students with such a cartographical discussion at first, andby reading the work of some of the feminists on the cartography immediatelyafterwards. This occurs however before the classifications of feminist thoughtare discussed through textbook reading. The reading material and textbooksremain by and large similar to those that would be used in a second-wavefeminist class, but the way in which we approach the primary and secondarymaterial is different, that is, structured along the lines of a third-wave feministgenerational logic. As the teacher I intend to participate in the discussions thuscreating an intersubjective space. Although it is I who have designed the classand its syllabus, I do not claim ‘good’ or ‘bad’ readings of texts. This is to saythat the situatedness of the students’ readings and my guidance is on the menuthroughout the sessions. I make explicit that it is my role as the teacher tostructure thoughts and annotate discussions, especially by referring to situatedknowledges, but I do not use a reading of texts or a mapping of feminists to32
set the standard. The textbook as an academic instrument is addressed alongthese lines as well – the classification presented there as well as the genre of thetextbook is seen through the lens of (generational) situatedness.A second example is the book Doing Gender in Media, Art and Culture,which I edited together with Prof. Rosemarie Buikema, the current directorof gender studies at Utrecht University. 39 It was a conscious choice to editthis book together, that is, we set up an intergenerational editorial team, soas to be able to produce a book that is structured along the lines of thirdwavefeminism. This is not to say that third-wave feminism is ‘owned’ by ayounger generation of scholars (referentiality), or that the work of second-wavefeminists has to be ignored or left out (negation). Buikema has worked withyounger scholars for many years now, which has resulted in a productive crossfertilization.Earlier we saw that a text by De Lauretis can exemplify third-wavefeminist methodologies. Also, the epistemology of third-wave feminism doesnot allow for negation of earlier works and approaches. Dis-identification, asI explained in this chapter, entails an affirmation of feminism, whether of thepast, present, or future so as to prevent Oedipal plotting from being repeated.An intergenerational editorial team, however, makes it easier to explicitly reflectupon generational dynamics while producing a publication, and this isespecially urgent in the case of a textbook where the authors are prone to beseduced by its canonical format and structure.Doing Gender in Media, Art and Culture does not work with classificationsof feminist theories, but does not deny their importance either. Thebook embarks upon a re-writing of the history of gender studies via a series of‘woman warriors’, whose life stories are written up in the chapters of the book.Via these stories and via the ways in which the stories of the warriors have beentold in gender studies, the book tries to canonize gender studies while simultaneouslyshifting the canonization by means of a cartographical methodology.The labels that have become stuck to the warriors, that is, the labels used toidentify them within the field of gender studies are problematised affirmativelyand in such a way that the author and the reader make up a new story aboutthe heroine in question that dis-identifies with, that is, passes through andshifts previous stories, academic and non-academic. For instance, employingseveral exercises in untangling and peeling-offs of several layers of signification39Rosemarie Buikema and Iris van der Tuin, ed., Doing Gender in Media, Art and Culture (London: Routledge,2009).33
Page 1: Teaching with the Third WaveNew Fem
Page 4 and 5: © Åse Bengtsson and Catti Brandel
Page 6 and 7: “This Is Not Therapy!” 75Un/Exp
Page 9 and 10: PrefaceThe idea of writing this boo
Page 11 and 12: IntroductionDaniela Gronold, Brigit
Page 13 and 14: Brandelius who is portrayed on the
Page 15 and 16: The institutional context of Women
Page 17: The chapters present new feminist e
Page 20 and 21: IntroductionSecond-wave feminism is
Page 22 and 23: Second-Wave Feminist Generationalit
Page 24 and 25: and conflictual ones), and since th
Page 26 and 27: This allows her to conceptualize a
Page 28 and 29: The Anglo-American and the French t
Page 30 and 31: To traverse the classifications of
Page 32 and 33: ing system without a General and wi
Page 36 and 37: Buikema tells the story of Sarah Ba
Page 38 and 39: Roof, Judith. “Generational Diffi
Page 40 and 41: postmodern capitalism and the impli
Page 42 and 43: European scope and its neoliberal c
Page 44 and 45: front. A strong motivation offered
Page 46 and 47: In her editorial response to Hemmin
Page 48 and 49: Gender Studies’, 28 I agree with
Page 50 and 51: expected to play a central role as
Page 52 and 53: Implications for teaching gender: d
Page 54 and 55: These re- appropriations cannot be
Page 56 and 57: Puig de la Bellacasa, Maria. “Fle
Page 58 and 59: We are both white scholars who grew
Page 60 and 61: mapped in the first part of project
Page 62 and 63: able much earlier; therefore the pe
Page 64 and 65: Using the example of Germany Wollra
Page 66 and 67: of a link to already existing stere
Page 68 and 69: The alien’s green colour tells of
Page 70 and 71: Implications of teaching Critical W
Page 72 and 73: ness to people with different backg
Page 74 and 75: theories. This concept can be fruit
Page 76 and 77: Räthzel, Nora. “Nationalism and
Page 78 and 79: nism’ in the classroom. Thus, whi
Page 80 and 81: As a method, memory work focuses on
Page 82 and 83: 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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fascination with the strong commona
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practice”. 43 She explains MacKin
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has been exposed to subjection by o
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Sebastien, Amanda. “Tendencies in
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a historical moment when technologi
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As earlier noted, there are certain
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new per se, they like Internet-base
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where technological and media accou
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to avoid binaristic traps, rejectin
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ReferencesBraidotti, Rosi. Metamorp
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IntroductionIn 2007, with two other
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WoMen at workIn all, it took us alm
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Facing Uncertainties and Self-quest
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Doctorate degree’s curricula for
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In addition, many feminist academic
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and duties which are seen as comple
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answers adapted to their own profes
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As the form of the message counts a
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ReferencesBlanchard, Soline, Jules
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As the learning outcomes demonstrat
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Within the organizational structure
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Gender-sensitive didactics can be p
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A further dimension is knowledge ab
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Teaching materialsSince language is
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and absences, both short term and p
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The cliché cloakroomSometimes it w
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and goatees, later almost all wante
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Presentations from the working grou
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ConclusionTeachers’ self-reflecti
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Mühlen Achs, Gitta. Geschlecht bew
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Milka Metso, PhD Candidate, Univers
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