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Feminism in Art and Culture
Study Course Description
Course Description Statuss:Approved
Course Description Version:7.00
Study Course Accepted:02.02.2024 12:25:22
| Study Course Information | |||||||||
| Course Code: | KF_010 | LQF level: | Level 6 | ||||||
| Credit Points: | 2.00 | ECTS: | 3.00 | ||||||
| Branch of Science: | Communication Sciences | Target Audience: | Information and Communication Science | ||||||
| Study Course Supervisor | |||||||||
| Course Supervisor: | Jana Kukaine | ||||||||
| Study Course Implementer | |||||||||
| Structural Unit: | Faculty of Social Sciences | ||||||||
| The Head of Structural Unit: | |||||||||
| Contacts: | Dzirciema street 16, Rīga, szf rsu[pnkts]lv | ||||||||
| Study Course Planning | |||||||||
| Full-Time - Semester No.1 | |||||||||
| Lectures (count) | 6 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 12 | ||||
| Classes (count) | 6 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 12 | ||||
| Total Contact Hours | 24 | ||||||||
| Part-Time - Semester No.1 | |||||||||
| Lectures (count) | 5 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 10 | ||||
| Classes (count) | 3 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 6 | ||||
| Total Contact Hours | 16 | ||||||||
| Study course description | |||||||||
| Preliminary Knowledge: | Not required. | ||||||||
| Objective: | To introduce students to feminism as a social, political and intellectual movement, its relevance and application in the analysis of art and culture. To provide an introduction to feminist aesthetics and art, also in Latvia. To foster understanding of the central issues, problems and themes in feminism. To offer in-depth theoretical knowledge of key concepts, authors and texts. The proposed conceptual tools will also be applied in the analysis of contemporary art phenomena, as well as the everyday lived experience of the students. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Answers to the question "what is feminism?" Feminism as a social and intellectual movement. The idea of gender equality. Is feminism found in everyday life? | Lectures | 1.00 | auditorium | |||||
| 2 | Gender/gender distinction. The concept of gender roles, the gender/gender distinction in second-wave feminist theory; problems of the Latvianization of "family"; critique of the concept of family. | Lectures | 1.00 | auditorium | |||||
| 3 | Practical task: family in the urban environment. Students prepare presentations reflecting their walking experience from the family's perspective. | Classes | 1.00 | auditorium | |||||
| 4 | Geography and periodization of feminism. A narrative of four waves. Diversification of the feminism movement within the second wave: liberal, radical, Marxist, etc. c. trends of feminism. Actualization of the intersectional perspective in third wave feminism. The state of feminism today, the innovations of the fourth wave against the background of the other waves, the role of social networks in the activism of the fourth wave, the example of the #metoo movement. | Lectures | 1.00 | auditorium | |||||
| 5 | Practical lesson: different directions of feminism, student presentations. | Classes | 1.00 | auditorium | |||||
| 6 | Feminism in Latvia, post-socialist feminism. Fear of feminism in Latvia. Invisibility of feminist discourses in Eastern Europe, historical and ideological causes. | Lectures | 1.00 | auditorium | |||||
| 7 | Feminist issues in art. Points of contact between feminism and art, central issues. Feminist art history and criticism, major works. | Lectures | 1.00 | auditorium | |||||
| 8 | Peculiarities of the perception of feminist art in Latvia, hybridity of feminism. Examples of artworks, local feminist discourses and issues. Feminist art in Latvia: what are the central themes? | Lectures | 1.00 | auditorium | |||||
| 9 | Workshop: The act of a woman. What are the problems with it? Text analysis. Anne Eaton What's wrong with the (female) act? A Feminist Perspective on Art and Pornography" (What's Wrong with the (Female) Nude? A Feminist Perspective on Art and Pornography). Workshop topics: What does it mean to objectify the body that characterizes the female act in Western art, why is it a problem? What examples of acts can be found in Latvian art? What nuance does Eaton miss? Test. | Classes | 1.00 | auditorium | |||||
| 10 | Practical lesson. Feminist views in the art exhibition, joint visit to the exhibition. | Classes | 1.00 | auditorium | |||||
| 11 | Student presentations. What feminist questions does Latvian contemporary art ask? What was noticed, understood? | Classes | 1.00 | auditorium | |||||
| 12 | The final lesson. | Classes | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Answers to the question "what is feminism?" Feminism as a social and intellectual movement. The idea of gender equality. Is feminism found in everyday life? | Lectures | 1.00 | auditorium | |||||
| 2 | Gender/gender distinction. The concept of gender roles, the gender/gender distinction in second-wave feminist theory; problems of the Latvianization of "family"; critique of the concept of family. | Lectures | 1.00 | auditorium | |||||
| 3 | Practical task: family in the urban environment. Students prepare presentations reflecting their walking experience from the family's perspective. | Classes | 0.50 | auditorium | |||||
| 4 | Geography and periodization of feminism. A narrative of four waves. Diversification of the feminism movement within the second wave: liberal, radical, Marxist, etc. c. trends of feminism. Actualization of the intersectional perspective in third wave feminism. The state of feminism today, the innovations of the fourth wave against the background of the other waves, the role of social networks in the activism of the fourth wave, the example of the #metoo movement. | Lectures | 1.00 | auditorium | |||||
| 5 | Practical lesson: different directions of feminism, student presentations. | Classes | 0.50 | auditorium | |||||
| 6 | Feminism in Latvia, post-socialist feminism. Fear of feminism in Latvia. Invisibility of feminist discourses in Eastern Europe, historical and ideological causes. | Lectures | 0.50 | ||||||
| 7 | Feminist issues in art. Points of contact between feminism and art, central issues. Feminist art history and criticism, major works. | Lectures | 0.50 | ||||||
| 8 | Peculiarities of the perception of feminist art in Latvia, hybridity of feminism. Examples of artworks, local feminist discourses and issues. Feminist art in Latvia: what are the central themes? | Lectures | 1.00 | auditorium | |||||
| 9 | Workshop: The act of a woman. What are the problems with it? Text analysis. Anne Eaton What's wrong with the (female) act? A Feminist Perspective on Art and Pornography" (What's Wrong with the (Female) Nude? A Feminist Perspective on Art and Pornography). Workshop topics: What does it mean to objectify the body that characterizes the female act in Western art, why is it a problem? What examples of acts can be found in Latvian art? What nuance does Eaton miss? Test. | Classes | 0.50 | auditorium | |||||
| 10 | Practical lesson. Feminist views in the art exhibition, joint visit to the exhibition. | Classes | 0.50 | auditorium | |||||
| 11 | Student presentations. What feminist questions does Latvian contemporary art ask? What was noticed, understood? | Classes | 1.00 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | Students read literature, prepare for seminars, conduct research work and develop presentations for seminars. In order to evaluate the quality of the study course as a whole, the student must fill out the study course evaluation questionnaire on the Student Portal. | ||||||||
| Assessment Criteria: | Attending lectures and seminars - 20% of the total grade, but at least 50% of lectures and classes must be attended! The remaining 80% of the evaluation will be made up of participation in seminars and presentations developed by participating in 4 practical classes. Practical classes evaluate: 1) students' ability to use theoretical tools, accuracy. 2) the ability to create a connection between feminist theory and lived reality or specific cases in Latvian art and culture, 3) originality of views and interpretation, presentation design. Students who are not satisfied with their final grade at the end of the semester take a test on the whole subject. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | As a result of successful completion of the study course, students: • Knows the topical issues of feminist theories in contemporary cultural processes. • I will describe the history of feminist theories and current directions of development. • Will understand the main concepts of feminist theories, their application in the analysis of art and cultural phenomena. • Will present the main themes and issues of feminist aesthetics. • Will understand the need for gender equality in art and culture. | ||||||||
| Skills: | As a result of successful completion of the study course, students will have obtained: • Ability to evaluate and analyze cultural developments from the point of view of feminist theories. • Ability to distinguish and apply different concepts and arguments of feminist theory. • The ability to see the relevance of feminism in the context of Latvian art and culture. • Skills to interpret works of art and literary texts from the point of view of feminist theories. • Skills to create a feminist perspective based on local cultural specifics. | ||||||||
| Competencies: | As a result of successful completion of the study course, students will have obtained: • Competence to analytically evaluate cultural processes by applying feminist theories. • Responsibility for the quality, value and compliance of the interpretation of art and culture with the goals of a democratic society. • Critical attitude towards the content of art and culture. • Competence to identify problems of gender inequality in art and literature. • A responsible, knowledge-based approach to art criticism and art research. | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Cochrane, Kira. All the Rebel Women: The Rise of the Fourth Wave of Feminism. Guardian Shorts, 2013. | ||||||||
| 2 | Eaton, Anne. What's Wrong With the (Female) Nude?/ Art and Pornography: Philosophical Essays. Eds. by Hans Maes and Jerrold Levinson. Oxford: Oxford University Press. 2012. P. 277-308. | ||||||||
| 3 | Mulvey, Laura. Visual Pleasure and Narrative Cinema. Visual and Other Pleasures. Palgrave, 1989. P. 14–26. | ||||||||
| 4 | Nohlina, Linda. Kāpēc nav bijis izcilu mākslinieču? / Mūsdienu feministiskās teorijas. Tulk. E. Pičukāne. Sast. I. Novikova. Rīga: LU Dzimtes studiju centrs, Jumava, 2001. 263.–282. lpp. | ||||||||
| 5 | Moi, Toril. I am not a woman writer. – Feminist Theory, An International Interdisciplinary Journal, 2008, vol. 9(3): 259–271 | ||||||||
| 6 | Vulfa, Virdžīnija. Sava istaba. Rīga: Atēna, 2002 | ||||||||
| Additional Reading | |||||||||
| 1 | Kivimaa, Katrin. Private Bodies or Politicized Gestures? Female Nude Imagery in Soviet Art. / Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Ed. by Bojana Pejic. Köln: Walther König, 2009. | ||||||||
| 2 | Traumane, Māra. Women’s art and denial of feminism: History of exhibitions in Latvia 1977–2011 / Working with feminism: curating and exhibitions in Eastern Europe. Ed. by Katrin Kivimaa, TLU Press, Tallinn, 2012. P. 163-187. | ||||||||
| 3 | Kukaine, Jana. Dzimumu vienlīdzības izpratne un dzimtes kārtība Padomju Savienībā // Letonika. 2020. Nr.40. 97.-115. lpp. | ||||||||
| 4 | Batlere, Džūdita. Dzimtes nemiers. Rīga: Mansards, 2012. | ||||||||
| 5 | Cixous, H., Clement, C. The Newly Born Woman. Minneapolis, Oxford: University of Minesota Press. 1987 [1975]. | ||||||||
| 6 | De Beavoir, S. The Second Sex. New York: Vintage, 1989. | ||||||||
| 7 | Eglāja-Kristsone, Eva. “Sievišķības konstruēšanas un kultūras aspekti 19. un 20. gs. mijas latviešu literatūrā”. Fin de siècle: literārā kultūra Latvijā. Rīga: LU LFMI, 2017. | ||||||||
| 8 | Irigaray, L. And the One Doesn't Stir Without the Other. Signs, Vol. 7, No. 1, Autumn 1981, | ||||||||
| 9 | Lipša, Ineta. Seksualitāte un sociālā kontrole Latvijā 1914–1939. Rīga: Zinātne, 2014. | ||||||||
| 10 | Sedgwick, Eve. Between Men: English Literature and Male Homosocial Desire. New York: Columbia University Press, 1985. | ||||||||
| 11 | Showalter, E. Feminist Criticism in the Wilderness. – Abel, E. Writing and sexual difference. Brighton: The Harvester Press, 1982. | ||||||||
| 12 | Chamberlain, P. The Feminist Fourth Wave: Affective Temporality. Palgrave Macmillan, 2017. P. 1–44. | ||||||||
| 13 | Dean, J., Aune, K. Feminism Resurgent? Mapping Contemporary Feminist Activisms in Europe. Social Movement Studies, 14:4, 2015. P. 375–395. | ||||||||
| 14 | Fredrickson, B. L., Roberts, T.-A. Objectification Theory: Towards Understanding Women’s Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21:2, 1997. P. 173–206. | ||||||||
| 15 | Young, Iris Marion. Women Recovering Our Clothes. On Female Body Experience. Oxford: Oxford University Press, 2005. P. 63–74. | ||||||||
| 16 | Kukaine, J. Daiļās mātes: Sieviete. Ķermenis. Subjektivitāte. Rīga: Neputns, 2016. | ||||||||
| 17 | Gubenko, Igors. Oidipālās identifikācijas dekonstrukcija Džūditas Batleres dzimtes teorijā. Stūre-Stūriņa, Ieva (sast.), Šuvajevs, Igors (zin. red.) Totems un tabu: toreiz un tagad. Rīga: FSI. 187.–193. lpp. | ||||||||
| 18 | Bārtkija, Sandra Lī. Fuko, sievišķība un patriarhālās varas modernizācija. I. Novikova (sast.) Mūsdienu feministiskās teorijas. Rīga: LU Dzimtes studiju centrs/Jumava, 2001. 129.–149. lpp. | ||||||||
| 19 | Voltersa, Margareta. Feminisms. Ļoti saistošs ievads. Tulk. E. Pičukāne. Rīga: Satori, 2010. | ||||||||
