Albany State University Sociology of Sexualities & Gender Prejudice Essay

Albany State University Sociology of Sexualities & Gender Prejudice Essay Albany State University Sociology of Sexualities & Gender Prejudice Essay ORDER NOW FOR CUSTOMIZED AND ORIGINAL NURSING PAPERS Unformatted Attachment Preview ASOC 362 (9380)/ AWSS 363 (9379) Sociology of Sexualities Spring 2020 Photo Essay Assignment Guideline Maximum Points: 12 points Due date: The assignment is due on March 13 (Fri), 11:59 pm. For each day the assignment is late, 3 points will be deducted from your possible score on the assignment. What to hand in: A photo essay comprised of two sections: (a) An introductory essay: over 500 words long (b) 5-10 photos with captions: each photo should have a brief explanation, around 2 to 6 sentences long Document Format: Word, PDF, or Pages document Detailed Instructions: (a) Check out two examples from Contexts journal: Photo essay is a powerful presentation of your thoughts and arguments. Contexts journal (a publication of the American Sociological Association) regularly publishes photo essays on social issues. Check out the examples (Photo Essay > Examples> click to download). (b) Choose a topic and an analytical tool: identify a topic and choose at least one “analytical tool” we learn from the first half of the semester. Your topic could be any social phenomena or issue that you could observe, take photos, and comment on it. Identify your “analytical tool,” which will be the angle you use to analyze the topic. For example, you could choose to use sexual script theory (tool) to research about dating culture (topic). You could also look at dating culture (topic) from an angle of power dynamics (tool). 1 (c) Observe, research, and take photos: once you have a topic and an analytical tool in your mind, you could go ahead to observe, do some research, and take some photos. You could observe at school, at a workplace, an event, or an activity. You could pay attention to interactions happening among a group of people, between two people, or in a community, etc. You could document the setting, the medium, and any relevant “objects” in that particular setting. You could talk to people and ask them about their thoughts, opinions, and reflections. You could also focus on your own interactions with others and observe those interactions from a reflective position. Types of photos may include the setting or scene, portrait of people, interaction or action, people’s position or gestures, or specific objects, etc. You need to always get permission from the stakeholders involved in the setting before you take any photos. Do not invade anyone’s privacy. Type of photos: please refer to this webpage for more tips http://www.collectivelens.com/blog/creatingphoto-essay/ Tips for observation: • The site setting: Pay attention to the general characteristics of the setting. Albany State University Sociology of Sexualities & Gender Prejudice Essay How does the setting look, smell, or feel like? What sounds, noises, and voices do you hear? How many people are there? Who are they, and what are their gender composition, race and ethnicity composition, and age composition? How is the physical setting arranged (if applicable, indicating the position and movement of people)? • The activities people are doing & The interactions people have with each other: What activities do people do there? How do people interact with each other? What types of social interaction do you observe? What kinds of verbal and non-verbal communication do people use? • Advanced observation: Are people differentiated from each other in the setting? Is differentiation represented in dress, behavior, or any symbolic markers/entitlements? Are there groups of people who seem to occupy relatively central or relatively marginal roles regarding the activities you are describing? In general, what appear to be the unspoken, or spoken, rules that underlie this site or the activities you are describing? Is there any formal or informal authority? Any power dynamics or imbalance based on culturally perceived social categories in our society? 2 (d) Analyze and develop your thesis statement: after you take photos and get some insights from your observation, you could apply your analytical tool to develop a “thesis statement” of your photo essay. That is, you need to have a “main story” or a “main argument” you would like to convey through the essay. For example, if you use sexual script theory (tool) to research about dating culture (topic), you could develop the main story about how people initiate courtship and how sexual script theory helps you analyze what you observe. (e) Write the introductory essay (over 500 words): the introductory essay should include your thesis statement and supporting statements. This essay should clearly demonstrate how you apply an analytical tool to develop the thesis statement and how you make your thesis statement solid. Supporting statements are informative and explanatory statements that elaborate on your argument and provide good details to support your argument. Supporting statements could be a detailed description of the setting, your observation, and the photos. Supporting statements could also be narratives and stories you learn from those people you talk to, etc., which help to demonstrate some details of your main story. (f) Arrange your photos in order and write photo captions (2-6 sentences for each photo): Photos are your supporting statements too. Select 5-10 photos from the photos you take and arrange them in order. The order of the photos matters in terms of the story you would like to tell your readers. Provide a caption for each of your photos (i.e., a brief explanation of the photo). Each caption should be around 2-6 sentences. (g) Give your photo essay a title and include your references at the end of essay: make sure to follow the citation format. Format: follow the ASA, APA, MLA…etc. citation styles Grading Rubric: Does the essay clearly demonstrate how you apply an analytical tool to analyze what you observe and develop your thesis statement? Does the 3 10 points essay demonstrate logical reasoning, comprehensive description, solid analyses, and strong justifications of the thesis statement/topic/photos ? Is the writing clear, coherent, logical, and well organized? Is it carefully written (e.g., spelling and grammatical errors)? Does the essay follow the assignment guideline? Does the essay properly cite and quote the references? 4 2 points p photo essay situating memory in argentina by barbara sutton I left the facility with a strong desire to wash my hands, perhaps to shed any trace of horror in my body. Yet as an Argentine, how could I not be implicated in the history of state violence that still haunts the nation? More than two decades after the last military dictatorship in Argentina ended (1976-1983), its legacy of terror is still an open wound. In the name of national security and of defending Western Civilization from the threat of leftist “subversion,” the military regime tortured and “disappeared” tens of thousands of people. One emblematic site of such practices is the E.S.M.A. (Escuela de Mecánica de la Armada, School of Naval Mechanics), a facility I gained access to in 2007 as part of a guided visit. The E.S.M.A. was among around 500 facilities turned into clandestine detention centers during Argentina’s dictatorship. It operated as a concentration camp, torture center, and platform from which detainees were taken on “death flights” to be thrown into the ocean or river to drown. Now open to the public and managed by human rights groups, the E.S.M.A. has been transformed into a “Space of Memory and for the Promotion and Defense of Human Rights.” Albany State University Sociology of Sexualities & Gender Prejudice Essay As I left the E.S.M.A., the cold, humid quality of the buildings seemed to have penetrated my bones. The screams of the people subjected to torment remained in the silent walls. Reverberating in my head were the words capucha (hood) and capuchita (little hood) (rooms where detainees were kept shackled with eyes covered), “avenue of happiness” (corridor in a torture area), and “the Sardᔠ(a small room—named after the Maternity Sardá—where pregnant detainees gave birth, only to have their babies taken away). The military regime’s penchant for twisting the meanings of words mirrored its systematic distortion of other aspects of reality. After all, what is the meaning of security when a government brutally turns against its own population? The experience of state terrorism in Argentina embodies social suffering which anthropologists Arthur Kleinman, Veena Das, and Margaret Lock say stems from “what political, economic, and institutional power does to people, and, reciprocally, from how these forms of power themselves influence responses to social problems.” How do people collectively struggle with trauma related to state-sponsored atrocities? How do movements seek to redress such events? The following pictures feature various strategies of memorialization linked with the goal of bringing about truth and justice. The photo essay focuses on four sites in Buenos Aires, Argentina: the Park of Memory and the Human Rights Walk (places of remembrance and tribute to the victims of state terrorism) and the E.S.M.A. and “Olimpo” (former clandestine detention centers, now refashioned by human rights organizations). The pictures illustrate the diverse methods human rights advocates use to raise awareness, construct memory, and garner political support: testimony, displays, public art, and cultural events that build cross-movement solidarity. Above all, these images capture the critical roles that the reclamation and resignification of formerly terrifying physical spaces play in grappling with social suffering and human rights. Barbara Sutton is in the women’s studies department at the University at Albany, State University of New York. She is the author of Bodies in Crisis: Culture, Violence, and Women’s Resistance in Neoliberal Argentina. All photos courtesy Barbara Sutton. 52 contexts.org eic 46 eic 47 park of memory The last military dictatorship in Argentina operated under the same “concentration camp logic” that was applied to society as a whole. The barbed wire surrounding the Park of Memory is reminiscent of this experience. The masculine word desaparecidos (“disappeared”) obscures the presence of women, but it is estimated that about thirty percent of the disappeared were women. Like many Argentines, artist Liliana Felipe (here, outside the Park of Memory) left due to political persecution under the dictatorship. Located by the river (Río de la Plata) in a sparse area of the city, the Park of Memory quietly evokes “death flights” in which detainees were thrown into the water to die. Contexts, Vol. 9, No. 3, pp. 52-57. ISSN 1536-5042, electronic ISSN 1537-6052. © 2010 American Sociological Association. All rights reserved. For permission to photocopy or reproduce, see http://www.ucpressjournals.com/reprintinfo.asp. DOI: 10.1525/ctx.2010.9.3.52. A collection of photos of the disappeared represents the large number of people targeted by the military regime. The pictures symbolically bring their bodies back to populate the space. This sculpture in the Park of Memory is based on the work of the late Argentine artist Roberto Aizenberg and symbolizes his partner Matilde Herrera’s three children who were disappeared during the dictatorship. summer 2010 contexts 53 eic 48 human rights walk Situated within a larger park (the Parque Indoamericano) in a working-class district, this site uses different groves of trees to commemorate 20 groups of people who disappeared. A plaque in remembrance of Mercedes Benz workers attests to military repression specifically targeted at the labor sector. 54 contexts.org Among the commemorative plaques is this “tribute to the 1,900 Jewish disappeared.” Jews were overrepresented among the people taken by the military regime.Albany State University Sociology of Sexualities & Gender Prejudice Essay One grove is reserved for disappeared members of the University of Buenos Aires’s schools of engineering, architecture, and economic sciences. Dedicated to “their dreams and struggles,” this sign urges the abandonment of the culture of “no te metas” (not intervening), which has implicitly authorized atrocities. eic 49 e.s.m.a. The fence and vigilance towers surrounding the E.S.M.A. remind us of the pervasive control and surveillance during the military regime, both within and beyond clandestine detention centers. The basement of the Casino de Oficiales was originally divided into smaller chambers where detainees were taken for interrogation and torture. The E.S.M.A. comprises a group of buildings formerly under the control of the Navy. The Casino de Oficiales was the central building dedicated to various repressive activities. It is estimated that 5,000 detainees (most still unaccounted for) went through the E.S.M.A. This silhouette evokes the psychological and physical trauma of the victims. Human rights advocates work to expose the horror that took place inside the E.S.M.A. A series of silhouettes (including pregnant women) are now displayed on the fence to signify captives. One of the E.S.M.A.’s buildings is now the Cultural Space Nuestros Hijos (Our Children). Managed by the Association Mothers of the Plaza de Mayo, the venue exhibits a “Gallery of Revolutionary Faces” to pay tribute to the disappeared. summer 2010 contexts 55 eic 50 el ”olimpo” “The Center of Detention, Torture, and Extermination ‘Olimpo’ functioned here between August 16, 1978 and the end of January 1979,” reads a sign at this site where hundreds of people were tortured and eventually killed. The “Olimpo” was part of a larger repressive circuit operated by the Army. Formerly in the orbit of the Federal Police, this site is now managed by Human Rights groups that coordinate educational and cultural events. The event featured a reading in support of the Zapatista movement in Chiapas, Mexico. Through cultural gatherings like these, a place of horror and death has been transformed into a site of memory, cultural expression, and political solidarity. Like the “Gallery of Revolutionary Faces” at the E.S.M.A., this recent mural at the “Olimpo” reclaims the ideals that inspired the activism of many of the disappeared: “From their hands we take their banners. Until Victory Always.” 56 contexts.org At one memory-building event, an “Olimpo” survivor shared her story. Mother of the Plaza de Mayo, Nora Cortiñas (wearing the white headscarf that identifies mothers of the disappeared), also participated. eic 51 Decades later, laws that prevented the prosecution of most of the dictatorship’s crimes have been overturned. The new trials underway are part of Argentina’s movement toward “memory, truth, and justice.” summer 2010 contexts 57 p photo essay literacy through photography by katherine hyde Artists, activists, and teachers around the world have put cameras into the hands of children, asking and allowing them to share their visions and stories. The resulting images are illuminating and the experience is memorable, if often fleeting. Literacy Through Photography is a student-centered critical pedagogy that integrates writing and photography into classroom instruction. Developed by the artist and educator Wendy Ewald at Duke University’s Center for Documentary Studies, LTP has collaborated with the Durham public school system for 20 years, and for the last decade has been a teacher-training program for educators from across the U.S. and abroad. Since 2008, a small staff from CDS and a rotating group of Duke University student fellows sponsored by DukeEngage have spent each summer in Tanzania, first training local teachers in LTP’s methods and then assisting in the development and teaching of classroom-based LTP projects. The LTP program in Tanzania aspires to make an impression on children while working more broadly to influence ways of learning and styles of pedagogy within Tanzanian schools. Albany State University Sociology of Sexualities & Gender Prejudice Essay The work begins not with children, but with the teachers who once studied in traditional classrooms based on rote memorization and are now charged by the Tanzanian government with a shift toward participatory methods of instruction. Whether in North Carolina or in Tanzania, any LTP activity—whether “reading” a photograph, brainstorming how to represent conceptual ideas visually, framing and shooting photographs, or writing creative stories or narrative descriptions about pictures—emphasizes critical thinking as well as visual, cultural, and written literacy. Drawing on many years of experience, the Duke staff and students learn alongside the Tanzanian teachers and students. Together they continue to recognize the meaning, potential, and challenges of LTP in Tanzania in light of restricted resources, class sizes that reach 100 children, strict national curricula, and educational reform efforts. In addition to managing logistical hurdles, the Duke staff are discovering how to navigate differing priorities and even assumptions about photography. Does it show the “real thing”? Are photographs open to interpretation? And how should photography be folded into a lesson plan? A Durham teacher, for instance, might emphasize self-expression, assigning students to create a self-portrait in a language arts class. But a Tanzanian teacher might ask students to illustrate specific English or Swahili verbs, accomplishing both a process-oriented goal—a grammar lesson—and a product-oriented goal—the creation of prints to be used as visual classroom aides, which are noticeably missing in most Tanzanian schools. LTP has trained over 150 teachers from 45 primary and secondary schools and several teachers’ colleges in Tanzania, and well over 2,000 Tanzanian children have participated in school-based LTP projects. To foster the program’s sustainability, the LTP Teacher Resource Center has been established to house a growing collection of cameras, printers, and other photography supplies. The LTP program abroad continues year-round under the leadership of a Tanzanian teacher and artist and with the counsel of a local advisory committee comprised of experienced LTP teachers. These teachers recognize that not all students learn by one method, so photography and the LTP program can open up opportunities for shy or less eloquent students to participate in learning. One teacher says he feels that East Africans often turn a blind eye to students, but LTP opens up a new educational opportunity. As his fellow teacher put it, the best thing about LTP is how it allows teachers to see how their students see—and how they imagine. Katherine Hyde is a sociologist based at Duke University’s Center for Documentary Studies, where she directs the Literacy Through Photography program and teaches visual sociology. Note: The LTP process of planning and shooting photographs is collaborative, so the images here are not assigned to a single photographer. 56 contexts.org eic 30 eic 31 Geography—Tanzanian tourism Mount Kilimanjaro is a critical source of both water and tourism in Tanzania. While pictures of Kilimanjaro are ubiquitous, advertising everything from beer to tour companies, the photographs students in this 6th grade geography class made give an insider perspective on this star of the landscape. Watching the lively discussions as students planned their photos, the teacher commented that usually “in class it’s learning, learning, learning what’s in the book. [Here] I can see they’re really thinking hard.” While a group of teachers doing a similar exercise had photographed a mural of the mountain, this student led her group to this water fountain, directed her classmates where to stand and when to shoot, and with her gesture and gaze, portrayed the mountain’s power and beauty in a more complex, nuanced way. Contexts, Vol. 9, No. 2, pp. 56-63. ISSN 1536-5042, electronic ISSN 1537-6052. (c) 2010 American Sociological Association. All rights reserved. For permission to photocopy or reproduce, see http://www.ucpressjourn … Purchase answer to see full attachment Get a 10 % discount on an order above $ 100 Use the following coupon code : NURSING10

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