Feminismo En Colombia Pdf Free: Un Campo Académico y Político en Movimiento

Al igual que la primera y la segunda ola, es difícil precisar exactamente cuándo comenzó la tercera ola del movimiento feminista. Sin embargo, este resurgimiento del activismo por los derechos de la mujer ha sido visto tradicionalmente como una respuesta al feminismo general de la segunda ola. Con el inicio de la tercera ola en la década de 1990, las activistas por los derechos de las mujeres anhelaban un movimiento que continuara la labor de sus predecesoras a la vez que abordara sus luchas actuales. Además, estas mujeres querían crear un movimiento general que abarcara los diversos desafíos que estaban enfrentando las mujeres de diferentes razas, clases e identidades de género. Imagen: (De izquierda a derecha) La feminista de la segunda ola, Bella Abzug, con la profesora de derecho Anita Hill.

Aunque la prominencia de los grupos de Riot Grrrl tuvo corta duración, su marca distintiva de feminismo resonó en muchas mujeres que pudieron no sentirse identificadas con las preocupaciones o las prácticas estereotipadas del feminismo tradicional. Estos grupos Riot Grrrl inspiraron el activismo global radical en las décadas por venir, con la formación de grupos y secciones Riot Grrrl en Asia, Europa, Australia y América Latina hasta bien entrada la década del 2000.

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Christina Hoff Sommers, autora de Quién nos robó el feminismo?, nosidentifica un pequeño grupo que ella define como mujeres inteligentes querealmente están convencidas de que la mujer americana se encuentra en unaguerra de género. Sommers piensa que este grupo muy influyente se haseparado de los ideales de la reforma racional y justa de las feministascomo Betty Friedan y Germaine Greer. Estas mujeres se sienten como soldadosde sus teorías, y sus tácticas de guerra no son las mismas que las de labúsqueda de la verdad.

I am especially grateful to William and Jeanna Howell, who have been studying this issue and who drew my attention to Sommers' book and other sources. Referencias de la traducción:Revista Internacional de SociologíaReseña sobre el libro de Sommers que suiguió alde este episodio: Camps, Jaume. "La guerra contralos chicos. Cómo un feminismo mal entendido estádañando a los chicos jóvenes." Revista Internacionalde Sociologia. LXV.47 (2007): 233-. Print. Enlace

Essential Reading:Curiel, O. (2005) Identidades esencialistas o construcción de identidades políticas: El dilema de las feministas afrodescendientes (Essentialist identities or the construction of political identities: The dilemma of afro descendent feminists) Otras Miradas, 2(2): 96-113Curiel, O. (2007) Crítica poscolonial desde las prácticas políticas del feminismo antirracista, (Postcolonial criticism from the political practices of anti-racist feminism) Nómadas, (26):92-101Curiel, O. (2009) Descolonizando el feminismo: una perspectiva desde América Latina y el Caribe, (Decolonising feminism: a perspective from Latin America and the Caribbean) el Primer Coloquio Latinoamericano sobre Praxis y Pensamiento Feminista realizado en Buenos Aires en junio de 2009, organizado por el grupo Latinoamericano de Estudios, Formación y Acción Feminista (GLEFAS) y el Instituto de Género de la Universidad de Buenos Aires.

Further Reading:Curiel, O. (2010) Hacia la construcción de un feminismo descolonizado. A propósito de la realización del Encuentro Feminista Autónomo: Haciendo Comunidad en la Casa de las Diferencias (Towards the construction of a decolonised feminism. Reflection on the realisation of the Autonomous Feminist Encounter: Making a community in the house of differences) in Martínez Alonso, G. and Martínez Toledo, Y. (ed.) Emancipaciones feministas del siglo XXI, Ruth Casa Editorial: Panama: 189-200.Curiel, O. (2013) La nación heterosexual: Análisis del discurso jurídico y el régimen heterosexual desde la antropología de la dominación, (The heterosexual nation: analysis of the legal discourse and heterosexual regime from the anthropology of domination) of Brecha Lésbica/en la frontera: Colombia.Curiel, O. (2015) La descolonización desde una propuesta feminista crítica, Descolonización y despatriarcalización de y desde los feminismos de Abya Yala, ACSURDiscussion about decolonial feminism from Latin America given by Ochy Curiel in Spain in 2018 (in Spanish) =PgTecEnnPAo

Hasta Cierto Punto directed by Tomás Gutiérrez Alea is a movie that follows Oscar, an educated playwright who writes a movie on the effects of machismo in Cuban Society. In the opening scene of this movie, there is an interview with a young black man who is asked about machismo. The young man laughs and says in the movie, "Oh, they've managed to change my attitudes on that score; I'm certainly changed up to a certain point. I've probably changed up to 80% now. Maybe they can work on me and change me to 87%. But they will never, never get me up to 100%, no way!"[74] These attitudes on-screen reflect that of many men in Cuba and their attitudes towards women having more equality in everyday life. The film that Oscar was meant to write for is directed by his friend Arturo. Both are well-educated men with stable careers in their fields, wives, cars, and other luxuries. However, Arturo believes that the issue of Machismo is most directly a working class problem and that it is up to educated men such as himself and Oscar, to raise consciousness on the issue. Oscar and Arturo use working-class dock-workers to use as research for their film. This is where they meet Lina, a working-class woman who is in charge of the dock workers. At the beginning of the film she is represented to be tough on her workers and is well respected amongst all the men she works with. Oscar, the screenwriter, finds himself enamored with her tough attitudes, which are very different from those of women he has met before. However, as the movie goes on, we see Oscar increasingly find himself frustrated with Lina's free spirit and working-class "down-to-earth" personality. Oscar sees that this is not the kind of woman he is used to. Throughout the movie, although Oscar is having an affair with his wife, he finds himself being more empathetic to working-class struggles in a way that his friend Arturo isn't. Arturo still believes that all working-class men are just "macho brutes"[74] The film's dynamic on working class and bourgeois machismo is very telling of Cuban society and how class reflects on the attitudes towards machismo. It also problematizes, bourgeois men who believe they are intellectually above everyone else, including issues on machismo and women's equality.

In many cases, a man's position of superiority over a female partner can lead him to gain control over different aspects of her life.[93] Since women are viewed as subservient to men in many cultures, men often have power to decide whether his wife can work, study, socialize, participate in the community, or even leave the house. With little opportunity for attaining an income, minimal means to get an education, and the few people they have as a support system, many women become dependent on their husbands financially and emotionally.[93] This leaves many women particularly vulnerable to domestic violence both because it is justified through this belief that men are superior and thus are free to express that superiority and because women cannot leave such an abusive relationship since they rely on their husbands to live.[93]

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