Search results

Shortly before the Second World War, a woman who had never accepted her orphan status, Gabrielle Bonheur Chanel, nicknamed ‘Little Coco’ by her father and known as ‘Coco’ to her relatives, became the first women in history to build a world-class industrial empire. By 1935, Coco, a fashion designer and industry captain, was employing more than 4,000 workers and had sold more than 28,000 dresses, tailored jackets and women's suits. Born into a poor family and raised in an orphanage, she enjoyed an intense social life in Paris in the 1920s, rubbing shoulders with artists, creators and the rising stars of her time.

Thanks to her entrepreneurial skills, she was able to innovate in her methods and in her trendsetting approach to fashion design and promotion. Coco Chanel was committed and creative, had the soul of an entrepreneur and went on to become a world leader in a brand new sector combining fashion, accessories and perfumes that she would help shape. By the end of her life, she had redefined French elegance and revolutionized the way people dressed.

We use framing theory to analyze songs and poetry from the US women’s movement. Specifically, we utilize frame amplification and transformation as concepts to answer the question: did messages in songs and poetry from the women’s movement change as the movement achieved its original goal of suffrage? Furthermore, are there new organizational goals mentioned in musical artifacts from the second-wave feminist movement? And, if so, why? We find that songs became more radical in the second wave of the women’s movement. This shift reflects and reconstitutes the changing concerns of social movement activists. We demonstrate how frame amplification and transformation are important theoretical concepts in explaining the ideological shifts found in songs and poetry from the first- and second-wave women’s movement.

This qualitative research study focused upon collaboration between regular and special education teachers in middle school inclusive social studies classrooms. Data sources included interviews, observations and a review of Individualized Education Plans (IEPs). Two pairs of regular and special education teachers (high and low collaborators) were selected from three schools in different counties. Major findings included a description of the ways teachers formed and maintained their relationships, the role of administrators, and obstacles that needed to be overcome. Lack of time was identified as the greatest obstacle. IEPs were not found to be useful. Teacher use of accommodations and strategies tended to be global, rather than individualized. Perceptions of role were examined by teacher type.

As the social scientists of modern society, sociologists find themselves in a peculiar situation. Human civilization appears on the brink of collapse; the ravages of global capitalism are turning natural and social orders upside down. Some theorists are declaring the “end of history,” while others wonder if humans will soon become extinct. People find themselves increasingly shouldering burdens on their own, strangers to themselves and others. Struggles for recognition and identity are forged in harsh landscapes of social dislocation and inequality. The relationship of the individual to the state atrophies as governmental power becomes at once more remote and absolutely terrifying. How are we as sociologists expected to theorize under such circumstances?  What implications result for the mission of sociology as a discipline and area of study? What political initiatives, if any, can counter these trends?

This chapter provides an immanent critique of sociology as a profession, vocation, and critical practice. Sociology today (in the US and around the globe) faces fierce social, economic, and political headwinds. The discipline continues to be a perilous choice as a vocation for independent researchers as much as the shrinking professoriate. Yet while the traditional functions of sociology are thrown into doubt, there has been an increase in critical practices on the part of some sociologists. As institutional norms, values, and traditions continue to be challenged, there will be passionate debates about the production of social worlds and the validity claims involved in such creation. Sociologists must play an active role in such discourse. Sociology is needed today as a mode of intervention as much as occupational status system or method of inquiry.

The Witcher (Netflix, 2019) premiered seven months after Game of Thrones (HBO, 2011–2018) concluded. Given the similarities of genre (historical/high fantasy) and audience (indicated by nudity, violence and profanity), comparisons were quickly drawn. Game of Thrones earned criticism for the ‘sexist’ outcomes for some of its female characters, and so early analysis of The Witcher often evaluated its female representation and feminist values.

This chapter argues that the female representations in season one of The Witcher offers prominent female characters who are imbued with agency, institutional power and well-developed narrative arcs. These representations are somewhat at odds with some initial reaction to the show as sexist. Notably, it uses a dialectic approach to women who are framed by males as villainous (as Stregobor characterizes Renfri in ‘The End's Beginning’). However, the spectator positioning challenges this through devices such as its unrestricted, non-linear narrative structure.

Nevertheless, The Witcher encodes female characters with power as ‘other’, enhancing this otherness through magical abilities. Its archetypal male protagonist further emphasizes the difference of the female deuteragonists, placing him at various times in opposition to characters such as Ciri, Yennefer and Calanthe. This chapter also considers the issues of intersectionality in relation to Yennefer, whose transformative narrative arc has provoked ableist criticism, and how her representation is also impacted by the racial discourse in the series.

Through textual analysis and with reference to relevant folkloric, feminist and media scholarship, this chapter interrogates the representations the significant women of The Witcher through the lenses of gendered authorship, essentialist ‘female’ concerns, such as motherhood, the dynamics of the gaze and the varieties of responses to the female characters evident in online discourse.

Citizenship can be understood as a multi-dimensional status, involving civil, political and social rights and obligations (Yuval Davis, 1997; Lister, 2000). Barbara Hobson (2000) has argued that citizenship is more than the relationship of individuals to the state and includes social relations between individuals too. She points out that social relations lead to a gendered citizenship for women. Their weak economic position in the labour market, their related dependence within the family and lack of representation in the public sphere demonstrate the shortcomings of the liberal concepts of citizenship. Yuval Davis (1997) makes a similar point. Building on Marshall's concept of citizenship as membership of the community, she argues that an analysis of citizenship must include not only a focus on the relationship between the community and the state, but relationships between various collectivities (gender, race, urban/rural locations, etc.) and the community.