Podcasts about kate millet

"Feminismus" – Agnes Imhof liest, und spricht mit Uwe Kullnick – über die älteste Menschanrechtsbewegung der Welt – Hörbahn on Stage (Hördauer ca. 82 min) Gesprächsbeginn (27:15 ) Der Feminismus, die älteste Menschenrechtsbewegung der Welt, wurde über die Jahrhunderte immer wieder zurückgedrängt. Mit jedem Backlash wurden Protagonistinnen und ihre Ideen vergessen. Dieses Buch erzählt von Frauen wie Marie de Gournay, Olympe de Gouges, Clara Zetkin, Hedwig Dohm, Kate Millet, Huda Sharawi, Fatima Mernissi bis hin zu zeitgenössischen Feministinnen wie Chimamanda Ngozi Adichie und Rebecca Solnit. Es stellt die Thesen ihrer wichtigsten Werke vor und steckt aktuelle Brennpunkte ab: von »Rape Culture« bis Corona-Backlash, von Reproduktionsmedizin bis zu angeblich »weiblicher« Begabung.Dabei gibt Agnes Imhof einen Überblick über eine Vielzahl von Strömungen und Positionen. Denn Feminismus war und ist divers. Die Autorin beleuchtet die bürgerlichen und proletarischen Bewegungen ebenso wie die antikolonialen Frauenbewegungen in Afrika und Lateinamerika sowie Positionen von Frauenrechtlerinnen der islamischen Welt.Agnes Imhof beschreibt Welle um Welle im Kontext der Zeit und porträtiert dabei außergewöhnlich mutige, kluge und leidenschaftliche Frauen. AGNES IMHOF, geboren 1973 in München, studierte Philosophie und promovierte in Islam- und Religionswissenschaften. Sie spricht unter anderem Arabisch, Persisch und Italienisch und ist in klassischem Gesang ausgebildet. Sie ist freie Publizistin mit Sachbuch- und Romanpublikationen. Seit 2016 lehrt sie an der FAU Erlangen und hält Lehrveranstaltungen an den Universitäten Bamberg, München (LMU), Göttingen, Erlangen und Würzburg. Wenn Ihnen dieser Beitrag gefallen hat, hören Sie doch auch einmal hier hinein oder vielleicht in diese Sendung Kommen Sie doch auch einfach mal zu unseren Live-Aufzeichnungen ins Pixel (Gasteig) oder nach Schwabing Redaktion und Realisation Uwe Kullnick

‘Novelas históricas peruanas - 2da parte'. En esta oportunidad, Patricia del Río se remonta a los siglos XIX y XX, y nos recuerda aquellas novelas inspiradas en caudillos, las luchas por el poder, la corrupción, las guerras internas y externas que simbolizan la historia de nuestro país durante las guerras de la Independencia y el nacimiento del Perú republicano. Libros como ‘El barco de San Martín' (Juan Manuel Robles); ‘El marqués del exilio' (Francisco Tealdo); ‘El molle y el sauce' (Zoila Vega Salvatierra), ‘Historia de dos Bernardos' (Alejandro Neyra); ‘1814, el año de la Independencia' (Claudia Salazar Jiménez); ‘El aroma de la disidencia' (Sandro Bossio); ‘El año de Accarhuay' (Ulises Gutiérrez Llantoy); ‘Potosí' (David Lozano); ‘La mariscala (Abraham Valdelomar); ‘Una historia breve, extraña y brutal' (Dante Trujillo); ‘Cómo matar a un presidente: los asesinatos de Bernardo Monteagudo, Manuel Pardo y Luis M. Sánchez Cerro (Rolando Rojas), ‘1879', ‘El viaje de Prado', ‘Vienen los chilenos' y ‘La batalla de Lima (Guillermo Thorndike), nos dan una idea del contexto de la época que vivieron los abuelos de nuestros abuelos. En la entrevista de la semana, la periodista y escritora Fietta Jarque nos ofrece ‘Madame Gauguin', la vida de Aline Gauguin, madre del famoso pintor e hija de la feminista Flora Tristán. En esta novela biográfica recrea la dramática existencia de Aline, y cómo en el camino de su realización da pie al nacimiento y vocación de artista de Paul Gauguin. El crítico literario y gerente de la librería Escena libre, Julio Zavala, recomienda lecturas imprescindibles: "Tunki y los niños guardabosques", de Janice Ferrand (literatura infantil); "Infancias", de Bryan Paredes (relatos); y "Sita", de Kate Millet (narrativa). Las canciones que refuerzan el tema son: '14 Variations on the Peruvian National Anthem', Ward de Vleeschhower, Gabriel Iwasaki; ‘Melgar', Pepe Torres; ‘Que nadie sepa mi sufrir', Lila Downs, Niña Pastori y Soledad Pastorutti; ‘La foule', Edith Piaf; ‘Que nadie sepa mi sufrir', Julio Iglesias; ‘Mozamala', Simpay – cuarteto de guitarras; ‘Zaña', Pelucas Reggae Band; ‘Trío de maderas', Manos morenas; ‘No me cumbé', Afroloop; ‘Toro mata', Ruby Palomino. Edición de audio: Andrés Rodríguez ||| Episodio 24 – Cuarta temporada 2023.

‘Novelas históricas peruanas - 2da parte'. En esta oportunidad, Patricia del Río se remonta a los siglos XIX y XX, y nos recuerda aquellas novelas inspiradas en caudillos, las luchas por el poder, la corrupción, las guerras internas y externas que simbolizan la historia de nuestro país durante las guerras de la Independencia y el nacimiento del Perú republicano. Libros como ‘El barco de San Martín' (Juan Manuel Robles); ‘El marqués del exilio' (Francisco Tealdo); ‘El molle y el sauce' (Zoila Vega Salvatierra), ‘Historia de dos Bernardos' (Alejandro Neyra); ‘1814, el año de la Independencia' (Claudia Salazar Jiménez); ‘El aroma de la disidencia' (Sandro Bossio); ‘El año de Accarhuay' (Ulises Gutiérrez Llantoy); ‘Potosí' (David Lozano); ‘La mariscala (Abraham Valdelomar); ‘Una historia breve, extraña y brutal' (Dante Trujillo); ‘Cómo matar a un presidente: los asesinatos de Bernardo Monteagudo, Manuel Pardo y Luis M. Sánchez Cerro (Rolando Rojas), ‘1879', ‘El viaje de Prado', ‘Vienen los chilenos' y ‘La batalla de Lima (Guillermo Thorndike), nos dan una idea del contexto de la época que vivieron los abuelos de nuestros abuelos. En la entrevista de la semana, la periodista y escritora Fietta Jarque nos ofrece ‘Madame Gauguin', la vida de Aline Gauguin, madre del famoso pintor e hija de la feminista Flora Tristán. En esta novela biográfica recrea la dramática existencia de Aline, y cómo en el camino de su realización da pie al nacimiento y vocación de artista de Paul Gauguin. El crítico literario y gerente de la librería Escena libre, Julio Zavala, recomienda lecturas imprescindibles: "Tunki y los niños guardabosques", de Janice Ferrand (literatura infantil); "Infancias", de Bryan Paredes (relatos); y "Sita", de Kate Millet (narrativa). Las canciones que refuerzan el tema son: '14 Variations on the Peruvian National Anthem', Ward de Vleeschhower, Gabriel Iwasaki; ‘Melgar', Pepe Torres; ‘Que nadie sepa mi sufrir', Lila Downs, Niña Pastori y Soledad Pastorutti; ‘La foule', Edith Piaf; ‘Que nadie sepa mi sufrir', Julio Iglesias; ‘Mozamala', Simpay – cuarteto de guitarras; ‘Zaña', Pelucas Reggae Band; ‘Trío de maderas', Manos morenas; ‘No me cumbé', Afroloop; ‘Toro mata', Ruby Palomino. Edición de audio: Andrés Rodríguez ||| Episodio 24 – Cuarta temporada 2023.

Un episodio dedicado a la locura; un viaje en velero, navegando a medio mar, sola. Una charla para verla desde todas su esquinas; como un vehículo para la libertad, un descenso al abismo de la mente, un concepto que cambia con los tiempos; romántica, patética, peligrosa. Hablemos también del “feminismo loco” de Kate Millet y las mujeres sometidas o descartadas con ese término a través de la historia. En portada pintura de Remedios Varo "Música solar" 1955. --- Send in a voice message: https://anchor.fm/glitter-amargo/message

032222 Guest Mallory Millett Sister Of Kate Millet Head Feminism Movement The Destruction Of America by Kate Dalley

Durante todo el mes de marzo, conmemoraremos la lucha de la mujer por el reconocimiento de sus derechos. Vamos a recorrer las teorías de aquellas mujeres que se pusieron al frente de una lucha, en ocasiones silenciosa, en otras batallando cuerpo a cuerpo, pero sobre todo, de aquellas que lograron poner en palabras sus ideas en tiempos que, muchas veces, no les eran propicios. En este ciclo auspiciado por Arkhé Libros, presentamos vida y obra de Kate Millet (1934-2017), cuya obra principal, Política sexual, (1970) puso en la mesa la idea de la mujer como sujeto político, sujeta a su vez a las políticas del patriarcado. Lee: Estefanía González Texto basado en Biblioteca Feminista de Florencia Abbate. Programas San Martín Lee y Fomento de las Artes Escénicas.

If you've made it to Episode 8 and part of you still likes Mailer and/or Kosinski, that'll change with this episode. Jerzy Kosinski admits to having committed rape when he was a young man in Poland, and his adult behavior is just as horrific. As for Norman Mailer, he takes it upon himself to try to save the patriarchy from Second-wave feminism by attacking Kate Millet in The Prisoner of Sex and then at the so-called “Town Bloody Hall” by championing misogyny and homophobia. Needless to say, he makes a complete fool of himself and is absolutely owned by Germaine Greer, Susan Sontag, and Cynthia Ozick among others. 

27th Sunday in Ordinary Time, Year B, October 2nd-3rd   A Marriage Morning of Reflection We have reflected a lot on the centrality of Marriage to a civilization. Leo XIII, in his encyclical titled “On Socialism” states that the foundation of a society rests first of all in the indissoluble union of man and wife.  We can also see the centrality of marriage looking at the teaching of those who hate the notion of marriage and have made it their project to tear marriage apart. Kate Millet was the author of “Sexual Politics”, published in 1970.  There she decried the patriarchy of the monogamous nuclear family.  Her sister Mallory recounts attending a meeting with Kate Millet and her communist apparatchiks.   “We gathered at a large table as the chairperson opened the meeting with a back and forth recitation, like a litany, a type of prayer done in the Catholic Church.  But now it was Marxism, the Church of the Left, mimicking religious practice: “Why are we here today?” Kate asked.  “To make revolution” they answered.  “What kind of revolution?” Kate replied.  “The cultural revolution,” they chanted.  “And how do we make Cultural Revolution?” Kate demanded.  “By destroying the American family!” they answered.  “How do we destroy the family?” Kate came back.  “By destroying the American Patriarch” they cried exuberantly.  “And how do we destroy the American Patriarch?” she replied.  “By taking away his power!” they said.  “How do we do that?” Kate asked.  “By destroying monogamy!” they shouted.  “How do we destroy monogamy?”  Kate asked.  “By promoting promiscuity, eroticism, prostitution and homosexual acts!” they resounded” (The Devil and Karl Marx, by Paul Kengor, pg. 366) But instead of railing against the evils of divorce, I would like to actually do something about strengthening marriages.  Besides, if you are here, you are likely not the people that need to hear about the importance of marriage and family. When I first came to Annunciation, but before I was assigned to Saint Paul's, I brought out a friend Dr. Eric Gudan to give a morning of reflection on marriage.  It was offered to single people, people preparing for marriage, and also to married couples.  I am doing that again.  I have been communicating with Dr. Gudan, and he has committed to coming sometime in November or early December.  I will get that date out to you as soon as it is nailed down.  Everyone who attended his talks and exercises 8 years ago found them extremely entertaining and revitalizing. I am also offering a $200 gift to card to St. Elmo's to one lucky couple or single person who attends.  Breakfast from Panera will be provided at St. Paul starting at 8:30 am.  Again, marriage is under attack, and we all probably already know that.  Let's work on our marriage, or make ourselves a better spouse even before we get married.  What God has joined together, may no man break asunder.

Stu Levitan welcomes the social justice activist, educator, award-winning columnist, and author Joan Steinau Lester. Her memoir Loving Before Loving: A Marriage in Black and White is just out from our very good friends at the University of Wisconsin Press. Along with her Madison publisher, Joan also could have joined us as a Madison author, with a Ph D from the fabled UW history department; but, for reasons we'll discuss, she was unable to accept the department's offer. Personally, and professionally, Joan Steinau Lester has been at the forefront of most of the great social justice movements of the last seven decades. As a teenager, she refused to sign an anti-Communist loyalty oath and picketed for civil rights. At 22, she married a Black man, the writer, educator and activist Julius Lester, in 1962, when mixed-race marriages were illegal in 27 states. At 64, she married a White woman when that wasn't legal anywhere.  In the late sixties, she was part of an early Women's Liberation group with such prominent feminists as Robin Morgan, Kate Millet, Flo Kennedy, Ti-Grace Atkinson and others. And long before diversity, equity and inclusion were common buzzwords, she used her doctorate in multicultural education from the University of Massachusetts to give anti-racism workshops, then co-found and direct the nonprofit Equity Institute in 1981. Her previous books include the novel Mama's Child, with a foreword by Alice Walker; the young adult novel Black, White, Other; a biography of her friend from Antioch College, Eleanor Holmes Norton, Fire in My Soul; Taking Charge: Every Woman's Action Guide, and The Future of White Men and Other Diversity Dilemmas. Her columns have been published in USA Today, Chicago Tribune, Los Angeles Times, San Francisco Chronicle, Huffington Post, Cosmopolitan and  New York Times. She received the National Lesbian and Gay Siegenthaler Award for Commentary on National Public Radio and was a Finalist from the PEN/Bellweather Prize for Socially Engaged Fiction, and for the Arts & Letters Creative Nonfiction award for narrative nonfiction. She lives in Berkeley California with her wife Carole, to whom Loving Before Loving is dedicated. It is a pleasure to welcome to MBB, Dr. Joan Steinau Lester. WORT 89.9 FM airdate - July 5, 2021

En este quinto episodio hablaremos sobre la violencia de género, su definición, tipos y ámbitos en los que se desarrolla. Entrevistaremos a Ita Bico Cruz López, feminista y defensora de los derechos humanos de las mujeres, quien nos platicará sobre el tema. En nuestras diferentes secciones: te presentaremos a Kate Millet; te explicaremos que es la sororidad; y nombraremos a las que ya no están y por las que pedimos justicia. Conducción: Evlin Aragón Voz Off: Fernanda Ríos Producción: Tolentino

In 1975, Evelyn Reed did what Kate Millet said couldn't  be done. She traced the origins of patriarchy to its origins. Her argument was that it was the introduction of capitalism that brought the original, more equal, matrilineal societies to their demise. These societies were defined by the power of women within them, the equality that existed between the sexes and the rules which were in place to keep all of it together. We also talk to Dr. Igor Cherstich from UCL about the traditions within anthropology in looking at origins of patriarchy. 

Compartimos en este programa la ponencia sobre “Feminismo Radical de los 60” impartida por Alicia Puleo en el Seminario Historia de las teorías feministas, seminario que tuvo lugar en la U. de La Laguna bajo la coordinación de Margarita Vázquez. Alicia empezará hablando de antecedentes para describir después ese contexto en el que emerge el Feminismo Radical, mencionará a algunas de las autoras más representativas como Kate Millet, Germaine Greer o Shulamith Firestone. La grabación completa (sin edición), de esta ponencia y otras que se englobaron bajo el título “Filósofas en Streaming”, una de tantas adaptaciones derivadas de la crisis Covid19, podéis encontrarlas aquí: http://filosofiaull.blogspot.com/2020/

Jakie hasła pojawiły się na sztandarach ruchów kobiecych po zdobyciu praw wyborczych? Co wydarzyło się po publikacji „Mistyki kobiecości” Betty Friedan (1963) i wskazaniu na „problem, który nie ma imienia”? Zaczęła się prawdziwa rewolucja! Tym razem opowiadamy o hestorii drugiej fali feminizmu i wyodrębnianiu się różnych kobiecych głosów. Opowiemy też, jak to było naprawdę z paleniem staników. Gościnią odcinka jest Marta Mazurek, feministka, samorządowczyni, którą szczerze uwielbiam i z którą mogłabym rozmawiać godzinami. Lista lektur: Betty Friedan „Mistyka kobiecości” Adrainne Rich „Zrodzone z kobiety” Simone de Beauvoir „Druga płeć” Carol Hanisch „Personal is Political” Virginia Woolf, „Własny Pokój, Trzy gwinee” Kate Millet, Polityka seksualna http://www.ekologiasztuka.pl/pdf/f0054millet.pdf Germaine Greer, „Kobiecy eunuch” Erica Jong, „Strach przed lataniem” (powieść) Adrienne Rich, „Przymus heteroseksualności a egzystencja lesbijska” https://www.biuroliterackie.pl/biblioteka/recenzje/przymus-heteroseksualnosci-a-egzystencja-lesbijska/ Dla wytrwałych: Helene Cixous, „Śmiech Meduzy” https://bit.ly/3hKXV7D Luce Irigaray, „Ta płeć (jedną) płcią niebędąca” Mary Daly, „Gyn/ecology. The Metaethics of Radical Feminism” Filmy i seriale: Mike Newell, „Uśmiech Mony Lisy” Todd Haynes, „Daleko od nieba” Stephen Daldry, „Godziny” Johanna Demetrakas, „Feministki. Co sobie myślały?” (Netflix) Dahvi Waller, „Mrs America” (HBO)

O episódio de hoje traz uma conversa bacana sobre as origens e usos da noção de sororidade entre as mulheres e como o termo foi alcunhado pelo movimento feminista. Com a participação luxuosa da designer de moda e socióloga Gabi Rebouças. O termo sororidade começa a ser trabalhado a partir do chamado feminismo de segunda onda, em meados da década de 1950, tem força a partir das lutas feministas da década de 1970, cai no esquecimento na década de 1990 e retoma com força a partir da virada do século, especialmente na década dos anos de 2010. As chamadas feministas radicais ancoram a ideia de uma sororidade universal, mas será ela possível? O feminismo negro vem desconstruir essa visão e propor a reflexão sobre para quem é e como se dá essa sororidade. Falamos hoje, também, no chamado feminismo liberal, bastante difundido entre mulheres da chamada extrema direita, que, mais uma vez, nos faz refletir sobre essa sororidade entre as mulheres. Aqui tem Kate Millet, Grada Kilomba, Julia Câmara, Angela Davis e um monte de mulherão da porra potente para nos ajudar a pensar sobre: pra quem é essa sororidade?

In 1979, Magnus Records released a documentary record of the National March on Washington for Lesbian and Gay Rights and the Gay Freedom Train, created by Jok Church and Adam Ciesielski, offering the following description of the record:This is a sound-quilt made from a total of 18 hours of recording tape. It weaves spoken word with crowd sounds with interviews and music with ambient sound. As a gift to yourself, take the phone off the hook and turn up the volume.The featured speakers from the March on Washington are: Robin Tyler, Steve Ault, Tom Robinson, Lucia Valeska, Allen Ginsberg, Arlie Scott, Richard Ashworth, Florynce Kennedy, Mary Watkins, and Kate Millet. The Gay Freedom Train features speeches by Rev. Troy Perry and Robin Tyler.The record also lists the "Five Demands" of the March on Washington:Pass a comprehensive lesbian/gay rights bill in CongressIssue a presidential executive order banning discrimination based on sexual orientation in the Federal Government, the military and federally-contracted private employmentRepeal all anti-lesbian/gay lawsEnd discrimination in lesbian mother and gay father custody disputesProtect lesbian and gay youth from any laws which are used to discriminate against, oppress and/or harass them in their homes, schools, jobs and social environments See acast.com/privacy for privacy and opt-out information.

Chiamando Eva inizia la seconda stagione affrontando un argomento che non dovrebbe risultare particolarmente complesso, e invece lo è: la sorellanza.Il termine sorellanza — nell'accezione di “unione tra donne al di là di qualsiasi differenza (razza, religione, classe sociale)” — nasce negli anni Settanta, grazie a Kate Millet, attivista della seconda ondata del femminismoOggi si parla tanto del concetto di sorellanza e di quanto molto spesso il concetto venga semplificato, travisato, e utilizzato come arma contro i movimenti femministi.Il metoo è ancora considerabile un movimento di sorellanza? E in Italia come siamo messi? (spoiler: male)Ne discutiamo in questa prima puntata -- e, nel mentre, vi parliamo anche di sorellanza lemuriana, sorellanza ovarica, e Signore degli Anelli.

Chiamando Eva inizia la seconda stagione affrontando un argomento che non dovrebbe risultare particolarmente complesso, e invece lo è: la sorellanza. Il termine sorellanza — nell’accezione di “unione tra donne al di là di qualsiasi differenza (razza, religione, classe sociale)” — nasce negli anni Settanta, grazie a Kate Millet, attivista della seconda ondata del femminismoOggi si parla tanto del concetto di sorellanza e di quanto molto spesso il concetto venga semplificato, travisato, e utilizzato come arma contro i movimenti femministi. Il metoo è ancora considerabile un movimento di sorellanza? E in Italia come siamo messi? (spoiler: male)Ne discutiamo in questa prima puntata -- e, nel mentre, vi parliamo anche di sorellanza lemuriana, sorellanza ovarica, e Signore degli Anelli.

Chiamando Eva inizia la seconda stagione affrontando un argomento che non dovrebbe risultare particolarmente complesso, e invece lo è: la sorellanza. Il termine sorellanza — nell’accezione di “unione tra donne al di là di qualsiasi differenza (razza, religione, classe sociale)” — nasce negli anni Settanta, grazie a Kate Millet, attivista della seconda ondata del femminismoOggi si parla tanto del concetto di sorellanza e di quanto molto spesso il concetto venga semplificato, travisato, e utilizzato come arma contro i movimenti femministi. Il metoo è ancora considerabile un movimento di sorellanza? E in Italia come siamo messi? (spoiler: male)Ne discutiamo in questa prima puntata -- e, nel mentre, vi parliamo anche di sorellanza lemuriana, sorellanza ovarica, e Signore degli Anelli.

On this episode of en(gender)ed, our guest is Tom Digby, author of Love & War: How Militarism Shapes Sexuality and Romance. The book, Love and War, provides a new way to view heterosexual love, as well as the impact of misogyny in the everyday lives of men and women. Tom's work has been widely shared in numerous public presentations about the intersections of masculinity, militarism, love, sexuality, and feminism.  Tom Digby is Professor Emeritus of Philosophy at Springfield College and has served as U.S. Advisory Editor of the journal Men and Masculinities since it was founded by Michael Kimmel in 1998. His previous book was Men Doing Feminism (Routledge). Digby's early publications were on Plato, Aristotle, Hobbes, Kant, and ethical theory, but for the past 30 years he has written, lectured, and taught primarily about gender topics. Tom will speak with us today about the concepts in his book, including heterosexual love, the construction of gender in our society, the interplay of gender and militarism and its role in shaping our understanding of masculinity, sexuality, romantic love, misogyny, and even war itself. We will also discuss the role of the 2016 election in influencing identity and cultural institutions and cultural norms and our discourse on gender and masculinity. During our conversation, Tom and I referenced many resources that we share with you below: Sandra Bartky and her book, Femininity and Domination: Studies in the Phenomenology of Oppression Cordelia Fine who writes about the "gender binary" Friedrich Nietzsche and his characterization of heterosexual relationship dynamics, also featured prominently in Kate Millet's Theory of Sexual Politics The Undefeated documentary available on Netflix Hillary Clinton's Beijing Speech on Women's Rights in 1995 Scholar Gail Dines and her work on "gonzo porn" The Twitter Clown Face-Painting incident and how the impact gender stereotypes have on future male violence and parenting as a form of advocacy The J Crew "I am a feminist too" t-shirt for boys --- Thanks for tuning in to the en(gender)ed podcast! Be sure to check out our site and follow our blog on Medium. Consider donating because your support is what makes this work sustainable. Please also connect with us on Twitter, Instagram and Facebook.

This week, we hear from Maggie Doherty, a critic and teacher at Harvard University. Maggie writes often for publications such as The Nation, The New Yorker, The New Republic, and N Plus One; her criticism often focuses on writers and feminists around the middle of the 20th century—familiar names are Mary McCarthy and Kate Millet. Maggie’s literary criticism blends questions of politics into her writing; she manages to marry the literary and the political in her writing in a careful and very helpful way. In our conversation, I ask Maggie about her recent articles on Mary McCArthy and Kate Millet, as well as a book she’s working on. The book is titled The Equivalents, and it’s about a group of five women writers and artists who met at the Radcliffe Institute in the early 1960s. We talk particularly about one such Radcliffe writer, Tillie Olsen, and the insights she advanced into the ways writing is really work: that is, is labor. We talk about writing as work, and the economic situation—that’s to say economic contingency and precariousness—that writers and academics face today.

This week on MIA Radio, we interview Celia Brown. Celia is a psychiatric survivor and a prominent leader in the movement for human rights in mental health. She is the current president of MindFreedom International, a nonprofit organization uniting 100 sponsor and affiliate grassroots groups with thousands of individual members to win human rights and alternatives for people labelled mentally ill. Celia also serves on the board of the National Empowerment Center and has co-chaired the planning committee for the National Alternatives Conference for the past few years. She was last year’s recipient of the Lifetime Achievement Award at the Alternatives Conference. In this interview, we talk about the history of the human rights movement to combat forced treatment and the important role Celia has played in it. In the episode we discuss: •The goals and values of the movement for human rights in mental health, specifically in regards to the issue of forced treatment •Celia’s role in the human rights movement and MindFreedom International •How the movement for human rights in mental health first started and its early achievements •The important role played by Judi Chamberlin in the formation of the consumer/survivor/ex-patient movement •How efforts to combat shock treatment and provide informed consent about psychiatric drugs have been a core part of the movement in recent years •The development of the peer specialist position and the peer support movement •How the human rights movement has developed alternative language to the terms and labels used by the mental health system •Some of the current tensions and divisions within the movement •Current ongoing advocacy efforts to combat forced treatment, including Tina Minkowitz’s advocacy work with the UN’s Convention on the Rights of Persons with Disabilities and the Disability Integration Act •Why the movement has faced challenges in changing policy and public opinion on the rights of people labelled mentally ill •How the movement for human rights in mental health has overlapped and intersected with other human rights movements, including the civil rights, feminist, and disability rights movements •The role Kate Millet played in bridging the psychiatric survivors movement with the feminist movement •How people can get involved in the movement for human rights in mental health by learning about the history of the movement, attending conferences, and seeking mentorship To get in touch with us email: podcasts@madinamerica.com © Mad in America 2017  

Nuestro más sincero agradecimiento a todos. Hemos superado las 100.000 descargas del programa desde que comenzamos en febrero de este año. ¡GRACIAS! En esta segunda edición, de la segunda temporada de Los Crononautas, nuestro príncipe París de las Ondas nos hablará de Bloody Mary, no el cóctel, sino de la reina María I de Inglaterra. María la breve, a la par que sangrienta. Todos los detalles, gracias a nuestro historiador Ignacio Monzón. Y a continuación, Jorge Sánchez-Manjavacas recordaremos la figura de la ensayista, cineasta, escultora, activista del feminismo Kate Millet. Falleció el pasado mes de septiembre en París y nuestro joven filósofo de cabecera le dedica su sección de hoy. Presentado por Martín Expósito.

Victoria Hesford is an associated professor of Women and Gender Studies at Stony Brook University in New York. Her book Feeling Women's Liberation (Duke University Press, 2013) examines the pivotal year of 1970 as defining the meaning of “women's liberation.” Applying a theory of emotions to the rhetoric of mass media and the response of movement participants, Hesford demonstrates how our memory of the movement has been formed by either feelings of attachment, or dis-identification that hide its complexity and heterogeneity. The movement came to represent a radical form of feminism standing against the more staid liberal feminism of Betty Friedan. Instead of ideologically driven, Hesford argues that women's liberation engaged in the “politics of emotion.” She demonstrates how the visceral media coverage and participant's experience were mutual constituted in the “feminist-as-lesbian.” The language and multiple images of the feminist as a guerilla fighter, subversive and pathological, evoked the lavender menace and the “woman-identified-woman” within the movement. The lesbian became a defining figure used as a psychic weapon against women, or to denote sexual autonomy and political defiance. Central to her provocative analysis is the often-neglected figure of Kate Millet and her 1970 book Sexual Politics. The media's outing of Millet, hounding by movement insiders to declare her lesbianism, and the spectacle of a self-fashioning response in the autobiography Flying offers a window into the feelings of betrayal, anger and depression that propelled the movement and evidence of its attachment to definitions of socially acceptable femininity. Instead of focusing on “what really happened,” the political triumphs and failures, Hesford looks to how emotions, both personal and social, shaped the movement and our memories. Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Hesford is an associated professor of Women and Gender Studies at Stony Brook University in New York. Her book Feeling Women’s Liberation (Duke University Press, 2013) examines the pivotal year of 1970 as defining the meaning of “women’s liberation.” Applying a theory of emotions to the rhetoric of mass media and the response of movement participants, Hesford demonstrates how our memory of the movement has been formed by either feelings of attachment, or dis-identification that hide its complexity and heterogeneity. The movement came to represent a radical form of feminism standing against the more staid liberal feminism of Betty Friedan. Instead of ideologically driven, Hesford argues that women’s liberation engaged in the “politics of emotion.” She demonstrates how the visceral media coverage and participant’s experience were mutual constituted in the “feminist-as-lesbian.” The language and multiple images of the feminist as a guerilla fighter, subversive and pathological, evoked the lavender menace and the “woman-identified-woman” within the movement. The lesbian became a defining figure used as a psychic weapon against women, or to denote sexual autonomy and political defiance. Central to her provocative analysis is the often-neglected figure of Kate Millet and her 1970 book Sexual Politics. The media’s outing of Millet, hounding by movement insiders to declare her lesbianism, and the spectacle of a self-fashioning response in the autobiography Flying offers a window into the feelings of betrayal, anger and depression that propelled the movement and evidence of its attachment to definitions of socially acceptable femininity. Instead of focusing on “what really happened,” the political triumphs and failures, Hesford looks to how emotions, both personal and social, shaped the movement and our memories. Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Hesford is an associated professor of Women and Gender Studies at Stony Brook University in New York. Her book Feeling Women’s Liberation (Duke University Press, 2013) examines the pivotal year of 1970 as defining the meaning of “women’s liberation.” Applying a theory of emotions to the rhetoric of mass media and the response of movement participants, Hesford demonstrates how our memory of the movement has been formed by either feelings of attachment, or dis-identification that hide its complexity and heterogeneity. The movement came to represent a radical form of feminism standing against the more staid liberal feminism of Betty Friedan. Instead of ideologically driven, Hesford argues that women’s liberation engaged in the “politics of emotion.” She demonstrates how the visceral media coverage and participant’s experience were mutual constituted in the “feminist-as-lesbian.” The language and multiple images of the feminist as a guerilla fighter, subversive and pathological, evoked the lavender menace and the “woman-identified-woman” within the movement. The lesbian became a defining figure used as a psychic weapon against women, or to denote sexual autonomy and political defiance. Central to her provocative analysis is the often-neglected figure of Kate Millet and her 1970 book Sexual Politics. The media’s outing of Millet, hounding by movement insiders to declare her lesbianism, and the spectacle of a self-fashioning response in the autobiography Flying offers a window into the feelings of betrayal, anger and depression that propelled the movement and evidence of its attachment to definitions of socially acceptable femininity. Instead of focusing on “what really happened,” the political triumphs and failures, Hesford looks to how emotions, both personal and social, shaped the movement and our memories. Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Hesford is an associated professor of Women and Gender Studies at Stony Brook University in New York. Her book Feeling Women’s Liberation (Duke University Press, 2013) examines the pivotal year of 1970 as defining the meaning of “women’s liberation.” Applying a theory of emotions to the rhetoric of mass media and the response of movement participants, Hesford demonstrates how our memory of the movement has been formed by either feelings of attachment, or dis-identification that hide its complexity and heterogeneity. The movement came to represent a radical form of feminism standing against the more staid liberal feminism of Betty Friedan. Instead of ideologically driven, Hesford argues that women’s liberation engaged in the “politics of emotion.” She demonstrates how the visceral media coverage and participant’s experience were mutual constituted in the “feminist-as-lesbian.” The language and multiple images of the feminist as a guerilla fighter, subversive and pathological, evoked the lavender menace and the “woman-identified-woman” within the movement. The lesbian became a defining figure used as a psychic weapon against women, or to denote sexual autonomy and political defiance. Central to her provocative analysis is the often-neglected figure of Kate Millet and her 1970 book Sexual Politics. The media’s outing of Millet, hounding by movement insiders to declare her lesbianism, and the spectacle of a self-fashioning response in the autobiography Flying offers a window into the feelings of betrayal, anger and depression that propelled the movement and evidence of its attachment to definitions of socially acceptable femininity. Instead of focusing on “what really happened,” the political triumphs and failures, Hesford looks to how emotions, both personal and social, shaped the movement and our memories. Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Hesford is an associated professor of Women and Gender Studies at Stony Brook University in New York. Her book Feeling Women’s Liberation (Duke University Press, 2013) examines the pivotal year of 1970 as defining the meaning of “women’s liberation.” Applying a theory of emotions to the rhetoric of mass media and the response of movement participants, Hesford demonstrates how our memory of the movement has been formed by either feelings of attachment, or dis-identification that hide its complexity and heterogeneity. The movement came to represent a radical form of feminism standing against the more staid liberal feminism of Betty Friedan. Instead of ideologically driven, Hesford argues that women’s liberation engaged in the “politics of emotion.” She demonstrates how the visceral media coverage and participant’s experience were mutual constituted in the “feminist-as-lesbian.” The language and multiple images of the feminist as a guerilla fighter, subversive and pathological, evoked the lavender menace and the “woman-identified-woman” within the movement. The lesbian became a defining figure used as a psychic weapon against women, or to denote sexual autonomy and political defiance. Central to her provocative analysis is the often-neglected figure of Kate Millet and her 1970 book Sexual Politics. The media’s outing of Millet, hounding by movement insiders to declare her lesbianism, and the spectacle of a self-fashioning response in the autobiography Flying offers a window into the feelings of betrayal, anger and depression that propelled the movement and evidence of its attachment to definitions of socially acceptable femininity. Instead of focusing on “what really happened,” the political triumphs and failures, Hesford looks to how emotions, both personal and social, shaped the movement and our memories. Learn more about your ad choices. Visit megaphone.fm/adchoices

65 år efter sin död bevarar den amerikanska författarinnan och konstsamlaren Gertrude Stein sin position som en av modernismens mytiska centralfigurer. Just nu är hon aktuell på flera håll. Karsten Thurfjell ställde frågan varför och åkte till Grand Palais i Paris där en stor utställning med syskonen Steins konstsamling visas. I Marabouparken i Sundbyberg visas konstnärsduon Sisters of Jams utställning om sitt besök på feministikonen Kate Millets gård på den amerikanska landsbygden. 1970 kom hennes bok Sexual Politics ut och blev en bästsäljare världen över, men istället för en akademisk karriär valde Kate Millet att bosätta sig på en gård där hon skapade en plats dit kvinnliga konstnärer och författare bjöds in för att bo och arbeta tillsammans. På Bildmuseet i Umeå visas den uppmärksammade sydafrikanska konstnären Tracey Rose. Hon intar museet med sin mångbottnade, visuella och ofta mycket provocerande bildvärld. Kerstin Berggren har mötte Tracey Rose i Umeå. Programledare Anneli Du Vid 137 års ålder och 65 år efter sin död bevarar den amerikanska författarinnan och konstsamlaren Gertrude Stein sin position som en av modernismens mytiska centralfigurer. Just nu är hon aktuell på flera håll: på bio, på teaterscenen, som performacekonst  och inte minst på Grand Palais i Paris som just nu visar den stora utställningen L´Aventure des Stein, Matisse, Cézanne, Picasso… om syskonen Steins konstsamlande i början av 1900-talet. Karsten Thurfjell for till Paris för en rejäl dos nostalgi och ställde frågan: varför är Gertrude Stein fortfarande högaktuell. I Marabouparken i Sundbyberg visas konstnärsduon Sisters of Jams – Mikaela och Moa Krestensens - utställning om sitt besök på feministikonen Kate Milletts gård i Poughkeepsie i delstaten New York.  Amerikanskan Kate Millett , född 1934, är en av feminismens pionjärer. 1970 blev hon världskänd med sin bok Sexual Politics som hon disputerade med i litteratur på Colombia University. Sexual Politics blev en bästsäljare världen över, men istället för en akademisk karriär valde Kate Millet att bosätta sig på en gård där hon skapade en plats dit kvinnliga konstnärer och författare bjöds in för att bo och arbeta tillsammans och där politiska diskussionerna skulle föras på gräsrotsnivå. Konstnärsduon Sisters of Jam mötte en mycket ensam, gammal kvinna  i ett stökigt och halvförfallet hus. En kvinna beroende av hemtjänst, men som fortfarande brann för sina politiska visioner om ett jämställt samhälle. På Bildmuseet i Umeå visas den uppmärksammade sydafrikanska konstnären Tracey Rose. Hon intar museet med sin mångbottnade, visuella och ofta mycket provocerande bildvärld. I hennes - ofta performance-baserade konst - utmanar hon frågor om politisk identitet; frågor som inkludera sexualitet, ras och kön. Tracey Rose tillhör den generation sydafrikanska konstnärer som har etablerat sig efter apartheid och utställningen, som är ett samarbete med Johannesburg Art Gallery, presenterar ett urval av hennes verk från de senaste femton åren. Kerstin Berggren har mötte Tracey Rose i Umeå. Programledare: Anneli Dufva Producent: Marie Liljedahl