“This panel is bull***t,” Deloria said. “There is a fascist in the White House, and you’re normalizing it by talking about [hate speech] in the abstract. People are dying in the streets.”
It’s as if, after centuries of feminist progress, we still can’t conceptualize a woman who can both blow glitter into a Polaroid camera and write essays on Gramsci’s theory of cultural hegemony.
“The majority of my life I had to fight tooth and nail with my dad to say ‘Hey, shoulders aren’t sexual. I should be allowed to wear tank tops in 80 degree heat,’” Suthar said. “Now I don’t owe anyone an explanation and there’s no one stopping me.”
Wine as we know it embodies the construct of the feminine, traded in our cultural circles as the sensual, lighter counterpart to masculinized beer.
Adichie, a Nigerian novelist, is one of the latest women to join the lineage of iconic feminist writers like Maya Angelou, Adrienne Rich and Toni Morrison in their literary portrayal of women’s voices.
Postcolonial feminism resists Euro-American feminists’ tendency to universalize the shape oppression takes for women in various sociopolitical and historical contexts.
It is the responsibility of the Greek system to shift structural power into women’s hands, allowing their sexual freedom to be more than a hopeless flounder against a bastion of male privilege. Sororities, if they seek to serve women, must relent in their adherence to outdated standards.
Peggy Orenstein’s “Girls & Sex” is as candid as its title, providing a much needed (albeit narrow) analysis of the modern girl’s relationship with sex and sexuality.
On December 4, CAP UCLA presented a conversation between feminist icon Gloria Steinem and television producer Jill Soloway.
Why has feminism, a movement so typically stigmatized for its disavowal of social norms, fallen under the umbrella of a term that epitomizes herd mentality?