(eBook PDF) Gendered Voices,

Feminist Visions: Classic and

Contemporary Readings 7th Edition
Go to download the full and correct content document:
https://ebooksecure.com/product/ebook-pdf-gendered-voices-feminist-visions-classic-
and-contemporary-readings-7th-edition/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

(eBook PDF) Gendered Voices, Feminist Visions: Classic

and Contemporary Readings 7th Edition

http://ebooksecure.com/product/ebook-pdf-gendered-voices-
feminist-visions-classic-and-contemporary-readings-7th-edition/

(eBook PDF) Philosophy of Law: Classic and Contemporary

Readings with Commentary

http://ebooksecure.com/product/ebook-pdf-philosophy-of-law-
classic-and-contemporary-readings-with-commentary/

(eBook PDF) Introduction to Philosophy: Classical and

Contemporary Readings 7th

http://ebooksecure.com/product/ebook-pdf-introduction-to-
philosophy-classical-and-contemporary-readings-7th/

(eBook PDF) Cultural Anthropology: Contemporary,

Public, and Critical Readings

http://ebooksecure.com/product/ebook-pdf-cultural-anthropology-
contemporary-public-and-critical-readings/
Netter Atlas of Human Anatomy-Classic Regional
Approach, 8e (Mar 29, 2022)_(0323793738)_(Elsevier) NOT
TRUE PDF 8th Edition - eBook PDF

https://ebooksecure.com/download/netter-atlas-of-human-anatomy-
classic-regional-approach-8e-mar-29-2022_0323793738_elsevier-not-
true-pdf-ebook-pdf/

(eBook PDF) Cultural Anthropology: Contemporary,

Public, and Critical Readings 2nd Edition

http://ebooksecure.com/product/ebook-pdf-cultural-anthropology-
contemporary-public-and-critical-readings-2nd-edition-3/

(eBook PDF) Cultural Anthropology: Contemporary,

Public, and Critical Readings 2nd Edition

http://ebooksecure.com/product/ebook-pdf-cultural-anthropology-
contemporary-public-and-critical-readings-2nd-edition-2/

(eBook PDF) Introduction to Philosophy: Classical and

Contemporary Readings 8th Edition

http://ebooksecure.com/product/ebook-pdf-introduction-to-
philosophy-classical-and-contemporary-readings-8th-edition/

(eBook PDF) Cultural Anthropology: Contemporary,

Public, and Critical Readings 2nd Edition

http://ebooksecure.com/product/ebook-pdf-cultural-anthropology-
contemporary-public-and-critical-readings-2nd-edition/
 White Person”
Robert Bird and Frank Newport, “What Determines How
12.
Americans Perceive Their Social Class?”
13. Evin Taylor, “Cisgender Privilege”
14. Ellie Mamber, “Don’t Laugh, It’s Serious, She Says”
15. Teodor Mladenov, “Disability and Social Justice”
16. Jim Ferris, “Poems with Disabilities”

CHAPTER 3 Learning Gender

Gender, Culture, and Biology
Masculinity
Femininity
Gender Fluidity
Gender Ranking
17. Anne Fausto-Sterling, “The Five Sexes, Revisited”
18. Judith Lorber, “The Social Construction of Gender”
19. Sabine Lang, “Native American Men-Women, Lesbians, Two-
Spirits”
20. Arvind Dilawar, “The Connection Between White Men,
Aggrievement, and Mass Shootings”
21. Nellie Wong, “When I Was Growing Up”
22. T. J. Jourian, “Trans*forming College Masculinities”

CHAPTER 4 Inscribing Gender on the Body

The Social Construction of the Body
The “Beauty” Ideal
Eating Disorders
Negotiating “Beauty” Ideals
23. Joan Jacobs Brumberg, “Breast Buds and the ‘Training’ Bra”
24. Gloria Steinem, “If Men Could Menstruate”
25. Nicole Danielle Schott, “Race, Online Space and the Feminine”
26. Minh-Ha T. Pham, “I Click and Post and Breathe, Waiting for
Others to See What I See”
27. Jennifer L. Brady, Aylin Kaya, Derek Iwamoto, Athena Park,
Lauren Fox, and Marcus Moorhead, “Asian American Women’s
Body Image Experiences”
28. Susie Orbach, “Fat Is Still a Feminist Issue”
 Jamie Lindemann Nelson, “Understanding Transgender and
29.
Medically Assisted Gender Transition”

CHAPTER 5 Media and Culture

Digital Technologies
Television
Movies
Contemporary Music and Music Videos
Print Media
Literature and the Arts
30. Virginia Woolf, “Thinking About Shakespeare’s Sister”
31. Emily Dickinson, “The Wife”
32. Audre Lorde, “Poetry Is Not a Luxury”
33. Emma Turley and Jenny Fisher, “Tweeting Back While
Shouting Back”
34. Ella Fegitz and Daniela Pirani, “The Sexual Politics of Veggies”
35. Sherri Williams, “Cardi B: Love & Hip Hop’s Unlikely Feminist
Hero”
36. Judith Taylor, Josée Johnston, and Krista Whitehead, “A
Corporation in Feminist Clothing?”

CHAPTER 6 Sex, Power, and Intimacy

The Social Construction of Sexuality
The Politics of Sexuality
Intimacies
37. Jessica Valenti, “The Cult of Virginity”
38. Ellen Bass, “Gate C22”
39. Charlene L. Muehlenhard, Terry P. Humphreys, Kristen N.
Jozkowski, and Zoë D. Peterson, “The Complexities of Sexual
Consent Among College Students”
40. Carl Collison, “Queer Muslim Women Are Making Salaam with
Who They Are”
41. Janice M. Gould, “Lesbian Landscape”
42. Francis Ray White, “The Future of Fat Sex”
43. Kimberly Springer, “Queering Black Female Heterosexuality”
CHAPTER 7 Health and Reproductive Justice
Health and Wellness
Reproductive Justice
44. Jallicia Jolly, “On Forbidden Wombs and Transnational
Reproductive Justice”
45. Sarah Combellick-Bidney, “Reproductive Rights as Human
Rights: Stories from Advocates in Brazil, India and South
Africa”
46. Aisha Wagner, “Doctors Need to Talk Openly About Race—
Our Patients Depend on It”
47. Don Operario and Tooru Nemoto, “On Being Transnational and
Transgenders”*
48. Richard Horton, “Racism—the Pathology We Choose to Ignore”
49. Kate Horowitz, “Performance of a Lifetime: On Invisible
Illness, Gender, and Disbelief”

CHAPTER 8 Family Systems, Family Lives

Definitions of Family
Institutional Connections
Power and Family Relationships
Mothering
50. Emma Goldman, “Marriage and Love”
51. Katherine Goldstein, “Where Are the Mothers?”
52. Ken W. Knight, Sarah E. M. Stephenson, Sue West, Martin B.
Delatycki, Cheryl A. Jones, Melissa H. Little, George C. Patton,
Susan M. Sawyer, S. Rachel Skinner, Michelle M. Telfer,
Melissa Wake, Kathryn N. North, and Frank Oberklaid, “The
Kids Are OK”
53. Leila Schochet, “Immigration Policies Are Harming American
Children”
54. Katherine Zeininger, Mellisa Holtzman, and Rachel Kraus, “The
Reciprocal Relationship Between Religious Beliefs and
Acceptance of One’s Gay or Lesbian Family Member”
55. Ashley McKinless, “Beyond the Wall”
56. Mohja Kahf, “My Grandmother Washes Her Feet in the Sink of
the Bathroom at Sears”
CHAPTER 9 Work Inside and Outside the Home
Unpaid Labor in the Home
Paid Labor
57. Sharlene Hesse-Biber and Gregg Lee Carter, “A Brief History of
Working Women”
58. Corinne Schwarz, Emily J. Kennedy, and Hannah Britton,
“Structural Injustice, Sex Work, and Human Trafficking”
59. Vesselina Stefanova Ratcheva and Saadia Zahidi, “Which
Country Will Be the First to Close the Gender Gap—and How?”
60. Anna Swartz, “This Is the Hidden Financial Cost of Being an
LGBTQ American Today”
61. Rose Hackman, “‘Women Are Just Better at This Stuff’”
62. Charlotte Higgins, “The Age of Patriarchy”

CHAPTER 10 Resisting Gender Violence

Sexual Assault and Rape
Physical Abuse
Incest
63. Andrea Smith, “Beyond the Politics of Inclusion”
64. Mariah Lockwood, “She Said”
65. Emilie Linder, “Gender Aspects of Human Trafficking”
66. Homa Khaleeli, “#SayHerName”
67. Chelsea Spencer, Allen Mallory, Michelle Toews, Sandra Stith,
and Leila Wood, “Why Sexual Assault Survivors Do Not Report
to Universities: A Feminist Analysis”
68. Nadje Al-Ali, “Sexual Violence in Iraq: Challenges for
Transnational Feminist Politics”
69. Debra Anne Davis, “Betrayed by the Angel”
70. Grace Caroline Bridges, “Lisa’s Ritual, Age 10”

CHAPTER 11 State, Law, and Social Policy

Government and Representation
Public Policy
The Criminal Justice System
The Military
71. Susan B. Anthony, “Constitutional Argument”
 72. Angela N. Gist, “I Knew America Was Not Ready for a Woman
to Be President”
73. Jennifer Greenburg, “New Military Femininities: Humanitarian
Violence and the Gendered Work of War Among U.S.
Servicewomen”
74. Margot Wallström, “Speech on Sweden’s Feminist Foreign
Policy”
75. Brenda Della Casa, “What It Feels Like to Be on Welfare”
76. Seyward Darby, “The Rise of the Valkyries: In the Alt-Right,
Women Are the Future, and the Problem”

CHAPTER 12 Religion and Spirituality

Religion as Oppressive to Women
Religion as Empowering to Women
Gender and God-Language
Reinterpreting, Reconstructing, and Decolonizing Traditions
Creating New Spiritual Traditions
77. Elizabeth Cady Stanton, “Introduction to The Woman’s Bible”
78. Kaylin Haught, “God Says Yes to Me”
79. Karen McCarthy Brown, “Fundamentalism and the Control of
Women”
80. Jessica Finnigan and Nancy Ross, “‘I’m a Mormon Feminist”
81. Kathryn LaFever, “Buddhist Nuns in Nepal”
82. An Interview with Syafa Almirzanah, “The Prophet’s
Daughters”
83. Yitzhak Reiter, “Feminists in the Temple of Orthodoxy”
84. Kelly Brown Douglas, “How Evangelicals Became White”
85. Allyson S. Dean and Whitney J. Archer, “Transgressing the
Father Figure”

CHAPTER 13 Activism, Change, and Feminist Futures

The Promise of Feminist Education
Activism
Future Visions
86. Byron Hurt, “Feminist Men”
87. Li Maizi, “I Went to Jail for Handing Out Feminist Stickers in
China”
 Teresa A. Velásquez, “Mestiza Women’s Anti-mining Activism
88. in Andean Ecuador”
89. R. Lucas Platero and Esther Ortega-Arjonilla, “Building
Coalitions: The Interconnections Between Feminism and Trans*
Activism in Spain”
90. Laurie Penny, “Most Women You Know Are Angry”
91. Yvette Alex-Assensoh, “What’s Love Got to Do with It?”
92. Jenny Joseph, “Warning”

CREDITS

INDEX
 PREFACE

e are thrilled to offer a new edition of Gendered Voices, Feminist

W Visions: Classic and Contemporary Readings with Oxford University
Press at a time when our discipline is embarking on theoretical shifts, our
academic programs are being both fully integrated and increasingly
marginalized across the country, and threats to, and hopes for, social justice
make the news daily. We know for sure the issues we deal with here are still
very relevant! This book, formerly known as Women’s Voices, Feminist
Visions, has been revised—and renamed—to represent the shift from an
essentialized notion of “woman” to a broader understanding of gender as
socially constructed categories that shape our lives. It also better reflects the
renaming of academic programs nationwide from “Women’s Studies” to
“Women and Gender Studies” or just “Gender Studies.” You will notice in
chapter introductions that we straddle the realities of encouraging readers to
question taken-for-granted normative categories of “women” and “men,”
applying the insights of postmodern and especially queer theoretical insights,
and the recognition that these materially based normative categories represent
distinct social groups whose members lead lives shaped and constrained by
the realities of this very identity or group membership. We do not take these
categories for granted, and we do recognize the realities of their existence.
We originally embarked on creating this book after finding that students
were increasingly skipping assigned material in the introductory women’s
and gender studies course. They often found the readings to be mostly
inaccessible, or, alternatively, they enjoyed reading the more testimonial first-
person accounts included in some texts but were not grasping the theoretical
frameworks necessary to make sense of these more experiential readings. We
were tired of creating packets of readings, and students were tired of having
to access alternative readings on top of purchasing a textbook. This book was
crafted to include a balance of recent contemporary readings with historical
and classic pieces as well as both testimonial and more theoretical essays that
would speak to the diversity of human experience. Each chapter has an
introduction that provides an overview of the topic and a framework for the
readings that follow. Additionally, each chapter offers a variety of learning
activities, activist profiles, ideas for activism, and other sidebars that can
engage students with the material in various ways.
Although students of women’s and gender studies today are in many
ways like the students who have preceded them, they are also characterized
by certain distinctions. Many of today’s students come to our classes
believing the goals of the women’s and civil rights movements have already
been accomplished, and, although most will say they believe in gender equity
of some sort and some identify with feminism as a political theory or social
movement, many still came of age benefiting from the gains made by
feminist scholars and activists and taking for granted the social justice
accomplishments of the last century. Moreover, as women’s and gender
studies has become institutionalized on college campuses and is fulfilling
baccalaureate core requirements, more students are being exposed to this
field than ever before. Many of these students “choose” women’s and gender
studies from a menu of options and may come to the discipline with varying
levels of misunderstanding and resistance. Some of these students have been
influenced by contemporary backlash efforts and by conservative religious
ideologies that seek a return to traditional gender relations. All of these
distinctions call for a new, relevant, and accessible introductory text.
In addition, another distinction of contemporary students compared to
students in the past is their level of digital competency, which also means
more traditional types of reading can be challenging. Students in women’s
and gender studies today are often the kind of visual learners who prefer
reading from and interacting with a computer screen or a smart phone or
watching video clips over reading traditional texts. We know from experience
that a large percentage of students in introductory women’s and gender
studies classes read only a fragment of the required readings (especially
dense theoretical texts that are often deemed “irrelevant” or “boring”) and
that our required readings end up as “fragmented texts.” Our intention in this
book is to address these challenges by presenting a student-friendly text that
provides short, accessible readings that reflect the diversity of gender
experiences and offer a balance of classic/contemporary and
theoretical/experiential pieces. The goal is to start where students are rather
than where we hope they might be, and to provide a text that enriches their
thinking, encourages them to read, and relates to their everyday experiences.
We have chosen accessible articles that we hope are readable. They are
relatively short, to the point, and interesting in terms of both topics and
writing styles. Although most articles are quite contemporary, we have also
included earlier classic articles that are “must-reads.” And although the
articles we have chosen cover the breadth of issues and eras in women’s and
gender studies, we hope students will read them—and enjoy reading them—
because of their relevance to their lives. Many pieces are written by young
feminists, many are in testimonial format, and, on the whole, they avoid
dense, academic theorizing. The cartoons, we hope, bring humor to this
scholarship. Our hope is that these readings and the chapter introductions will
invite students into productive dialogue with feminist ideas and encourage
personal engagement in feminist work.
We also structure opportunities for students to reflect on their learning
throughout the text, and, in this sense, the book is aimed at “teaching itself.”
It includes not only articles and introductions but also a number of features
designed to engage students in active learning around the content. For
example, we address students’ tendencies to lose interest by creating a format
that presents smaller, self-contained, more manageable pieces of knowledge
that hold together through related fields and motifs that are woven throughout
the larger text as boxes. This multiple positioning of various forms of
scholarship creates independent but related pieces that enable students to read
each unit in its entirety and make connections between the individual units
and the larger text. We see this subtext as a way to address students’
familiarity and comfort with contemporary design and multiple windows. By
also presenting material in these familiar formats, we intend to create a
student-friendly text that will stimulate their interest. We encourage them
actually to read the text and then be actively engaged with the material.
Pedagogy is embedded within the text itself. In addition to the textual
narrative, we include in each chapter learning activities, activism ideas that
provide students with examples, and opportunities for the practical
implementation of the content that help students explore chapter themes
critically. Instructors will be able to utilize the various pedagogical
procedures suggested in the text (and those in the accompanying instructor’s
manual found on the Ancillary Resource Center [ARC] at
www.oup.com/us/shaw) to develop teaching plans for their class sessions. By
embedding some pedagogy within the text, we hope to create a classroom
tool that enables connections between content and teaching procedure and
between assigned readings and classroom experience. Thus, students and
instructors should experience the text as both a series of manageable units of
information and a holistic exploration of the larger topics.
Like other women’s and gender studies text-readers, this book covers a
variety of issues that we know instructors address in the introductory course.
We do not isolate race and racism and other issues of difference and power as
separate topics, but thoroughly integrate them throughout the text into every
issue addressed. We have also chosen not to present groups of chapters in
parts or sections but to let the individual chapters stand alone. Pragmatically,
this facilitates instructors being able to decide how they want to organize
their own courses. At the same time, however, the chapters do build on each
other. For example, after introducing students to women’s and gender studies,
Chapter 2 presents the systems of privilege and inequality that form the
context for social justice education, and then Chapter 3 explores the social
construction of gender, building on the previous chapter by introducing the
plurality of sex/gender systems. The following chapters then examine how
sex/gender systems are expressed and maintained in social institutions.
For this new edition, we have revised chapter framework essays to reflect
the most up-to-date research and theory in the field. We’ve also included new
readings that are contemporary and exciting. With each new edition, we
strive to keep the textbook fresh and interesting for our students. We wish
you all the best in your class and hope the book is a helpful addition to both
teaching and learning.

NEW TO THIS EDITION

• Fifty-eight new readings, bringing in young feminist writers and
contemporary topics such as disability and social justice,
trans*masculinities, transgender issues, Cardi B, queer Muslim women,
immigration policies, human trafficking, #SayHerName, sexual assault on
campus, military femininities, white supremacist women, activism, and
much more.
• Revised chapter framework essays to reflect the most up-to-date
research and theory in the field.
• A new feature in each chapter called “The Blog”: posts written by
Susan when she was blogging for the Huffington Post from 2015 to 2017.
 While most of these brief pieces were written in response to some current
event, the feminist lens they offer remains timely, and the topics are still
important for feminist conversations.
• A new title—Gendered Voices, Feminist Visions—to represent the shift
from an essentialized notion of “woman” to a broader understanding of
gender as socially constructed categories that shape our lives. This also
reflects the renaming of academic programs nationwide from “Women’s
Studies” to “Women and Gender Studies” or just “Gender Studies.”
ACKNOWLEDGMENTS
Writing a textbook is inevitably a community project, and without the
assistance of a number of people this project would have been impossible.
We would like to thank Karen Mills, administrator for the School of
Language, Culture, and Society, and Leo Rianda, office assistant for Women,
Gender, and Sexuality Studies, for their support; our graduate students and
colleagues who wrote a number of sidebars for this edition; and students
Lauren Grant and Nasim Basiri, who helped with fact-checking.
We also would like to acknowledge the work of the many reviewers who
provided insights and suggestions for this edition:

Ozlem Altiok, University of North Texas

Josephine Beoku-Betts, Florida Atlantic University
Suzanne Bergeron, University of Michigan Dearborn
Adriane Brown, Augsburg College
Suzanne M. Edwards, Lehigh University
Kara Ellerby, University of Delaware
Julie Goodspeed-Chadwick, Indiana University-Purdue University
Columbus
Tara Jabbaar-Gyambrah, Niagara University
Rachel Lewis, George Mason University
Hilary Malatino, East Tennessee State University
Amanda Roth, SUNY Geneseo
Robyn Ryle, Hanover College
Carissa Jean Sojka, Southern Oregon University
Beth Sutton-Ramspeck, Ohio State University
Martha Walker, Mary Baldwin University
Jan Wilson, University of Tulsa
One anonymous reviewer

Finally, we want to thank Sherith Pankratz and Grace Li at Oxford

University Press, who have provided invaluable support and encouragement;
Micheline Frederick, our production editor; and Mary Anne Shahidi, our
amazing copyeditor. We’d also like to thank Serina Beauparlant, who
initiated the first edition of the book with us when she was an editor at
Mayfield Publishing.
 ABOUT THE AUTHORS

Susan M. Shaw is professor of women, gender, and sexuality studies at

Oregon State University. Her research interests are in feminist theology and
women in religion. Professor Shaw teaches courses in global feminist
theologies; feminist theologies in the United States feminism and the Bible;
gender and sport; and gender, race, and pop culture. She is author of
Reflective Faith: A Theological Toolbox for Women (Smyth & Helwys, 2014)
and God Speaks to Us, Too: Southern Baptist Women on Church, Home, and
Society (University Press of Kentucky, 2008), and co-author of Intersectional
Theology: An Introductory Guide (Fortress Press, 2018) and Girls Rock! Fifty
Years of Women Making Music (University Press of Kentucky, 2004). She is
general editor of the four-volume Women’s Lives Around the World: A
Global Encyclopedia (ABC-CLIO, 2018). She is an avid racquetball player,
reader of murder mysteries, hot tubber, and fan of Beavers women’s
basketball.

Janet Lee is professor of women, gender, and sexuality studies at Oregon

State University, where she teaches a variety of courses on gender and
feminism. Professor Lee’s research interests include early-twentieth-century
feminist and queer British histories and historical geographies of the
relationships between space, modernity, and masculinities. She is author of
War Girls: The First Aid Nursing Yeomanry (FANY) in the First World War
(Manchester University Press, 2005) and Comrades and Partners: The
Shared Lives of Grace Hutchins and Anna Rochester (Rowman and
Littlefield, 2000); co-author of Blood Stories: Menarche and the Politics of
the Female Body in Contemporary U.S. Society (Routledge, 1996); and co-
editor with Susan Shaw of Women Worldwide: Transnational Feminist
Perspectives on Women (McGraw-Hill, 2010). Her new book Fallen Among
Reformers: Miles Franklin, and the New Woman Writing from the Chicago
Years is forthcoming from Sydney University Press. She enjoys playing
tennis and all things equestrian.
 CHAPTER 1

WOMEN’S AND GENDER

STUDIES
Perspectives and Practices

WHAT IS WOMEN’S AND GENDER STUDIES

(WGS)?
WGS is an interdisciplinary academic field devoted to topics concerning
women, gender, and feminism. It focuses on gender arrangements (the ways
society creates, patterns, and rewards our understandings of femininity and
masculinity) and examines the multiple ways these arrangements affect
everyday life. In particular, WGS is concerned with gender as it intersects
with multiple categories, such as race, ethnicity, social class, age, ability,
religion, and sexuality. Exploring how we perform gender and how this
interacts with other aspects of our identities, WGS focuses on the ways
women and other feminized bodies experience discrimination and oppression.
Simply put, WGS involves the study of gender as a central aspect of human
existence.
The goal of WGS, however, is not only to provide an academic
framework and broad-based community for inquiry about the impacts of
gender practices on social, cultural, and political thought and behavior, but
also to provide advocacy and work toward social change. This endeavor is
framed by understandings of the social, economic, and political changes of
the past half century that include a rapid increase in globalization and its
impacts locally, including the deindustrialization of the global north, the
blurring and dispersal of geopolitical boundaries and national identities, and
the growth of new technologies that have not only transformed political and
economic institutions, but supported mass consumerism. Such changes shape
contemporary imperialism (economic, military, political, and/or cultural
domination over nations or geopolitical formations) with implications for
people in both local and global communities.
In this way, WGS seeks understanding of these issues and realities with
the goal of social justice. In this endeavor it puts women and other
marginalized peoples at the center of inquiry as subjects of study, informing
knowledge through these lenses. This inclusion implies that traditional
notions regarding men as “humans” and women as “others” must be
challenged and transcended. Such a confusion of maleness with humanity,
putting men at the center and relegating women to outsiders in society, is
called androcentrism. By making those who identify as women and other
marginalized peoples the subjects of study, we assume that our opinions and
thoughts about our own experiences are central in understanding human
society generally. Adrienne Rich’s classic essay from the late 1970s
“Claiming an Education” articulates this demand for women as subjects of
study. It also encourages you as a student to recognize your right to be taken
seriously and invites you to understand the relationship between your
personal biography and the wider forces in society that affect your life. As
authors of this text, we also invite your participation in knowledge creation,
hoping it will be personally enriching and vocationally useful.

LEARNING ACTIVITY
WHY ARE WE READING THESE ESSAYS?
Margaret Stetz, University of Delaware
Imagine that you, not Susan Shaw and Janet Lee, have final responsibility for Gendered
Voices, Feminist Visions. Shaw and Lee have finished arranging all the contents, which
appear in their current order. Everything is ready to go to press, and at this point you
cannot move anything around. Nonetheless, you have just received an urgent message from
the publisher, who wants to include one additional essay in the book: Pandora L. Leong’s
“Living Outside the Box” from Colonize This! (2002). Your instructor will let you know
how to access this article.
Now it is up to you to figure out where to place Leong’s essay in the existing volume.
Leong discusses a number of feminist issues, which means that the essay could go into any
one of several different sections of the book. You will have to decide which is the most
significant of the topics that Leong raises, as that will determine which chapter would be
most appropriate for this inclusion.
But you will also have to choose where, within the chapter, to put the essay, and that,
too, will be an important matter. If you place it at the start of a section, how might that
affect readers’ feelings about the essays that follow, especially the essay that comes right
after it? If you place it at the end of a section, how will its presence implicitly comment on
the earlier essays in the section and perhaps color readers’ reactions to the essay
immediately preceding it? And if you sandwich it between two essays, midway through a
section, how will that influence the way readers look at both the essay that comes before it
and the one that comes after? You have a lot of power here, and you must think about how
to exercise it.
Write a report to the publisher. In your report, you will need to do the following:
1. Identify the issue in Leong’s “Living Outside the Box” that you think is most worth
highlighting, and describe what she says about it.
2. Explain how you chose a place for “Living Outside the Box” in Gendered Voices,
Feminist Visions, and make a case for your choice.
3. Discuss the possible implications of its placement, talking briefly about the essays that
will surround it.
What do you think this activity suggests about the construction of an introductory women’s
and gender studies textbook? What kinds of decisions do you think Shaw and Lee had to
make in developing Gendered Voices, Feminist Visions? If you were a co-author/co-editor,
would you make similar or different decisions?

HOW DID WGS ORIGINATE?

The original manifestation of WGS was the emergence of women’s studies
programs and departments in response to the absence, misrepresentation, and
trivialization of women in the higher education curriculum, as well as the
ways women were systematically excluded from many positions of power
and authority as college faculty and administrators. This exclusion was
especially true for women of color, who experienced intersecting obstacles
based on both race and gender. In the late 1960s and early 1970s, students
and faculty began demanding that the knowledge learned and shared in
colleges around the country be more inclusive of women’s issues. It was not
unusual, for example, for entire courses in English or American literature to
not include a single novel written by a woman, much less a woman of color.
Literature was full of men’s ideas about women—ideas that often continued
to stereotype women and justify their subordination. History courses often
Another random document with
no related content on Scribd:
 “Foolish are ye, my children!” cried the Nightingale. “Fetch from
the vaults a cartload of fair gold, another of pure silver, and a third of
fine seed pearls, and give to the Old Cossack, Ilyá of Múrom, that he
may set me free.”
Quoth Ilyá: “If I should plant my sharp spear in the earth, and thou
shouldst heap treasures about it until it was covered, yet would I not
release thee, Nightingale, lest thou shouldst resume thy thieving. But
follow me now to glorious Kíev town, that thou mayest receive
forgiveness there.”
Then his good steed Cloudfall began to prance, and the Magic
Bird at his stirrup to dance, and in this wise came the good youth,
the Old Cossack to Kíev, to glorious Prince Vladímir.
Now, fair Prince Vladímir of royal Kíev was not at home; he had
gone to God’s temple. Therefore Ilyá entered the court without leave
or announcement, bound his horse to the golden ring in the carven
pillars, and laid his commands upon that good heroic steed: “Guard
thou the Nightingale, my charger, that he depart not from stirrup of
steel!”
And to Nightingale he said: “Look to it, Nightingale, that thou
depart not from my good steed, for there is no place in all the white
world where thou mayest securely hide thyself from me!”
Then he betook himself to Easter mass. There he crossed himself
and did reverence, as prescribed, on all four sides, and to the Fair
Sun, Prince Vladímir, in particular. And after the mass was over,
Prince Vladímir sent to bid the strange hero to the feast, and there
inquired of him from what horde and land he came, and what was his
parentage. So Ilyá told him that he was the only son of honourable
parents. “I stood at my home in Múrom, at matins,” quoth he, “and
mass was but just ended when I came hither by the straight way.”
When the heroes that sat at the Prince’s table heard that, they
looked askance at him.
“Nay, good youth, liest thou not? boastest thou not?” said Fair Sun
Vladímir. “That way hath been lost these thirty years, for there stand
great barriers therein; accursed Tartars in the fields, black morasses;
and beside the famed Smoródina, amid the bending birches, is the
nest of the Nightingale on seven oaks; and that Magic Bird hath nine
sons and eight daughters, and one is a witch. He hath permitted
neither horse nor man to pass him these many years.”
“Nay, thou Fair Sun Prince Vladímir,” Ilyá answered: “I did come
the straight way, and the Nightingale Robber now sitteth bound
within thy court.”
Then all left the tables of white oak, and each outran the other to
view the Nightingale, as he sat bound to the steel stirrup, with one
eye fixed on Kíev town and the other on Chernígov from force of
habit. And Princess Apráksiya came forth upon the railed balcony to
look.
Prince Vladímir spoke: “Whistle, thou Nightingale, roar like an
aurochs, hiss like a dragon.”
But the Nightingale replied: “Not thy captive am I, Vladímir. ’Tis not
thy bread I eat. But give me wine.”
“Give him a cup of green wine,” spake Ilyá, “a cup of a bucket and
a half, in weight a pud and a half, and a cake of fine wheat flour, for
his mouth is now filled with blood from my dart.”
Vladímir fetched a cup of green wine, and one of the liquor of
drunkenness, and yet a third of sweet mead; and the Nightingale
drained each at a draught. Then the Old Cossack commanded the
Magic Bird to whistle, roar and hiss, but under his breath, lest harm
might come to any.
But the Nightingale, out of malice, did all with his full strength. And
at that cry, all the ancient palaces in Kíev fell in ruins, the new
castles rocked, the roofs through all the city fell to the ground, damp
mother earth quivered, the heroic steed fled from the court, the
young damsels hid themselves, the good youths dispersed through
the streets, and as many as remained to listen died. Ilyá caught up
Prince Vladímir under one arm, and his Princess under the other, to
shield them; yet was Vladímir as though dead for the space of three
hours.
 “For this deed of thine thou shalt die,” spake Ilyá in his wrath, and
Vladímir prayed that at least a remnant of his people might be
spared.
The Nightingale began to entreat forgiveness, and that he might
be allowed to build a great monastery with his ill-gotten gold. “Nay,”
said Ilyá, “this kind buildeth never, but destroyeth alway.”
With that he took Nightingale the Robber by his white hands, led
him far out upon the open plain, fitted a burning arrow to his stout
bow and shot it into the black breast of that Magic Bird. Then he
struck off his turbulent head, and scattered his bones to the winds,
and, mounting his good Cloudfall, came again to good Vladímir.
Again they sat at the oaken board, eating savoury viands and
white swans, and quaffing sweet mead. Great gifts and much
worship did Ilyá receive, and Vladímir gave command that he should
be called evermore Ilyá of Múrom, the Old Cossack, after his native
town.—From I. F. Hapgood’s The Epic Songs of Russia.
 Historical Songs.
The historical songs are composed in the same manner as
the epic songs, of which they are an organic continuation. The
oldest historical songs treat of the Tartar invasion. A large
number are centred about Iván the Terrible, and those that
describe Yermák’s exploits and conquests in Siberia are
probably the most interesting of that period. Some of those
referring to the time of the Borís Godunóv have been given on
pp. 130-4, having been collected by Richard James, the
English divine. There are also songs dealing with Sténka
Rázin, the robber, who was executed in 1671, and Peter the
Great, of which that on the taking of Ázov in 1696 is given
below.
There are few collections of these songs in English: W. R.
Morfill’s Slavonic Literature and Talvi’s Historical View are the
only ones that give extracts of any consequence. Accounts of
these songs may be found in most of the Histories of Russian
Literature mentioned in the Preface.

YERMÁK

On the glorious steppes of Sarátov,

Below the city of Sarátov,
And above the city of Kamýshin,
The Cossacks, the free people, assembled;
They collected, the brothers, in a ring;
The Cossacks of the Don, the Grebén, and the Yaík,
Their Hetman was Yermák, the son of Timoféy;
Their captain was Asbáshka, the son of Lavrénti.
They planned a little plan.
“The summer, the warm summer is going,
And the cold winter approaches, my brothers.
Where, brothers, shall we spend the winter?
If we go to the Yaík, it is a terrible passage;
If we go to the Vólga, we shall be considered robbers;
If we go to the city of Kazán, there is the Tsar—
The Tsar Iván Vasílevich, the Terrible.
There he has great forces.”
“There, Yermák, thou wilt be hanged,
And we Cossacks shall be captured
And shut up in strong prisons.”
Yermák, the son of Timoféy, takes up his speech:—
“Pay attention, brothers, pay attention,
And listen to me—Yermák!
Let us spend the winter in Astrakhán;
And when the fair Spring reveals herself,
Then, brothers, let us go on a foray;
Let us earn our wine before the terrible Tsar!”
“Ha, brothers, my brave Hetmans!
Make for yourselves boats,
Make the rowlocks of fir,
Make the oars of pine!
By the help of God we will go, brothers;
Let us pass the steep mountains,
Let us reach the infidel kingdom,
Let us conquer the Siberian kingdom,—
That will please our Tsar, our master.
I will myself go to the White Tsar,
I shall put on a sable cloak,
I shall make my submission to the White Tsar.”
“Oh! thou art our hope, orthodox Tsar;
Do not order me to be executed, but bid me say my say,
Since I am Yermák, the son of Timoféy!
I am the robber Hetman of the Don;
’Twas I went over the blue sea,
Over the blue sea, the Caspian;
And I it was who destroyed the ships;
And now, our hope, our orthodox Tsar,
I bring you my traitorous head,
And with it I bring the empire of Siberia.”
And the orthodox Tsar spoke;
He spoke—the terrible Iván Vasílevich:
“Ha! thou art Yermák, the son of Timoféy,
Thou art the Hetman of the warriors of the Don.
I pardon you and your band,
I pardon you for your trusty service,
And I give you the glorious gentle Don as an inheritance.”

—From W. R. Morfill’s Slavonic Literature.

THE BOYÁR’S EXECUTION

“Thou, my head, alas! my head,

Long hast served me, and well, my head;
Full three-and-thirty summers long;
Ever astride of my gallant steed,
Never my foot from its stirrup drawn.
But alas! thou hast gained, my head,
Nothing of joy or other good;
Nothing of honours or even thanks.”

Yonder along the Butcher’s street,

Out to the field through the Butcher’s gate,
They are leading a prince and peer.
Priests and deacons are walking before,
In their hands a great book open;
Then there follows a soldier troop,
With their drawn sabres flashing bright.
At his right the headsman goes,
Holds in his hand the keen-edged sword;
At his left goes his sister dear,
And she weeps as the torrent pours,
And she sobs as the fountains gush.
Comforting speaks her brother to her:
“Weep not, weep not, my sister dear!
Weep not away thy eyes so clear,
Dim not, O dim not thy face so fair,
Make not heavy thy joyous heart!
Say, for what is it thou weepest so?
Is ’t for my goods, my inheritance?
Is ’t for my lands, so rich and wide?
Is ’t for my silver, or is ’t for my gold,
Or dost thou weep for my life alone?”

“Ah, thou, my light, my brother dear!

Not for thy goods or inheritance,
Not for thy lands, so rich and wide,
Is ’t that my eyes are weeping so;
Not for thy silver and not for thy gold,
’Tis for thy life I am weeping so.”
“Ah, thou, my light, my sister sweet!
Thou mayest weep, but it won’t avail;
Thou mayest beg, but ’tis all in vain;
Pray to the Tsar, but he will not yield.
Merciful truly was God to me,
Truly gracious to me the Tsar,
So he commanded my traitor head
Off should be hewn from my shoulders strong.”

Now the scaffold the prince ascends,

Calmly mounts to the place of death;
Prays to his Great Redeemer there,
Humbly salutes the crowd around:
“Farewell, world, and thou people of God!
Pray for my sins that burden me sore!”
Scarce had the people ventured then
On him to look, when his traitor head
Off was hewn from his shoulders strong.

—From Talvi’s Historical View.

THE STORMING OF ÁZOV

The poor soldiers have no rest,

Neither night nor day!
Late at evening the word was given
To the soldiers gay;
All night long their weapons cleaning,
Were the soldiers good;
Ready in the morning dawn,
All in ranks they stood.
Not a golden trumpet is it,
That now sounds so clear;
Nor the silver flute’s tone is it,
That thou now dost hear.
’Tis the great White Tsar who speaketh,
’Tis our father dear.
“Come, my princes, my boyárs,
Nobles, great and small!
Now consider and invent
Good advice, ye all,
How the soonest, how the quickest,
Fort Ázov may fall!”

The boyárs, they stood in silence,—

And our father dear,
He again began to speak,
In his eye a tear:
“Come, my children, good dragoons,
And my soldiers all,
Now consider and invent
Brave advice, ye all,
How the soonest, how the quickest,
Fort Ázov may fall!”

Like a humming swarm of bees,

So the soldiers spake,
With one voice at once they spake:
“Father dear, great Tsar!
Fall it must! and all our lives
Thereon we gladly stake.”
Set already was the moon,
Nearly past the night;
To the storming on they marched,
With the morning light;
To the fort with bulwarked towers
And walls so strong and white.
Not great rocks they were, which rolled
From the mountains steep;
From the high, high walls there rolled
Foes into the deep.
No white snow shines on the fields,
All so white and bright;
But the corpses of our foes
Shine so bright and white.
Not upswollen by heavy rains
Left the sea its bed;
No! In rills and rivers streams
Turkish blood so red!

—From Talvi’s Historical View.

 Folksongs.
Pagan Russia was rich in ceremonies in honour of the
various divinities representing the powers of nature.
Christianity has not entirely obliterated the memory of these
ancient rites: they are preserved in the ceremonial songs that
are recited, now of course without a knowledge of their
meaning, upon all church holidays, to which the old festivities
have been adapted. Thus, the feast of the winter solstice now
coincides with Christmas, while the old holiday of the summer
solstice has been transferred to St. John’s Day, on June 24th.
The kolyádas are sung at Christmas, and seem to have
been originally in honour of the sun. The name appears to be
related to the Latin “calenda,” but it is generally supposed that
this is only accidental, and that Kolyáda was one of the
appellations of the sun. Young boys and girls march through
the village or town and exact contributions of eatables by
reciting the kolyádas. In other places they sing, instead,
songs to a mythical being, Ovsén, on the eve of the New
Year. This Ovsén is some other representation of the sun.
During the Christmas festivity fortunes are told over a bowl
of water which is placed on the table, while in it are put rings,
earrings, salt, bread, pieces of coal. During the fortune-telling
they sing the bowl-songs, after each of which a ring, or the
like, is removed. After the fortune-telling follow the games and
the songs connected with these.
Spring songs are recited in the week after Easter. Soon
after, and lasting until the end of June, the round dance, the
khorovód, is danced upon some eminence, and the khorovód
songs, referring to love and marriage, are sung. There are still
other reminiscences of heathen festivals, of which the most
important is that to Kupála, on the night from the 23rd to the
24th of June, when the peasants jump over fires and bathe in
the river.
 The wedding-songs, of which there is a large number in the
long ceremony of the wedding (cf. Kotoshíkhin’s account of
the seventeenth century wedding, p. 143 et seq.) contain
reminiscences of the ancient custom of the stealing of the
bride, and, later, of the purchase of the bride. Most of the love
songs that are not part of the khorovód are detached songs of
the wedding ceremonial.
The beggar-songs are more properly apocryphal songs of
book origin, handed down from great antiquity, but not
preceding the introduction of Christianity. There are also
lamentations, charms, and other similar incantations, in which
both pagan and Christian ideas are mingled.
An account of the folksong will be found in Talvi’s Historical
View of the Languages and Literatures of the Slavic Nations,
New York, 1850; W. R. S. Ralston’s The Songs of the Russian
People, London, 1872; Russian Folk-Songs as Sung by the
People, and Peasant Wedding Ceremonies, translated by E.
Lineff, with preface by H. E. Krehbiel, Chicago, 1893. Also in
the following periodical articles: The Popular Songs of Russia,
in Hogg’s Instructor, 1855, and the same article, in Eclectic
Magazine, vol. xxxvi; Russian Songs and Folktales, in
Quarterly Review, 1874 (vol. cxxxvi). A number of popular
songs have been translated by Sir John Bowring in his
Specimens of the Russian Poets, both parts.

KOLYÁDKA

Beyond the river, the swift river,

Oy Kolyádka!
There stand dense forests:
In those forests fires are burning,
Great fires are burning.
Around the fires stand benches,
Stand oaken benches,
On these benches the good youths,
 The good youths, the fair maidens,
Sing Kolyáda songs,
Kolyáda, Kolyáda!
In their midst sits an old man;
He sharpens his steel knife.
A cauldron boils hotly.
Near the cauldron stands a goat.
They are going to kill the goat.
“Brother Ivánushko,
Come forth, spring out!”
“Gladly would I have sprung out,
But the bright stone
Drags me down to the cauldron:
The yellow sands
Have sucked dry my heart.”
Oy Kolyádka! Oy Kolyádka!

—From W. R. S. Ralston’s The Songs of the Russian People.

BOWL-SONG

A grain adown the velvet strolled—Glory!

No purer pearl could be—Glory!
The pearl against a ruby rolled—Glory!
Most beautiful to see—Glory!
Big is the pearl by ruby’s side—Glory!
Well for the bridegroom with his bride—Glory!

—From John Pollen’s Rhymes from the Russian.

A PARTING SCENE

“Sit not up, my love, late at evening hour,

Burn the light no more, light of virgin wax,
Wake no more for me till the midnight hour;
Ah, gone by, gone by is the happy time!
Ah, the wind has blown all our joys away,
And has scattered them o’er the empty field.
For my father dear, he will have it so,
And my mother dear has commanded it,
That I now must wed with another wife,
With another wife, with an unloved one!
But on heaven high two suns never burn,
Two moons never shine in the stilly night,
And an honest lad never loveth twice!
But my father shall be obeyed by me,
And my mother dear I will now obey;
To another wife I’ll be wedded soon,
To another wife, to an early death,
To an early death, to a forcèd one.”

Wept the lovely maid many bitter tears,

Many bitter tears, and did speak these words:
“O belovèd one, never seen enough,
Longer will I not live in this white world,
Never without thee, thou my star of hope!
Never has the dove more than one fond mate,
And the female swan ne’er two husbands has,
Neither can I have two belovèd friends.”

No more sits she now late at evening hour,

But the light still burns, light of virgin wax;
On the table stands the coffin newly made;
In the coffin new lies the lovely maid.

—From Talvi’s Historical View.

THE DOVE

On an oak-tree sat,
Sat a pair of doves;
And they billed and cooed
And they, heart to heart,
Tenderly embraced
With their little wings;
On them, suddenly,
Darted down a hawk.

One he seized and tore,

Tore the little dove,
With his feathered feet,
Soft blue little dove;
And he poured his blood
Streaming down the tree.
Feathers, too, were strewed
Widely o’er the field;
High away the down
Floated in the air.

Ah! how wept and wept,—

Ah! how sobbed and sobbed
The poor doveling then
For her little dove.

“Weep not, weep not so,

Tender little bird!”
Spake the light young hawk
To the little dove.

“O’er the sea away,

O’er the far blue sea,
I will drive to thee
Flocks of other doves.
From them choose thee then,
Choose a soft and blue,
With his feathered feet,
Better little dove.”
 “Fly, thou villain, not
O’er the far blue sea!
Drive not here to me
Flocks of other doves.
Ah! of all thy doves
None can comfort me;
Only he, the father
Of my little ones.”

—From Talvi’s Historical View.

THE FAITHLESS LOVER

Nightingale, O nightingale,
Nightingale so full of song!
Tell me, tell me, where thou fliest,
Where to sing now in the night?
Will another maiden hear thee,
Like to me, poor me, all night
Sleepless, restless, comfortless,
Ever full of tears her eyes?
Fly, O fly, dear nightingale,
Over hundred countries fly,
Over the blue sea so far!
Spy the distant countries through,
Town and village, hill and dell,
Whether thou find’st anyone,
Who so sad is as I am?
 Oh, I bore a necklace once,
All of pearls like morning dew;
And I bore a finger-ring,
With a precious stone thereon;
And I bore deep in my heart
Love, a love so warm and true.
When the sad, sad autumn came,
Were the pearls no longer clear;
And in winter burst my ring,
On my finger, of itself!
Ah! and when the spring came on,
Had forgotten me my love.

—From Talvi’s Historical View.

ELEGY

O thou field! thou clean and level field!

O thou plain, so far and wide around!
Level field, dressed up with everything,
Everything; with sky-blue flowerets small,
Fresh green grass, and bushes thick with leaves;
But defaced by one thing, but by one!
For in thy very middle stands a broom,
On the broom a young grey eagle sits,
And he butchers wild a raven black,
Sucks the raven’s heart-blood glowing hot,
Drenches with it, too, the moistened earth.
Ah, black raven, youth so good and brave!
Thy destroyer is the eagle grey.
Not a swallow ’tis, that hovering clings,
Hovering clings to her warm little nest;
To the murdered son the mother clings.
And her tears fall like the rushing stream,
And his sister’s like the flowing rill;
Like the dew her tears fall of his love:
When the sun shines, it dries up the dew.

—From Talvi’s Historical View.

THE FAREWELL

Brightly shining sank the waning moon,

And the sun all beautiful arose;
Not a falcon floated through the air,
Strayed a youth along the river’s brim.
Slowly strayed he on and dreamingly,
Sighing looked unto the garden green,
Heart all filled with sorrow mused he so:
“All the little birds are now awake,
All, embracing with their little wings,
Greeting, all have sung their morning songs.
But, alas! that sweetest doveling mine,
She who was my youth’s first dawning love,
In her chamber slumbers fast and deep.
Ah, not even her friend is in her dreams,
Ah! no thought of me bedims her soul,
While my heart is torn with wildest grief,
That she comes to meet me here no more.”
 Stepped the maiden from her chamber then;
Wet, oh, wet with tears her lovely face!
All with sadness dimmed her eyes so clear,
Feebly drooping hung her snowy arms.
’Twas no arrow that had pierced her heart,
’Twas no adder that had stung her so;
Weeping, thus the lovely maid began:
“Fare thee well, belovèd, fare thee well,
Dearest soul, thy father’s dearest son!
I have been betrothed since yesterday;
Come, to-morrow, troops of wedding guests;
To the altar I, perforce, must go!
I shall be another’s then; and yet
Thine, thine only, thine alone till death.”

—From Talvi’s Historical View.

Sing, O sing again, lovely lark of mine,

Sitting there alone amidst the green of May!

In the prison-tower the lad sits mournfully;

To his father writes, to his mother writes:
Thus he wrote, and these, these were the very words:
“O good father mine, thou belovèd sir!
O good mother mine, thou belovèd dame!
Ransom me, I pray, ransom the good lad,—
He is your beloved, is your only son!”
Father, mother,—both,—both refused to hear,
Cursed their hapless race, cursed their hapless seed:
“Never did a thief our honest name disgrace,—
Highwayman or thief never stained the name!”

Sing, O sing again, lovely lark of mine,

Sitting there alone in the green of May!
 From the prison-tower thus the prisoner wrote,
Thus the prisoner wrote to his belovèd maid:
“O thou soul of mine! O thou lovely maid!
Truest love of mine, sweetest love of mine!
Save, O save, I pray, save the prisoned lad!”
Swiftly then exclaimed that belovèd maid:
“Come, attendant! Come! Come, my faithful nurse!
Servant faithful, you that long have faithful been,
Bring the golden key, bring the key with speed!
Ope the treasure chests, open them in haste;
Golden treasures bring, bring them straight to me:
Ransom him, I say, ransom the good lad,
He is my beloved, of my heart beloved.”

Sing, O sing again, lovely lark of mine,

Sitting there alone amidst the green of May!

—From Sir John Bowring’s Specimens of the Russian Poets, Part II.

WEDDING GEAR

The blacksmith from the forge comes he—Glory!

And carries with him hammers three—Glory!
O blacksmith, blacksmith, forge for me—Glory!
A wedding crown of gold, bran-new!—Glory!
A golden ring, oh, make me, do!—Glory!
With what is left a gold pin too!—Glory!
The crown on wedding day I’ll wear—Glory!
On golden ring my troth I’ll swear—Glory!
The pin will bind my veil to hair—Glory!

—From John Pollen’s Rhymes from the Russian.

THE SALE OF THE BRAID