111 Matching Annotations
  1. Apr 2018
    1.         Go to a small printing studio (we use Swimmer’s Group and they are amazing, but there are others): the most beautiful end-products; smaller studios will engage you in the printing process and advise you about design issues, paper and binding options, and ways to experiment with the book; plus, you are supporting a small, local company.

      Interesting that they don't mention a price associated with this option. I imagine this could be fairly expensive, but they don't mention that aspect because it is "supporting a small, local company". I think the absence of all things considered here reveals a little of the authors bias.

    2. your press should be fun for you and for others

      I question using "fun" as the guiding principal for a press however -- I think there should be and is more to it.

    3. you need to take some real time, right off the bat, to conceptualize a larger poetics, mandate, or vision for your project.

      I think this is really important because having this set at the beginning will help to guide all your future business decisions.

    1. the feminist press is not about exclusion or cutting off conversations between men and women,

      I think this is so so important, and such a key ideal of a truly effective and productive feminist movement.

    2. Purposeful acts of gentle anarchy

      I think this is an interesting statement. Usually, when one thinks of anarchy they think of extremes and violence and disorder. The introduction of "gentle anarchy" as a term, however, suggests this political ideal can be used in a more effective and efficient manner to actually produce productive, desirable results in society.

    3. If the canon is to change, we don’t need more words – we need dialogue, coproduction, and exchange.

      So despite their attempts to create a grassroots movement, they are still recognizing that change needs to come from the top down to really have an effect.

  2. Mar 2018
    1. These days

      "80% of publishing comes from 7 major conglomerates."

      This is pretty incredible, and really would limit the possibilities for independent and small time voices to enter the publishing industry, as they discuss in the podcast.

    2. Self-Publishing The Best Option For Black Authors?

      "When you look at a people, you look at their institutional structures."

      I think this is a really interesting point, and I have never really looked at it this way before. But it's so true. When you are examining a society, you look at their political institutions, educational institutions, etc. to see where their ideals and norms come from.

    1. Take, for example, a situation a publisher at a reputable Midwestern press recounted. Claiming he is “always trying to diversify our staff,” he brought up a recent editorial assistant search that initially yielded 250 applicants. The press narrowed its options down to eight finalists, five of whom were white and three of whom were people of color. Although all the finalists were “excellent” in his estimation, the position went to a white woman. The reason? “There’s no room for tokenism at [our press].”

      According to this data, the results of this situation are actually statistically representative (if not exceeding proportional representation) of the minority population in the mid-west.

    2. PW talked with more than 40 publishing professionals (many of whom would only speak candidly off the record

      I wonder why they wouldn't speak about this issue on the record? Doesn't it need their voices?

    1. Maybe it’s because they focus too hard on what makes the character different and not how those differences interact with the things that make us all human, or maybe it’s because our experiences are just too much outside of their own experience.

      I would be curious to know exactly what she would have changed about the character in that comic, for example. Or what exactly she thinks needs to change in representations.

    2. I wasn’t going to write about this because I am also not a person of color, or a trans person, or a member of many other groups who often face this problem;

      I think it is a little problematic that she wasn't going to write it just because she's not a member of any of these groups. If something needs saying, I think it should be said (and can be said in a way that doesn't misrepresent anyone, if that is what she was worried about).

    1. Cultural sensitivities fluctuate over time. What will the readers of the future make of ours?

      Think this is a super important point to keep in mind when considering this practice.

    2. “If the story didn’t have an antagonist, it wouldn’t be very interesting.”

      Does she have a point here? Would depend on the changes recommended. But perhaps some stories are just written and intended to be somewhat sensationalized.

    3. Sensitivity readers, Ireland insists on her website, “are NOT a guarantee against making a mistake.” The vetters are individuals—they cannot comprehensively sum up the meaning of a group identity for a curious autho

      Exactly the issue my earlier annotation was referring to.

    4. Is the book about the girl struggling with her weight too much about a girl, well, struggling with her weight?

      I don't fully understand what this sentence is trying to imply.

    5. As writers attempt to reflect these realities in their fiction, they often must step outside of their intimate knowledge.

      Interesting that it seems to suggest or be a proponent of authors writing outside of their own experiences, whereas in class we talked about how authors should mostly try and stay within their own perspectives.

    6. Either hired by individual authors or by publishing houses, sensitivity readers are members of a minority group tasked specifically with examining manuscripts for hurtful, inaccurate, or inappropriate depictions of that group.

      I see the intentions of this, but could you really create a group that accurately reflects all members of a minority community effectively? We've talked in glass how everyone has such a diverse perspective and experience, even if they have some common characteristics or identifiers; thus, I am not sure this is really the way to 'solve' the issue of potentially offensive content.

  3. doc-08-5g-docs.googleusercontent.com doc-08-5g-docs.googleusercontent.com
    1. nnovative publishers reformatted manga so that it more resembled a paperback book than a comic book magazine (Brienza 2009). Additionally, it expanded into the distribution channel for bookstores and once there enjoyed great success in such outlets as Barnes and Noble and Borders

      Turning it 'mainstream' essentially.

    2. Although certain stigmatized genres (e.g. horror, crime) were not necessarily “outlawed” by the Comics Code, they were severely con-strained by the fact that if they did not pass muster, then they would not be distributed, and no publisher would waste resources to produce comic books that could not be offered for sale.

      Unspoken rules of censorship guiding industry strongly present then.

    3. process that links the cre-ator of a cultural product to whoever ultimately consumes and experiences it, although producer and consumer may never physically encounter each other and personally interact.

      I am not sure if I would agree with this statement. I would still argue that it is the content that links these two parties -- yes, distribution is needed to transport the book, but the content is really what expresses the authors intentions, and ultimately speaks to the reader.

    4. In turn, who could conceivably have the opportunity to purchase a product infl uences what will ultimately be produced and sup-plied to the retailers.

      This is how the cycle of comics continues and stays within particular communities; those who have the opportunity to buy the product are shaping the product itself.

    5. Printing infl uences the fi nal product by constraining what is physically possible

      Like in the other article he talked about the challenged that both print and web comics face, and how this shapes the outcome of the final product.

    6. However, as a publishing industry, the reproduction and sale of the con-tent is the critical consideration, as the industry would not exist without reproduction and sale.

      Had never really considered that this side of the business is worthy of the same analysis that the actual content of comic books would be.

    1. However, to those in the webcomic community, hacking is the ethical exploration of and improvement on existing Open Source technology.

      Interesting distinction here -- taken a negative concept and appropriated it as a positive within their own community.

    2. Further, webcomics facilitate communication between readers and webcomic artists, which allows webcomics to discuss these ethical concerns with those aware, and those unaware, of issues like Open Source and Copyleft.

      These mediums are arguably a crucial element of a healthy, democratic landscape then, as they foster discussion and debate about important issues, whether mainstream or not.

    3. These references would alienate a large percentage of possible readers, but webcomics are concerned with their interests instead of how they can appease a mainstream audience.

      Key concept of the article summed up in this one sentence I think.

    4. infinite canvasses

      I wonder how a technology like augmented reality could be included in comic design to further revolutionize the industry -- if something like this was even possible, while still maintaining the essence of comic book design.

    5. In the speech, Watterson argues for a mass medium that allows the same freedoms found in Underground Comix

      What would such a mass medium look like? It is hard to imagine, as mass publishing outlets are so driven by traditional, formulaic standards that it is hard to envision more freedom in this industry, without steering it away from being mainstream.

    6. In the speech, Watterson argues for a mass medium that allows the same freedoms found in Underground Comix

      What would such a mass medium look like? It is hard to imagine, as mass publishing outlets are so driven by traditional, formulaic standards that it is hard to envision more freedom in this industry, without steering it away from being mainstream.

    7. Underground Comix

      "Underground comix are small press or self-published comic books which are often socially relevant or satirical in nature. They differ from mainstream comics in depicting content forbidden to mainstream publications by the Comics Code Authority, including explicit drug use, sexuality, and violence. They were most popular in the United States between 1968 and 1975, and in the United Kingdom between 1973 and 1974." https://en.wikipedia.org/wiki/Underground_comix

    8. Many webcomics are written within, and for, the hacker/geek sub-culture,

      Again, so reminiscent of zines, where the content is written both by and for those directly involved in the community themselves. These are not intended to broadcast mass messages to the whole public; they are instead a source of entertainment and expression for this particular sub-culture.

    9. The fact that the web offers a source of income through payment programs, like PayPal donations, allows the artists greater freedom in regards to their artistic goals or their political ideals than if they were working under an editor for a mainstream company.

      Interesting to see how the artists bring in revenue -- would be much different than in many traditional publishing mediums where ads are involved.

    10. many webcomics include themes and deal with issues that mainstream comics do not. Many of them are written by people with offbeat interests for people with similar interests.

      Super resonant of zines I think.

    11. the internet has not offered a level playing field

      Must keep in mind the idea that the internet is not a neutral space. Despite it seeming open and free to everyone, there are still powers and bias' at play that shape the direction of how individuals utilize this platform.

    12. ew readers are also able to buy comics on the internet

      Can't imagine the difference and upheaval the internet has caused in an industry like this -- seemingly positive though.

    1. little about podcasting thatis truly new, when the full range of radio’s history and formsare taken into account

      I don't think I ever conceptualized podcasting as an entirely "new" medium. A new term perhaps, but I think I always understood it as just something that was renewing an older format of something.

    1. David Haglund presented theSlate’s Serial Spoiler Specialspodcast, and notes, ‘‘Serialspurred conversation like few other stories: : : :There wasplenty to disagree about, and many questions to ask: : :All of these things are goodingredients for the conversations that one can build a podcast around’

      How could these same elements be applied to other political, or educational content to encourage discussions around those things as well?

    2. Despite the PewResearch Center suggesting that growth ‘‘has largely levelled off’’ in 2014

      So it appears to me that podcast listeners are either very involved in podcasting, as it stated above that there was an increase in the amount of new podcasts individual listeners were tuning into, or really not aware of the medium at all. Despite increasing awareness in society, still appears to be appealing to a niche audience, I'd argue.

    3. so a well-promoted new podcast can appear to be more popular thana podcast with a loyal and substantial audience

      Would likely make it difficult for new, independent podcasts to enter environment, as they would possess less of a budget to promote their series.

  4. Feb 2018
  5. doc-0s-5g-docs.googleusercontent.com doc-0s-5g-docs.googleusercontent.com
    1. Zines are, in effect, complex aesthetic per-formances that defy and disorient those who would try to make sense of them in conven-tional ways.

      I think this is important to remember when evaluating and analyzing zines. Like manifestos, which we dealt with last week, they are a specific type of material and language and thus we cannot simply evaluate them against mainstream media.

    2. It is this process by which the sometimes small ef-fects of prior practices live on in the desires, acts, and interventions constituting people’s subsequent lives that produces change—slow change, perhaps, but change nonetheless.

      Changes that zines have in individuals begin to translate into wider community -- perhaps a stretch, but also could work as a form of slow incremental change, as the author notes.

    3. It acts on, further enables, and thus perpetuates the networking and community formation at the heart of zine-ing. Zine community forma-tion is at least not evanescent, then, even if it is fostered in a mediated way.

      Not going away, sure, but the author has still yet to prove their argument that zines can/may have significant impact at some point in the future.

    4. Be-cause zines haven’t immediately produced that kind of change, it is assumed, they never will.

      This makes me think that for a zine to actually have an effect on mainstream culture, it would have to achieve essentially a "viral" status, like so many videos do online these days -- but even those have a limited life.

    5. His goal, ultimately, was to change the mix of what was offered to library patrons by opening library shelves to alternative, under-ground publications.

      But in doing so, wouldn't this in effect be trying to make these publications more mainstream, and thus nullify their purpose?

    6. Although he acknowledged that most zines had a circulation “in the thousands, the hundreds, and sometimes only in the tens,” he insisted that zines were “where the action is, where information (and disinformation) is free, where things are happening.”

      Such small distribution, and yet such high regard for these published materials indicates that it is more the ideology and subversion they represent that is important, rather than their actual physical reach/circulation.

    1. zine cultures may yet break into their maturity andcreate publishing cultures that can sustain themselves rather than burnout.

      Does this change their purpose/representation in society though, and turn them into something they're not? Or not supposed to be?

      I think it would kind of contradict the definition of zines given in second reading -- namely being "self-published".

    2. That Murdoch-owned MySpace has previously shut down queer music sites

      Didn't really consider this aspect of having zines/alternative communities online -- they are subject to the control of the platform owners, whereas in print they could kind of just run their own thing aside from mainstream media and not have to worry about this.

    3. In gift econ-omies, reciprocity is expected for products freely shared, either throughdirect gifts or feedback or through intangible rewards such as self-esteem,reputation, mutual aid, recognition from the community, or the expec-tation that the community as a whole will produce more goods to share

      From my research into gift economies, they can actually work really well and be very beneficial for those involved in them, if carried out properly and with enough of an invested community base.

    4. plugging a vast number of unpaid hours into theirproduct and service development

      Ok, but in all fairness, it is usually a volunteer kind of project. No one is employed by zine magazines -- they are intended as a sort of alternative media/material for individuals to express themselves and find community, so I wouldn't expect it to be paid labour.

    5. Yet following the decline of these independent spaces due to corporateconglomerates and globalization, new technologies have been instrumen-tal in forging collaborative and innovative means of distributio

      I would think these new technologies would reduce costs for independent zine makers, which is a positive result of these otherwise negative trends.

  6. doc-0o-5g-docs.googleusercontent.com doc-0o-5g-docs.googleusercontent.com
    1. imited coverage of cldl organizational matters and a lack of news correspondents. In truth, the paper is largely made up of editori-als and reprinted material, much like the other Canadian working-class papers among which it circulated.

      Sounds like the modern landscape of the journalism industry we are struggling to navigate today.

    2. The reviewer’s preferred terms—“magazine” and “journal” rather than “paper”—demonstrate the claim to cultural status the Defender makes for itself and its companion publications.

      Interesting how certain terms give the Defender more legitimacy or weight.

    3. ily Clarion as more than a party organ of the Communist Party based on its inclusion of cultural issues and literary works (56)

      Looks like The Daily Clarion was playing a role alongside the Defender in promoting communist ideals.

    4. ould be “unwise” to measure the influence of revolutionary agitation by membership in the Communist Party alone, “as the majority of the sympathizers are members of affiliated organizations who are continuously carrying on revolutionary propaganda”

      Key element of movement: strong ties with sympathetic organizations.

      Not as necessary today, as individuals can retain more control over movement using digital platforms, and thus don't need to rely on other groups as much? Just one theory.

    5. Assembly Lines|135The Communist Party continued to be active from the underground during its period of illegality through what Alan Filewod identifies as a “complex of roles and positions” tying together “an alliance of mass orga-nizations” (106

      I wonder what these 'underground' operations would have looked like during this era? Surely much different from how an underground movement would operate and spread in our modern digital age.

    6. operates most pointedly on the circulation of ideas within the public sphere: ideo-logical, not physical, association is the true locus of criminality

      So true. If you can spread ideas around in any form, even if not physically, I think you can spread a movement and have it take its own shape.

    7. Within this seized material was a collection of pamphlets and peri-odicals, including Canadian publications and those obtained from radical organizations and other groups.

      Could this have involved Jean Watts' writings for The Daily Clarion perhaps? Or maybe it is just a bit too early.

  7. doc-14-5g-docs.googleusercontent.com doc-14-5g-docs.googleusercontent.com
    1. "Be loud, interrupt boring chants and business as usual with some realness that cuts through the shit like a buzz saw." (p. 13)

      Sometimes presence and loudness is needed to make a change; however, I think sometimes this just wouldn't be taken seriously, and one must recognize the potential ability of rational and reasonable discussion to achieve something.

    2. "Fight oppression and bullshit. Fuck that word 'intersectionality', but, you know, be it." (p. 12)

      Don't quite understand the point of this statement. Isn't an intersectional approach what the author is advocating for? To recognize the endless differences among queer and trans people, and not fit them in one particular box? Why, then, would they argue "fuck intersectionality"?

    3. "Femme sharks are over white queers... we know that we are a center of the universe." (p. 5)

      Ok, I understand that this manifesto is trying to express the frustration of this group of individuals; however, I think statements like this only work to introduce further divides among society and put people at odds, rather than bringing them together.

    1. Who can deny that some forms of thought create a noxious atmosphere, a stink, sometimes subtle and other times overwhelming? We all believe this about the people we disagree with, the ideologies we hate.

      Interesting way to describe how we respond to things we disagree with.

    2. And even when people do recognize the rational validity of something as unpleasant and intractable as climate change, they simply don’t want to accept it.

      Why aren't they willing to accept it? Is denial a comfortable emotional state? Is it too much work to combat? Do they not truly believe the evidence?

    3. his situation is one of national self-deception, denial and fundamentally irrational behavior, the paper sets aside any attempt to make reasoned arguments about conservation or regulation, and instead embraces irrationality as the last possible mode of engagement with a contemporary public that will no longer listen to reason

      This is a really interesting approach that you don't see a lot in academic or cultural literature.

    1. But I believe in necessary, minimal resistance. In the preservation of certain rituals. In conversation, that is the art of time; in desire that is time turned into art. In whistling, when I walk from my house to a bookshop, melodies that only I hear, that belong to nobody else.

      Really just calling for balance with this point?

    2. When you read a print book, the energy and data you release through your eyes and fingers belong only to you. Big Brother can’t spy on you. Nobody can take that experience away or analyze and interpret it: it is yours alone. That’s why Amazon launched its world campaign, the “Kindle Reading Fund”: supposedly to encourage reading in poor countries, but in reality to accustom a new generation of consumers to read on screen, and to be able to study them and have the five continents on its database. That’s why the Planeta Group—a multimedia corporation that welds together more than a hundred companies and is the sixth biggest communications group in the world—is investing in business schools, academies and university institutions: because it wants to maintain high levels of literacy to ensure future sales of the novels that win the Planeta Prize. We’ll see who wins out.

      This sounds maybe a little sensationalist or tending towards conspiracy theories, in my personal opinion. I do understand the point the author is trying to make, but I also think there is an element of understanding that Amazon is a gigantic corporate company, and thus of course their main goal is going to be profits and data. Simple as that.

    3. The machine transforms the customer into the prescriber. Customers who bought this product also bought.

      Sometimes this algorithm is useful/helpful though. Why does it necessarily have to be a negative thing?

    4. However, a large economic and political structure exists behind all those individual operations. A structure that puts pressure on publishing houses in order to maximize Amazon’s profits from their products, just as it does on manufacturers of skateboards or producers of frozen pizzas. A macro-structure that determines visibility, access and influence: that is shaping our future.

      I think this right here describes/sums up the process of commodification and commercialization of our culture.

    5. cultural institution and an establishment that sells food and other goods

      Interesting that the author still believes in this distinction, as so many of our cultural products today seem to be commodified.

    6. where the company guarantees delivery of products in an hour

      That is incredible. What kind of forces of labour have to be involved in the process to achieve this?

  8. doc-08-5g-docs.googleusercontent.com doc-08-5g-docs.googleusercontent.com
    1. If so, why not harnessprofitability to a community consciousness-raising event and simul-taneously enhance both awareness and the company bank balance?

      Exactly the point I was suggesting in my previous annotation above.

    2. e t , i n a d d i t i o n t o i d e o l o g i c a l i n c l u s i v e n e s s , t h i s p o l i c y a l s o m a d eexemplary business sense

      Does this matter? If the word and stories were getting out there, perhaps this is helpful to the cause.

    3. Secondly,what are the ideological ramifications of a press run predominantlyby white women marketing itself as an outlet for the voices of womenfrom a wide variety of racial groups?

      Depends on the motivations I think. Could be positive, if simply space is provided for these alternative and wide-ranging voices (i.e. as Maise did for Indigenous population in Native Voice). Or, could definitely be negative if white women are trying to claim their experience as the dominant narrative and speak for all.

    4. These investigations prompt potentially unsettling questions aboutthe directions in which feminist publishing is currently developing:specifically, can feminist publishing broker alternative and morefavourable terms to ensure its future financial survival and continuedcultural receptivity?

      I definitely think it's possible. When you have as large of a movement as this, and so many different perspectives invested into making change, there is a highly likely chance of it developing into something significant -- albeit over a significant amount of time perhaps.

    5. As attention turned to the varieties and priorities of feministpublishing practice, the mere existence of feminist presses wasincreasingly perceived to be, of itself, inadequate. Having achieveda degree of market leverage within the book industry, feministpublishing now came under attack from groups sufficiently close toits ideals to feel its impact, but sufficiently alienated from its campaignsto demand expansion of its agenda

      I understand that they weren't including all voices in the movement, but to say it was inadequate is maybe not giving the beginnings of this movement enough credit. I mean, you have ti start somewhere, right?

    6. Recognising thatpublishing was inherently ideological, the women’s movement vowedto appropriate such practice for explicitly women-centred politicalends.

      Surprised this seems to imply that only in 1970's was it recognized publishing is inherently ideological.. when for decades before that it had been used as a tool for social change (i.e. African American publishing from week 2), not just oppression.

  9. Jan 2018
  10. doc-0c-5g-docs.googleusercontent.com doc-0c-5g-docs.googleusercontent.com
    1. dzdz dz”  dž.dzdz)- dzdz/C dzǠ m dz dzdzŋƉAdzdz dzdz ƹdzƭdzFČd

      A crowdfunding project, even back in this day and age.

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      Forced to don an "executive appearance", and almost tame the sadness and oppression he was feeling by presenting as 'Westernized'.

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      Amazing that one group of people can place such restrictions on another, and hold that much power over them. How would Western society feel if such important traditions and practices were prevented in their societies?

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      Reminds me of our conversation last week in class, about how it is sometimes better for movements to have a singular, unified voice that is delivering the message, as it can provide coherence and validity to the message. But, this could also have the danger of stifling particular voices and needs in the community. So which do you think is the more ideal system to carry a movement forward?

    5. Ɠ5@*Ɠ Ɠ ńqƓD  _ÛƓ€  FƓ ƓƓƓ ƓƓa Ɠ² ! ƏƓjƓA —ƓŞ©Ɠ#ƓƓŒ. GƓ#Ɠ Ɠ ŰƓJƓB  Ɠ  Ɠ Ɠ  ÆƓ‰Ɛ ÇƓ33 Ɠ ĘƓ ƓũĜ  Ɠ ƓĦÒfkƓ Q Ɠ  ÈƓ Ɠ#ƓƓ   Ɠ­ƓĄ Ɠĩ$*,ÜƓòƓÉƓ; Ɠ Ɠ!–Ɠ¡ÊƓ(B  Ɠ>¥ƓĪƓ  ŚƓ Ɠ Ɠ . Ɠ‡Ɠí Ɠ Ɠ ƓƓ4kƓ}Ɠ  oUƓƓƓ   ƓƓ Ɠ Ɠ( ̄DC  Ɠ 5] Ɠ $  ƓƓ ! Ɠ'Ɠ

      Interesting how discrimination was viewed as a separate thing from these other elements of inequality.

    6. DNJÈÉNJh NJNJŏƊ ̧ ÞNJ NJ  NJ Ƥ †N

      Don't really use this word in this context anymore, but it brings up the idea of how material wealth isn't everything, and there are other ways to become 'rich'.

    7. ȝ/  ȝ¿Ɣȝȝ‚ȝ/ȝ ȝ9ǤǺȝ-μȝ"ȝ6ȝ-ǣ ȝçšŖìȝ ȝ²ÉǑȝȝ%ȝŕǓŦL=eȝȝ ª ȝ ȝ ȝ% ȝ ȝ  ȝyqȝҜȝijȝŒÓȝ

      Her wild, non-traditional upbringing appeared to foster a sense of political radicalism in her.

    8. v Ƭ ŃlƬū ½ƬƬųÉ95¾ƬƬ†ƬZ(ƬƬƄƬƬ ƒ ƬƬƬƬƬ Ƭ+ƬD ƬƬ z =xƬD Ƭ(z¿ƬƬ5+Ƭ  Ƭ ƬƬ ƍƬNçƬ  ƬƈƬƬ ŨƬƬ  ƬƬe  ơƬƬĤØƬU ƬƬƬO}ƬƬƬȏlƬ&yĎa; ƬP  ƬÀƬƢ ƜƬ/  ƇƬƬƬĩ‘ƬƬOʼnŠƨ ƬƬ.ŕƬ4 ƬƬ Ĺ ƬƬ    ƣƬ=ƬK6 'Ƭï” ƬƬƬƬ Œ.3MPƬ Ƭ Ƭ Ƭ> ƬƛƬ Ƭ( SƬƬ ƬFƬƬeƬƬD ƬƬƬƬ0=Ɵ Ê ƬƬĢb Ƭ!ƬƬš ş)Ƭ   ƬÁƬ1 ƬWƬ &J€)"ƬƬžt Ƭ1 +ŸƬoƅƬƬ ńƬƬV ƒƬ# ƬŅ dƬƬûKoƬ Ƭ ƬƬƬƬ(ƬƬY   ƬƬƬ ƬƬ—3ƬƬ c Ɲ‚ ÙƬ&ƬNc€)ƬgƬ&Ƭ¥Ƭ ÂƬ ƬƬƬ ÃƬGĝp ƬƬIśn jƬƬ-Ƭ6 ũƬƔbƬ ƬƬƃ ƬEƬ Ƭ ƬƬ¦Ƭ;5|èƬ5+ƬƬĘ“ ÚƬVƬÄƬƬƬŷĸ^ Ƭ‘Ļ/Ƭ1„§ƬĽ $Ƭ0"Ƭ GƬƬ ę,ƬƬ Ƭģ ƬƬ $Ƭ Ƭ Ƭ<ƬƬƬ( Ƭe x'ƬvƬĞűdƬqƬ ƬƙƬfƬƬčƐ >ƬƬƩ  ƬƬN Ƭ@“EƬM*Ƭ6ƎƬ Ƭ-Ƭ ƬŸƬ` _ƬƬ-ƬƬƬƬ Û¡Ƭ

      Interesting that she appeared to have little reservations about abandoning the expectations of her family and society and doing what she wanted to do, especially in that era. I wonder if she faced any repercussions or social scorn for her actions, other than just having her reputation 'tainted' a bit. Would be interesting to compare the result of such actions then, to if a woman did a similar thing today.

    9. "ƽfƽ ƽ)ƽ9ƽ#ƽ Êƽƽƽ  ƽ÷œ.ƽƽƽŇ)ƽý  ƽƽŠ ƽ ƽƽ )ƽjAƽƽƽƽ‰ƽƼ <ƽ 

      Interesting that this was her initial impression, where as so much of the rest of the population lacked this seemingly obvious thought/attitude towards this group of people.

    10. !ư ̈!ȧȧȧÝȧ  ȧ ̄ȧ Ǎȧ ȧ Ǽ(ȧÄSȧ& ƗBȧ Mȧ#‰ȧ ȧŗũsȧ ȧ ǙȧȜ =ȧ|ȧȧ3ȧȧȧ1ȧȧƸ  ȧȧ ȧƂƪȧ    ȧȧ ȧ^ęÞ

      Super evident of the themes from our last class discussion, about how women have certain expected characteristics. Here, it is just discussed as a normal thing -- like the fact that she could have good business sense was just so unusual for a woman, and thus noteworthy enough. I think this happens today still as well.. for example a lot of times I hear someone desribe a woman as 'beautiful' or 'pretty', and then other characteristics come after, such as 'smart too'.

    11. ǴǴǴǴ`Ǵ ?\ ǴßǴ ǴtǴ8Ǵ Ǵc k

      Freedom for all races, yes. But a 'real democratic Canada' is an interesting term.. must consider what a true or 'direct' democracy would look like and function as, as opposed to a representative democracy.. which is more what we have now, and while there is still oppression of people, representative democracy seems to function relatively well.

  11. doc-0g-5g-docs.googleusercontent.com doc-0g-5g-docs.googleusercontent.com
    1. Jean Watts and the Spanish Civil War: Writing, Politics,and ContextsA Case Study Collection

      Seminar Leadership Discussion Questions:

      1) “If we are to understand how the dynamics of gender shaped the experiences of women in the Spanish Civil War, whether as journalists, nurses, or combatants, we must also account for the ways that narratives about their exceptionality, their sexuality, and their femininity continue to resonate through the voices of their contemporaries.” (p. 5, in conclusion)

      How are particular narratives about women and their “exceptionality, their sexuality, and their femininity” being perpetuated today? What is the effect of a campaign like #metoo on women’s work and personal reputations? (Do you think there exists a darker side besides the empowerment this campaign offers?)

      2) “…. despite the fact that they were perfectly qualified for the work at hand, their qualifications may not have overridden their gender. Watts and Gellhorn may have been justified in assuming that their previous experience was largely irrelevant, even as they narrativized their experiences years later.” (p. 16-17, in case study four)

      Where do we see this happening today? What industries do women need to fight harder to get into? What about environments where men need to fight more to get into/break stereotypes about (e.g. male nurse practitioners)?

      3) Watts and Gellhorn had a tendency to use varying pronouns and points-of-view, and to shift focalizations during their articles. Watts often inserted herself into articles, considering herself part of the Spanish community and not withholding her anger and sorrow about what she saw around her. Gellhorn invited readers to imagine themselves in the situation, cultivating an intense emotional impact on readers. (see p. 18-28, in case study four)

      Do you think that journalists have this kind of distinct voice today? Is it more present in certain areas of the industry than others (i.e. war reporting today)? Has it been overridden by the market-orientation – or ‘hamsterization’ – of the journalism industry?

    1. There are no records of works that were allowed to be sold by informal arrangements with the police—so-called simples tolérances and permissions de police. And the enormous production of books that were printed outside France and marketed inside the kingdom cannot be estimated. I would guess that it constituted more than half the books in circulation between 1769 and 1789.

      Are online blogs an equivalent to this? A kind of 'underground press' that people can use anonymously to engage and enter into discourse around social change and other political themes.

    2. Yet the demand for literature remains relevant to the understanding of discourse and culture, including the cultural explosion of 1789.

      How could demands for particular types of literature in our day and age help us to map out where our modern society is going? Would trends such as click-bait news, or 'soft' news indicate a negative direction? Are there any other types of literature you can think of that indicate a more positive direction?

    1. African American writers and readers also forged alliances with whiteabolitionists

      Interesting to note that alliances were still formed between Western and African American peoples with similar goals, even amidst all the strife.

    2. the major word groupings defining African-de-scended people—’’African,’’ ‘‘slave,’’ ‘‘Negro’’—and you see the visual equiv-alent of liberation technology: African voices rising in print

      Highlights the way that minority groups may reclaim certain terms used to describe or position them, and re-incorporate them and take power over these terms themselves.

    3. highlighted the rising visibility of black people in Western localeswhile denigrating their ability to inhabit mainstream Anglo-American printculture as autonomous beings.

      How White majority was able to maintain the suppression of African Americans... used power over mainstream media to proliferate the sense of 'otherness'.

    4. Africans have ‘‘a great deal of craft,’’ he continued, and their ‘‘unintelligiblejargon stands them in great stead to conceal their meaning.’’ The only re-course was to print: by meticulously transcribing Africans’ statements ‘‘andthoroughly weigh[ing] and compar[ing] them with each other,’’ he couldreveal black revolutionaries’ inner evil designs. Of course, he explained, en-slaved people could not ‘‘deliver themselves precisely in the same words’’ ashis transcriptions. But readers should still trust his reconstructed dialogues,for they pointed to the same broad message: do not trust people of color.

      Wow. This is incredible how an entire set of people is depicted and described in such a way. Really impactful to see how fear and misunderstandings and simple ignorance can lead to such drastic representations, or "virtualizations".

    5. invite us to take a closer look at theemergence of a racial worldview being established in print

      Exactly what I was thinking as I was reading through the previous part of this article.

    6. As Aravamudan explains, virtualiza-tion was an attempt to comprehend black voices in trans-Atlantic culturethrough distorted representations of their physical features, speech patterns,and inability to comprehend the power of print.

      An example of how new technologies can be used by a particular hegemonic group to reposition themselves in a place of power and establish/maintain a divide in society.

    7. black activists like Frederick Douglass and Sojourner Truth embraced earlyphotography to reshape the image of African Americans in nineteenth-cen-tury culture.

      Photography is an interesting alternative communication material (other than print/newspapers) that black activists utilized to reclaim their identities.

    8. For many trans-Atlantic black reformers, establish-ing an autonomous identity in Western print culture became a necessary cor-ollary to the struggle for physical emancipation

      Highlights the way grassroots movements can begin in print.. paralleled today by grassroots movements that often begin on social media platforms.