ࡱ> vu1( / 00DArialngsRomanTT4 ܖ 0ܖ"DGaramondRomanTT4 ܖ 0ܖ DTimes New RomanTT4 ܖ 0ܖ0DWingdingsRomanTT4 ܖ 0ܖ A . @n?" dd@  @@`` 0(`S//     0AA@8Q ʚ;S2ʚ;g4:d:dȗ  04ppp@ <4dddd w 0T  <4!d!d x 0T0___PPT10 ppR___PPT94, ?  %+tNarrating female labour experience: construction of the professional biography by omitting discriminating practices uu(6[     Valerija Barada Department of Sociology, Zadar The 3rd International Conference on Re-Thinking Humanities and Social Sciences The Politics of Memory, Zadar, 8. 9. 2012.$P      topic(the process of narrating professional biography of/by female designers in Croatia empirical data, field research 2010 (ZG, RI, OS, ZD, ST, DU) 36 interviews, from 1,5 to 2 hrs onwards refreshed&rQrQ/    "   design profession in Croatia($  Tsociological definition of PROFESSION why design? good indicator why women?  new to the profession narrative interview abductive research strategy feminist standpoint (D. Smith) everydaylife ! ruling relations of gender and labour ! social structure institutional processes, not populations ~P;PqPP3   ;q                   entering to the profession(6 verification of the way how to  become a designer, what it means to be a designer, expected personal and professional behaviour & professional project (Anne Witz): 1. exclusionary strategy 2. inclusionary strategy 3. demarcationary strategy 4. dual closure strategy HhN h         the usual story6(((6I have chosen my education, I was always creative I got my first job at the university I worked hard and have succeeded I love design, but do not see myself in this profession in the future  I want outnZ        1. educational choice.((, {choice of highschool choice of university discriminating practice*: lower voice (!) this profession is / is not for women&F6F6      2. first job. ((,got it through a professor (usually all male) discriminating practice pro bono for cultural sector, civil sector or selfinitiated do not open their own business &G\G\<     3. professional success.(( Fworking hard discriminating practice not easy to charge for own work working for  softer sectors not owning big companies (big money is not for women) realistic about own abilities sexism it s their problem long process of establishing trust with clients not differentiating male-female style, but all  softer works defined as female design as feminised profession lower power, women prominent in cultural sectorn&Z~Z&Eo1N          4. future plans($ <I want out discriminating practice do not see themselves in design* return to home, to the private trap of creative work to do something small, just for meF${ @:L    conclusion ( participating in professional project (dual closure) requires coherent story no room for recognizing dicriminating practices, or giving them much interpretative space since design is undergoing dual closure and is letting women in, dicriminating practices are seen as individual case, not as social pattern or difference in power therefore, female designers their profession see as egalitarian, unlike broader society<MYMY             tNarrating female labour experience: construction of the professional biography by omitting discriminating practices uu(6[     @Valerija Barada Department of Sociology, Zadar vbarada@unizd.hrAAZ'  /p  0` 3` ff>>\fg` J*T333` QYmx~3ft` \ғhEy`` cb^DDf`Y˵W` sg7xGr` K%ޯd{mG/` 33f>?" dd@,?nFd@    @ `  n?" dd@   @@``PR    @ ` `<p>> @8p(    6  #" `b `   >*   6  #" `` `   @* xT ~  "~\ {  "{  c BB CDEFd @ bb   H   T W6Vw}\gFQ6<1++11 1L b6xQrq 6\}N   - c    0 A Q g     S    6N KawF bFy0 a*ly7lE;uz  B | a F 0 ! 1 < B < & l L 0  @`"T   c |BC+DEFyd @ ==gL6cI}\eA& w6m!W<! &<W!r6W}F6\}>68QNlX^XH8+Sgg|@`"Jo 5 J   B! 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CDEF @ ))\*l{FDNF W% W ! !   ! 6X L b x_ /aF6b}SA$|l\\TX@`s"*  T  u4   B C%DEF ss&QW}k6D Q r 8 N c t y y ;t Qi gS }8     T   :0\-Q4*%%v*o(V}5q;  S   < s } l \ g} \, L ;n &  Z}\[6 }WF<! e C }h m W ]  ,t B RxkqA,Rg@`" {b    BCDEFy @ ,,Lh6\}mWG &a*zCxsh-&jG]~5g6&LLZ\@`s"*   u(     BCDE|Fy @ __@% M|f4@{ f0`lA}L\A+h MB6ww FJl{ 0V|{J  *5KlGn a*:Pf\|6 /6Kbf|F kP}5x}VvaP@@@`s"*   =>    c BlCrDEF"d@ rlrl@`"~  <89  "F    b.Kliknite da biste uredili stil naslova matrice/ /  08<  " `     e1Kliknite da biste uredili stil podnaslova matrice2 2  6@  #" `` `   >*   6hE  #" `b    @*   68J  #" `d `   @* B  s *޽h ? 3___PPT10i. u%.+D=' <= @B +r 0 @P(  P P 0|/  P   /  P*   P 0@x/     /  R*  d P c $ ?  /  P 0/   0 /  Kliknite da biste uredili stilove teksta matrice Druga razina Trea razina etvrta razina Peta razina1    f P 6y/  _P  /  P*   P 6D/  _  /  R*  H P 0޽h ? 3380___PPT10.O4 0  *(  x  c $W  <   r  S tX      H  0޽h ? 33___PPT10i.Op$+D=' <= @B +}  0 ,$(  ,r , S <  `}   r , S  `  H , 0޽h ? 3___PPT10i.п^+D=' <= @B +}  0 4$(  4r 4 S    `}  A  r 4 S   ` A  H 4 0޽h ? 3___PPT10i. dn+D=' <= @B +}  0  H$(  Hr H S |A   `}  M  r H S A   M  H H 0޽h ? 3___PPT10i.T+D=' <= @B +  0 0L:(  Lr L S |A   `}  A   L S LA  ` A  "p`PpH L 0޽h ? 3___PPT10i.H+D=' <= @B +  0 8(  8r 8 S M   `}  M  r 8 S xM  ` M  V 8 0EA   R* all that hinders verification process0*(2'P H 8 0޽h ? 3___PPT10i. "+D=' <= @B +}  0 <$(  <r < S LM   `}  M  r < S dM  ` M  H < 0޽h ? 3___PPT10i.pS#+D=' <= @B +}  0 @$(  @r @ S XM   `}  M  r @ S d`M  ` M  H @ 0޽h ? 3___PPT10i.O%+D=' <= @B +}  0 D$(  Dr D S M   `}  M  r D S M  ` M  H D 0޽h ? 3___PPT10i.p7]&+D=' <= @B +}  0 0$(  0r 0 S 3   `}   r 0 S  r `   H 0 0޽h ? 3___PPT10i.4+D=' <= @B + 0 (6(  (~ ( s *q  <   x ( c $lr      H ( 0޽h ? 33___PPT10i.Op$+D=' <= @B + 0 80PT(  TX T C P   / 0 T S / P 0  /  In this so-called process of professional closure, women have participated in dual process: they have managed to open up and enter the profession on institutional level alongside men, while at the same time they have instigated the formalization and closing of the profession in the relation to other similar aspiring professions. This strategy of dual closure (A. Witz) has left women in ambivalent position. Since the professional project turned out to be their own, female designers had to incorporate and naturalize experiences of discriminating practices as the individual, but not structural part of their own professional biography. .m   H T 0޽h ? 3380___PPT10.4_  0 `Xo(  XX X C P   /  X S d/ P 0  /  qLinear Not problematic coherent6 H X 0޽h ? 3380___PPT10.  0 h ` p\ (  \X \ C P   2`  \ S X/ P 0  2 & Professional activity that is regulated obi nih zanimanja prepoznavanjem razvijenosti stupnjeva elemenata teorija i tehnika za profesionalno djelovanje, monopola na stru nu ekspertizu, javne prepoznatljivosti i organiziranosti profesije te profesionalne etike (5 stupnjeva: usustavljeno znanje, autoritet i kredibilnost, regulacija i kontrola lanova, profesionalna etika te kultura vrijednosti, normi i simbola NARATIVNI INTERVJU Intervjui su zapo injali narativnim prepri avanjem obrazovne i profesionalne karijere dizajnerica Po etnim poticajnim pitanjem (Bloor, M. i Wood, F., 2006: 119) o tome ato je dizajnerice u obrazovnom i profesionalnom smislu dovelo do strukovnog i osobnog trenutka u kojem se trenutno nalaze, prepuatena im je vlastita procjena u naglaaavanju va~nih trenutaka i iznoaenju osobnih vienja i interpretacija. Svrha ovakvog intervjuiranja bila je otkrivanje dijela ~ivotne pri e i odluka koje su utjecale na profesionalni odabir i razvoj te  u skladu s feministi kim pristupom stajaliata  otkrivanje lokalnog, umjeatenog osobnog i profesionalnog znanja svake sugovornice. Radi se o djelomi no biografskom pristupu prepri avanja karijerne putanje u obliku kronoloakog kratkog izvjeataja tijekom kojega je pru~ena argumentacija i interpretacija osobnih odluka i ~elja *)       l H \ 0޽h ? 3380___PPT10.o  0  `(  `X ` C P   2 ` S e2P 0  2 fsastoji se od etiri elementa, odnosno strategije: strategija isklju ivanja, strategija demarkacije, strategija uklju ivanja i strategija dualnog zatvaranja (Witz, A. 1992: 43). Prvim se dvjema strategijama, onoj isklju ivanja i demarkacije, koristi dominantna grupa, dok druge dvije strategije uklju ivanja i dualnog zatvaranja mo~e koristiti podreena grupa, dakle ~ene. Dominantna grupa mo~e upra~njavati mo nad podreenom u smislu zatvaranja ulaska u profesiju, a podreena grupa mo~e u suprotnom smjeru pokuaati djelovati prema uklju ivanju u profesiju Strategija uklju ivanja i strategija dualnog zatvaranja su odgovori grupa koje su ili isklju ene ili omeene u to no odreenom zanimanju. Uklju ivanje je uzlazna akcija suprotna isklju ivanju, koju poduzima grupa kolektivno isklju ena iz struktura socijalnih odnosa kojima te~i (Witz, A. 1992: 46). Podreena grupa uzurpira polo~aj nadreene profesionalne grupe. Strategija dualnog zatvaranja odgovor je demarkiranih profesionalnih grupa. Njihova namjera nije uklju ivanje, nego otpor i vlastita konsolidacija. Otpor se dogaa prema demarkacijskim strategijama dominantne grupe, uz istovremeno unutarnje konsolidiranje svoje profesionalne pozicije u podjeli rada. Ono podrazumijeva dodatni oblik isklju ivanja, u emu je sadr~ana dualnost zadnje spominjanje strategije. Ona, dakle, obuhvaa upotrebu moi u uzlaznom uzurpatorskom smjeru uklju ivanja, ali i u silaznom smjeru isklju ivanja (Witz, A. 1992: 47). ). Rodna dualna strategija mijenja meusobne granice izmeu profesija gdje se mo koristi u uzlaznom smjeru uklju ivanja i silaznom smjeru isklju ivanja drugih profesija. Prema A. Witz (1992: 48) radi se o ~enskim profesionalnim projektima DUALNO afirmacije tradicionalno ~enskih profesija, kao ato su npr. medicinske sestre ili babice. U tim se projektima profesija suprotstavlja dominantnoj grupi i njenim demarkacijskim strategijama, ali istovremeno ~eli isklju ivanjem konsolidirati svoju poziciju unutar opeg  hijerarhijskog profesionalnog zatvaranja (Witz, A. 1992: 48). Ovim opisom autorica zaokru~uje svoj konceptualni alat za prou avanje povijesno i socijalno kontekstualiziranih orodnjenih procesa uspostave profesija i njihovog zatvaranja.XPl   !    y 9-l 4H ` 0޽h ? 3380___PPT10.o9rP01QsB!vx+{K.8}mِ1     Projekcija na zaslonu%X  Arial GaramondTimes New Roman WingdingsTokuNarrating female labour experience: construction of the professional biography by omitting discriminating practices topicdesign profession in Croatiaentering to the professionthe usual story1. educational choice 2. first job3. professional success4. future plans conclusionuNarrating female labour experience: construction of the professional biography by omitting discriminating practices Koriteni fontoviPredloak dizajnaNaslovi slajdova  _%0ValerijaValerija/ 00DArialngsRomanTT ܖ 0ܖDGaramondRomanTT ܖ 0ܖ DTimes New RomanTT ܖ 0ܖ0DWingdingsRomanTT ܖ 0ܖ A . @n?" dd@  @@`` 0(`S//     0AA@8Q ʚ;S2ʚ;g4:d:d|  0*ppp@ <4dddd w 0T  <4!d!d x 0T0___PPT10 ppN___PPT90( ?  %z+tNarrating female labour experience: construction of the professional biography by omitting discriminating practices uu(6[     Valerija Barada Department of Sociology, Zadar The 3rd International Conference on Re-Thinking Humanities and Social Sciences The Politics of Memory, Zadar, 8. 9. 2012.$P      topic(the process of narrating professional biography of/by female designers in Croatia empirical data, field research 2010 (ZG, RI, OS, ZD, ST, DU) 36 interviews, from 1,5 to 2 hrs onwards refreshed&rQrQ/    "   design profession in Croatia($  Tsociological definition of PROFESSION why design? good indicator why women?  new to the profession narrative interview abductive research strategy feminist standpoint (D. Smith) everydaylife ! ruling relations of gender and labour ! social structure institutional processes, not populations ~P;PqPP3   ;q                   entering to the profession(6 verification of the way how to  become a designer, what it means to be a designer, expected personal and professional behaviour & professional project (Anne Witz): 1. exclusionary strategy 2. inclusionary strategy 3. demarcationary strategy 4. dual closure strategy HhN h         the usual story6(((6I have chosen my education, I was always creative I got my first job at the university I worked hard and have succeeded I love design, but do not see myself in this profession in the future  I want outnZ        1. educational choice.((, {choice of highschool choice of university discriminating practice*: lower voice (!) this profession is / is not for women&F6F6      2. first job. ((,got it through a professor (usually all male) discriminating practice pro bono for cultural sector, civil sector or selfinitiated do not open their own business &G\G\<     3. professional success.(( Fworking hard discriminating practice not easy to charge for own work working for  softer sectors not owning big companies (big money is not for women) realistic about own abilities sexism it s their problem long process of establishing trust with clients not differentiating male-female style, but all  softer works defined as female design as feminised profession lower power, women prominent in cultural sectorn&Z~Z&Eo1N          4. future plans( <I want out discriminating practice do not see themselves in design* return to home, to the private trap of creative work to do something small, just for meF${ @:L    conclusion ( participating in professional project (dual closure) requires coherent story no room for recognizing dicriminating practices, or giving them much interpretative space since design is undergoing dual closure and is letting women in, dicriminating practices are seen as individual case, not as social pattern or difference in power therefore, female designers their profession see as egalitarian, unlike broader society<M  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\x^`abcdefghijklmnopqrstwyz{|}~Root EntrydO) =mCurrent User8SummaryInformation(PowerPoint Document(%DocumentSummaryInformation81( / 00DArialngsRomanTT4 ܖ 0ܖ"DGaramondRomanTT4 ܖ 0ܖ DTimes New RomanTT4 ܖ 0ܖ0DWingdingsRomanTT4 ܖ 0ܖ A . @n?" dd@  @@`` 0(`S//     0AA@8Q ʚ;S2ʚ;g4:d:dȗ  04ppp@ <4dddd w 0T  <4!d!d x 0T0___PPT10 ppR___PPT94, ?  %z+tNarrating female labour experience: construction of the professional biography by omitting discriminating practices uu(6[     Valerija Barada Department of Sociology, Zadar The 3rd International Conference on Re-Thinking Humanities and Social Sciences The Politics of Memory, Zadar, 8. 9. 2012.$P      topic(the process of narrating professional biography of/by female designers in Croatia empirical data, field research 2010 (ZG, RI, OS, ZD, ST, DU) 36 interviews, from 1,5 to 2 hrs onwards refreshed&rQrQ/    "   design profession in Croatia($  Tsociological definition of PROFESSION why design? good indicator why women?  new to the profession narrative interview abductive research strategy feminist standpoint (D. Smith) everydaylife ! ruling relations of gender and labour ! social structure institutional processes, not populations ~P;PqPP3   ;q            _]       entering to the profession(6 verification of the way how to  become a designer, what it means to be a designer, expected personal and professional behaviour & professional project (Anne Witz): 1. exclusionary strategy 2. inclusionary strategy 3. demarcationary strategy 4. dual closure strategy HhN h         the usual story6(((6I have chosen my education, I was always creative I got my first job at the university I worked hard and have succeeded I love design, but do not see myself in this profession in the future  I want outnZ        1. educational choice.((, {choice of highschool choice of university discriminating practice*: lower voice (!) this profession is / is not for women&F6F6      2. first job. ((,got it through a professor (usually all male) discriminating practice pro bono for cultural sector, civil sector or selfinitiated do not open their own business &G\G\<     3. professional success.(( Fworking hard discriminating practice not easy to charge for own work working for  softer sectors not owning big companies (big money is not for women) realistic about own abilities sexism it s their problem long process of establishing trust with clients not differentiating male-female style, but all  softer works defined as female design as feminised profession lower power, women prominent in cultural sectorn&Z~Z&Eo1N          4. future plans( <I want out discriminating practice do not see themselves in design* return to home, to the private trap of creative work to do something small, just for meF${ @:L    conclusion ( participating in professional project (dual closure) requires coherent story no room for recognizing dicriminating practices, or giving them much interpretative space since design is undergoing dual closure and is letting women in, dicriminating practices are seen as individual case, not as social pattern or difference in power therefore, female designers their profession see as egalitarian, unlike broader society<MYMY             tNarrating female labour experience: construction of the professional biography by omitting discriminating practices uu(6[     @Valerija Barada Department of Sociology, Zadar vbarada@unizd.hrAAZ'  /prܹ11(  Oh+'0| `h  , P \ htxNarrating female labour experience: construction of the professional biography by omitting discriminating practices  ValerijaStream Valerija18Microsoft Office PowerPoint@`@pĖO@6m՜.+,0YMY             tNarrating female labour experience: construction of the professional biography by omitting discriminating practices uu(6[     @Valerija Barada Department of Sociology, Zadar vbarada@unizd.hrAAZ'  /p 0 zrPT (  TX T C P   r T S /] P 0   H T 0޽h ? 3380___PPT10.4  0 zr`X (  XX X C P   ] r X S h=] P 0  ]  H X 0޽h ? 3380___PPT10. 0 p\&(  \X \ C P   ]  \ S D] P 0  ]  ( H \ 0޽h ? 3380___PPT10.o  0 `((  `X ` C P   ]  ` S n] P 0  ]  *P H ` 0޽h ? 3380___PPT10.o9r@rtv!#%1