“Women so often have been denied respect, true respect. We need to extend this to each other. The conditioning which teaches us to see each other as competitors for men’s attention also tells us that relationships between women are not as worthwhile as those between women and men. The ability to respect another human being for what she is offering is the foundation for a friendship. It is not to be taken lightly.”—
Another bit from the interview of Maya Angelou in The Feminine Face of God.
(The Maya Angelou bits are the best part of this book, which otherwise comes off very dated in its discussion.)
“I think that sex, however one wants it, is always available. But friendship, wheew! That’s something to work on and cherish, build, add to constantly.”—Maya Angelou interviewed in The Feminine Face of God, 1991.
So I’m a bit weird because I was never taught Romeo and Juliet when I was in high school. (Our ninth grade teacher told us she “assumed” we’d all read it by that point in our lives.)
Those of you who have been taught it in the high school environment or have taught it in the high school environment: can you describe how it’s done? What did you learn? What was the focus? Primarily on character and plot? Motifs and themes? Language? Did anyone study the play as an undergraduate or graduate student?
I’ve been thinking a lot recently about why certain Shakespeare plays are taught at certain levels and whether this is a best pedagogy practice. Any help from the Tumblr literary set would be helpful.
I was first taught the play in 8th grade, actually, with the main focus on language and themes. My teacher even showed us some of the 1968 film, fast forwarding through the naughty parts. Surprising when you consider this was at a Southern Baptist private school.
Then when I was in 10th grade, the drama department of the public high school I attended put on the play and I was an extra. The drama teacher split the Montagues and Capulets ethnically, like we were in gangs (Romeo was black and Juliet was Latina), because he thought the students would relate to it better that way. The performance opened to chaos as “Carmina Burana” played (I got so tired of that Orff work).
My 11th grade year I took an elective dedicated to Shakespeare, but the syllabus did not include R&J; we mainly focused on Macbeth. I think someone may have performed a scene from it at one point in the class, however.
“No one wants to be known as the woman who cried sexism for fear of being labeled a tattletale, a liability, or, at the very least, not worth the trouble. And yet, it’s only through these stories that we can begin to understand that the statistics aren’t the result of some fluke or mass oversight, but a very real problem that needs to be solved.”—This Is What Tech’s Ugly Gender Problem Really Looks Like | Business | WIRED
“The other thing is in Hollywood, you don’t want to show weakness as a woman because it is such a misogynist industry. To ever go to work and be like, ‘I have debilitating cramps,’ you can’t do that. You can’t be like, ‘Can I have a hot water bottle for my stomach?’ You have to act like you’re a superhero in order to be taken seriously or put on an equal playing field as the men. As soon as you like have a woman’s body and have women’s issues, it’s like, ‘Oh, you’re a hazard for us,” basically. So you just have to pretend that you’re a lot stronger than you are a lot of the time.”—Megan Fox: ‘In Hollywood, You Don’t Want to Show Weakness as a Woman’ - mom.me
“The entertainment world keeps producing stories about disabled people, yet almost never casts disabled performers at all—whether in major or minor roles, playing disabled or able-bodied characters. Counterexamples, like RJ Mitte in Breaking Bad or Jamie Brewer in the first and third seasons of American Horror Story, are rare.”—Disability Is Not Just a Metaphor - Christopher Shinn - The Atlantic
This is ‘Beggin For Thread' and it's the latest cut to surface from BANKS’ highly anticipated debut album, Goddess out this September. Produced by Jesse Rogg and Tim Anderson, the track is happier and lighter compared to her other, more dark and moody songs. Either way, give it a spin above!
“When Harry Met Sally … is, it must be said, insular and largely oblivious about its insularity. It would be cheap to admonish its makers with contemporary college-seminar hindsight about “privilege,” but the young and impressionable should be warned: Everybody has big apartments, they drink white wine from crystal glasses and play Pictionary in well-appointed living rooms, and they shop at Saks and Bergdorf. White-on-white, sophisticated Manhattan is, in this film, the only part of New York City that exists.”—When ‘Harry’ Met ‘Annie’ «
“These songs, which presume to assure women that they are attractive (and, by extension, worthwhile), assume that the singer’s relationship to our bodies overrules our relationship with them. All of our primping — our “fixing makeup, just so” — has a pointed objective, namely to be found attractive by men. And allegedly, what a relief to find out we don’t need to be doing any of it at all!”—Let’s Stop Singing Songs About Women Who Don’t Know They’re Beautiful