Download A Little F'd Up: Why Feminism Is Not a Dirty Word by Julie Zeilinger PDF

By Julie Zeilinger

Younger ladies at the present time have a nasty recognition, and for stable cause: They’re sexting their classmates, they spend extra time on fb than they do at school, and their urge for food for fabric possessions and fact television is matched in simple terms by way of their overwhelming apathy approximately very important social and political matters. Right?

Wrong.

FBomb web publication writer Julie Zeilinger debunks those (and different) myths approximately sleek early life in a bit F’d Up, the 1st booklet approximately feminism for younger ladies of their youth and twenties to truly be written by means of one in every of their friends. during this available guide, Zeilinger takes a serious, sincere, and funny examine the place younger feminists are as a iteration, and the place they’re going—and she does so from the viewpoint of somebody who’s within the trenches correct along her readers.

Fun, humorous, and interesting, a bit F’d Up is a must-read for the starting to be variety of clever, knowledgeable younger women available in the market who're able to begin discovering their voice—and altering the realm.

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Extra resources for A Little F'd Up: Why Feminism Is Not a Dirty Word

Example text

The formerly ignored history of gender, of sexuality, and the body which had begun to emerge at the start of the 1980s has now become common in the humanities and social sciences. 9 Body criticism had already become a major area of investigation by the 1980s. The body was analysed as it is constructed by different discourses. Criticising the notion of the body as a pre-given or prediscursive thing, such analyses showed how the body is constructed as the erotic body, the sacrificial body, the body as threat and so on, that no singular body is possible.

If ‘the nature of woman’ is an ideological concept, then historical accounts and archaeological data are not, and cannot be simple records of lived experience. For my own purposes here and throughout the book, rather than investigating the historical experience of women, I look at ‘woman’ as an ideological 28 ENVISIONING DIFFERENCE construct and as the object of what was the normative subject position: male subjectivity. I shall look at the concept of woman or femininity as it is formed by ancient discourses.

Thus it becomes a resistance of this cultural discourse that demonstrates ‘Woman’ as sign is not equivalent to Woman. ’ marking the 33 ENVISIONING DIFFERENCE start of feminist interventions into the traditional history of art (Nochlin 1971). As the title of her essay implies, this early work focused on why women were not considered capable of having contributed to great art or to masterpieces of world art, and sought to reinstate women as producers of art, alongside the recognised ‘great masters’ of the Western tradition.

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