Please respond to one of the following prompts:
1. How do one or more of our authors conceive of and characterize a feminist voice or practice of cultural/knowledge production? In what ways might such practices subvert or destabilize normative or hegemonic accounts of what constitutes art, film, literature?
2. Choose one or two of our texts from this cluster and discuss their relationship to canonicity and/or cultural transmission. Are there normative or dominant practices of canonicity or knowledge transfer on which your texts comment, or against which they intervene? Discuss any strategies you identify in your chosen text(s) that indicate reconfigured patterns of cultural transmission or notions of canonicity, so as to allow for non-normative or countercultural production.
3. Simone de Beauvoir writes, in the introduction to the Second Sex, that “every concrete human being is always uniquely situated” (4). Reconsider the question of the relationship of the particular (i.e. femininity or queerness) to the universal, now specifically in terms of cultural production and in relation to one or more of our texts from this cluster. How does the specificity or the situatedness of one’s class, race, or religion intersect with gender and sexuality as they pertain to artistic/knowledge production? Is artistic or cultural production necessarily marked by gender, sexuality, race and other forms of identity, or are there universal or unmarked forms or practices of cultural production?