History Bump

Addendum: I believe strongly that this is a historical project, and I am hoping that through the texts I choose I can begin to articulate the connection a bit better. Jacqui Alexander, in an article I will work with specifically in this, places both historical and contemporary scenes next to each other to suss out the "ideological traffic" across time and space. It is this moment, where past and present begin to become something other than chronologically related that I am interested in. I hope this clarifies how I see this as a historical project, but any and all feedback would be great!

I am glad that you are feeling a bit better. Keep up the resting, though.

Jen

Okay. You've correctly perceived that you're one of the people I'm concerned about, because this sounds neither like composition nor like history. It sounds like an encomium to transnational feminism. So there's not a lot of constructive suggestions I can give right now, except to say, please don't write an encomium to transnational feminism and then try to figure out how it might relate to composition history. Instead, design the project so that composition history is at the center.

How about this.

What if I looked at feminist histories of composition (Like Brody's and others) and ascertain the methods that they have used to do history. Of course, I can only speak for Brody right now, but her text, even though it is attempting to challenge historical methods, stays within the boundaries of historical work that traditional histories have done -- archival and textbook analysis. To do transnational feminism, there needs to be more work within greater social networks as well as play between the present lens we look through and the past artifacts we find (like White suggests). Therefore, the project would not be out to get former feminist work, but rather it would be an attempt to show how hard it is to really shift that paradigm, and then perhaps a bit on how transnational feminism could help us. And maybe lay a ground work for a feminist methodology in composition.

Better?

PS -- Thanks for the input, and REST YOUR HEAD!

Yep, I'm liking this. I'll be interested to see the list of comp sources you intend to address. In your proposal, you'll need to seriously sketch out what work you've already done (e.g., do you have to learn new stuff about TF, or are you already sufficiently well informed about that to do this?): my new concern about your project is that it might be too big. If that turns out to be the case, I want to address it right now (and narrow the focus, thus reducing the workload), not in May.