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“Ashes of Roses” is a historical fiction book that tells a story about an Irish immigrant girl named, Rose Nolan, and her struggles of coming to the United States and working at the Triangle Factory.

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"Fire!: The Beginnings of the Labor Movement (Once Upon America)" by Barbara Diamond Goldin

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"Fire!: The Beginnings of the Labor Movement (Once Upon America)" by Barbara Diamond Goldin

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This story explores the life of a young factory worker named Fredya. The novel follows Fredya’s life as an immigrant woman working in abysmal conditions in the Triangle Shirtwaist Factory.

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Students will write a short creative poem on either women of the time, unionization, or the Triangle Shirtwaist Factory.

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I believe that this course has taught me a lot about myself in terms of being both a learner and collaborator. When focusing on myself as a learner, this course has helped me to realize that I am more creative than I thought I was. I think that since I was almost never offered the opportunity in previous grades to explore my thoughts and ideas in any out-of-the-box manner, I had come to believe I could not succeed if I were not given any strict guidelines to structure my ideas around. After having the opportunity to investigate the themes and symbols present in Uprising in three different, creative, and artistic artifacts, I realized that I am more capable of exploring my thoughts in formats other than writing than I had once believed.

In addition to this discovery, this course has also helped me to better appreciate how my experiences have impacted my perspective on history and the world around me. I understand that every one of my classmates is going to have a different take on a historical event based on what they believe and the lives they have lived. This course has made me more comfortable in my beliefs, for I recognize that they are going to expand the conversation, and expose others to new ways of thinking. It’s unrealistic to assume that every student in a given class is going to view an idea or concept in the same light, but this course has taught me that this is nothing to fear, for it gives the class an opportunity to discuss and consider new ideas and ways of   thinking.

Finally, this course has  taught me that I don’t need to view textbooks as my only source of obtaining knowledge when it comes to social studies. Throughout this course, and during this project in particular, I relied on many outside sources to learn more about the historical events and subjects that were studied. While textbooks can be great at providing detailed information, I now realize that I should not consider them as the only reliable source when trying to gain new information.

In terms of being a collaborator, specifically for this assignment, I learned that there are great benefits when it comes to working in a group or pair. Working with others has helped  expose me to ways of thinking, and ideas, that I would normally never consider. For instance, Kaitlyn had come up with the idea to incorporate poetry and theatre into our inquiry unit. These two subjects are ones that I am not very familiar or skilled with, so they never come to my mind when I am creating activities for students.

Working with others has opened my mind to ideas like Kaitlyn’s, and many more. I learned that group assignments, such as this inquiry unit, have allowed me to share my thoughts with others, and has opened my eyes to different perspectives, ways of thinking, and ideas.

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This class and this project has taught me a lot about myself as a teacher and as a student. I was given the freedom to express my thoughts and ideas in a creative way with our book club artifacts, choosing a theme and source to present our unit plan on that can be used as a future reference.  This type of freedom is also something that I want to instill within my own students through student choice.
Another thing I have learned  is that even though I may not view myself as "artistic", it truly has shown in a unique and philosophical way in the completion of my three book artifacts. I believe these three artifacts are what sparked the "fire" within me to want to have students in this inquiry unit Kaitlin and I created to get creative with their thinking and ability to make connections with a text. Being able to think philosophically and creating or coming up with an activity for students to do the same is very powerful.
Finally, this course has opened my eyes to what I want for my future students. I was taught in a more traditional way where the textbook was seen as the main source of all information and knowledge when it truly isn't. I have also gained a newly found appreciation for picture books that can be incorporated even with the upper grades. Even the arts can be incorporated in a meaningful way for students to express themselves and what they have learned across any content area.
Working collaboratively reaps many benefits. As a future educator I know how important it is to have students collaborate with one another to expand their knowledge and having them practice being active and engaged listeners. As for a future educator, working with Kaitlin has been truly eye-opening. Despite us having the same names, her and I both have different perspectives and creativeness that really worked well together to make this final project solid and reflective of ourselves as future teachers. Most of our projects in our unit are reflective or inspired from what both Kaitlin and I have created and discussed within our weekly book club meetings. This book club taught me how to be an active listener and what it means to work collaboratively with other educators to gain new insight/perspectives on something I may have never thought of before. I know in the future when we are teachers we will be doing all of what did here with our colleagues in creating curriculum that mirrors our enduring understandings for our students.

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Students will understand the design and importance of Unions in American history.

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Students will be able to understand the significance of the Triangle Shirtwaist Factory fire.

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Student will recognize the monumental role that symbolism plays throughout the novel.

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Students will understand the impact that the first wave of feminism had on the women of the early 1900s, and compare this to women today.

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The students will write journal entires taking on the role as one of the girls from the novel (Bella, Yetta, or Jane), reflecting on important moments/turning points in the story.

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Students will write letters to any of the antagonist in the story, i.e. the Lucianos, Mr. Harris and Mr. Blanck, Jane’s father, ect., advocating for the main characters (Bella, Yetta, or Jane).

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Factory Fire in Dhaka, Bangladesh (2012)

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Factory Fire in Dhaka, Bangladesh (2012)

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More than 100 people are now known to have died in a fire that swept through a clothes factory in Bangladesh, local officials say.

The blaze broke out late on Saturday in the multi-floor Tazreen Fashion factory in the Ashulia district on the outskirts of the capital Dhaka.

Some people died after jumping from the building to escape the flames.

It is unclear what caused the fire, which started on the ground floor trapping many victims in the factory.

Officials suspect an electrical short circuit might have caused the disaster.

Firefighters managed to contain the blaze on Sunday morning.

Fatal fires are common in Bangladesh's large garment manufacturing sector, and the BBC's Anbarasan Ethirajan in Dhaka says Western companies are likely to renew pressure on the local businesses to improve safety.

In a separate development, at least 13 people died when a flyover under construction collapsed late on Saturday in the south-eastern city of Chittagong, police said.

The authorities are investigating both accidents.

Anxious wait

Initial reports said eight people had been killed in the factory fire, but the scale of the disaster became clear when rescue workers entered the building on Sunday.

Analysis

Thousands of people flocked to the factory frantically looking for their relatives.

The factory is situated deep inside a small lane and fire service vehicles struggled to get through. All the windows are smeared with black smoke. Many workers jumped to their deaths as the fire raged on.

The incident has shocked the entire neighbourhood, which is home to hundreds of factories making clothes for major Western brands and retailers like Walmart, Gap, Tesco and Sainsburys.

Fire accidents in Bangladesh's garment factories are not uncommon - dozens of people get killed every year. But this incident will once again put a spotlight on safety standards - even though they have improved considerably in recent years.

"We resumed our search this morning and found the bodies lying on different floors of the factory building," Brigadier General Abu Nayeem Mohammad Shahidullah of the Dhaka fire brigade told AFP news agency.

Later reports said that 120 people had died, but the number of fatalities was then lowered to at least 112. A number of people are believed to be missing.

The fire started on the ground floor - which was reportedly used as a warehouse - and quickly spread through the building.

Senior fire department official Mohammad Mahbub told the Associated Press news agency that the factory had no fire exit on the outside of the building.

"Had there been at least one emergency exit through outside the factory, the casualties would have been much lower," he said.

The factory owner denied the allegations that the building was unsafe to work in.

"It is a huge loss for my staff and my factory. This is the first time we have ever had a fire at one of my seven factories," Delwar Hossain told AFP.

Police and soldiers were deployed to keep the situation under control as thousands of anxious relatives of factory employees gathered at the scene.

"Where's my son?" cried Sabina Yasmine. She said she saw the body of her daughter-in-law, who died in the fire, but her son was missing, AP reports.

She expressed fury at the factory owners, who she blamed for the fire.

Fatal fires are common in Bangladesh's large garment manufacturing sector.

Lax safety standards, poor wiring and overcrowding are blamed for causing several deadly factory fires every year.

In December 2010, a wiring problem led to a fire in another clothes factory in the same industrial zone, leaving at least 25 people dead.

There are around 4,500 factories in Bangladesh, employing more than two million people.

Clothes account for up to 80% of Bangladesh's $24bn (£15bn) annual exports.

UK Foreign Office Minister Baroness Warsi said she was "shocked and saddened to learn of the tragic loss of life".

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More than 100 people are now known to have died in a fire that swept through a clothes factory in Bangladesh, local officials say. The blaze broke out late on Saturday in the multi-floor Tazreen Fashion factory in the Ashulia district on the outskirts of the capital Dhaka.

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1) Culture

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2) Time, Continuity & Change

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3) People, Place & Environments

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5) Individuals, Groups & Institutions

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The Triangle Shirtwaist Factory fire broke out near closing time on March 25th, 1911. The fire began in a rag bin near the end of one of the work tables, and it was believed to have been ignited by an employee's cigarette. Within minutes the entire 8th floor was in flames, and the fire quickly spread to the 9th and 10th floors above.

The entire ordeal was over in a total of 18 minutes, with 146 workers, most of whom being young immigrant women, losing their lives.

The fire that claimed so many young lives is remembered as one of the most “infamous incidents in American industrial history” (History, 2019), for it could have been prevented if the factory bosses had implemented proper safety procedures.

The 8th and 9th floors themselves were fire traps. While there were four elevators that reached the factory floors, only one was operational at the time of the fire. In terms of staircases, two went down to the street, but they were nearly impossible to use once the fire broke out.

As the workers tried to escape, their ran into two issues with the staircases. The first, was that one of the staircases was locked from the outside. Max Blanck and Isaac Harris, the factory's bosses, had locked the staircase to prevent any of the workers from trying to steal materials from the factory.

The other staircase was also unusable, for the door opened inward, making it impossible for the workers to open it as the crowd of frighten women pushed up against it trying to flee.

Other fire prevention methods, such as fire escapes, sprinklers, and fire hoses, were either non existent, or did not work.

When the fire department arrived on the scene, their ladders only reached up to the 6th floor, leaving the workers on the 8th and 9th floor trapped.

While many of the workers perished in the factory itself, a large number died from trying to jump out the windows or down the elevator shaft to escape the flames.

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Table of Contents

1. Working Conditions in The Triangle Shirtwaist Factory

2. What Started The Triangle Shirtwaist Factory Fire?

3. Importance of the Triangle Shirtwaist Factory Fire

On March 25, 1911, the Triangle Shirtwaist Company factory in New York City burned, killing 146 workers. It is remembered as one of the most infamous incidents in American industrial history, as the deaths were largely preventable-most of the victims died as a result of neglected safety features and locked doors within the factory building. The tragedy brought widespread attention to the dangerous sweatshop conditions of factories, and led to the development of a series of laws and regulations that better protected the safety of workers.

Working Conditions in The Triangle Shirtwaist Factory

The Triangle factory, owned by Max Blanck and Isaac Harris, was located in the top three floors of the Asch Building, on the corner of Greene Street and Washington Place, in Manhattan. It was a true sweatshop, employing young immigrant women who worked in a cramped space at lines of sewing machines. Nearly all the workers were teenaged girls who did not speak English and worked 12 hours a day, every day. In 1911, there were four elevators with access to the factory floors, but only one was fully operational and the workers had to file down a long, narrow corridor in order to reach it. There were two stairways down to the street, but one was locked from the outside to prevent stealing and the other only opened inward. The fire escape was so narrow that it would have taken hours for all the workers to use it, even in the best of circumstances.

Did you know? Exactly 79 years to the day after the Triangle Shirtwaist factory fire, another tragic fire occurred in New York City. The blaze, at the Happy Land Social Club in the Bronx, killed 87 people, the most deadly fire in the city since 1911.

The danger of fire in factories like the Triangle Shirtwaist was well-known, but high levels of corruption in both the garment industry and city government generally ensured that no useful precautions were taken to prevent fires. Blanck and Harris already had a suspicious history of factory fires. The Triangle factory was twice scorched in 1902, while their Diamond Waist Company factory burned twice, in 1907 and in 1910. It seems that Blanck and Harris deliberately torched their workplaces before business hours in order to collect on the large fire-insurance policies they purchased, a not uncommon practice in the early 20th century. While this was not the cause of the 1911 fire, it contributed to the tragedy, as Blanck and Harris refused to install sprinkler systems and take other safety measures in case they needed to burn down their shops again.

Added to this delinquency were Blanck and Harris' notorious anti-worker policies. Their employees were paid a mere $15 a week, despite working 12 hours a day, every day. When the International Ladies Garment Workers Union led a strike in 1909 demanding higher pay and shorter and more predictable hours, Blanck and Harris' company was one of the few manufacturers who resisted, hiring police as thugs to imprison the striking women, and paying off politicians to look the other way.

What Started The Triangle Shirtwaist Factory Fire?

On March 25, a Saturday afternoon, there were 600 workers at the factory when a fire began in a rag bin. The manager attempted to use the fire hose to extinguish it, but was unsuccessful, as the hose was rotted and its valve was rusted shut. As the fire grew, panic ensued. The young workers tried to exit the building by the elevator but it could hold only 12 people and the operator was able to make just four trips back and forth before it broke down amid the heat and flames. In a desperate attempt to escape the fire, the girls left behind waiting for the elevator plunged down the shaft to their deaths. The girls who fled via the stairwells also met awful demises-when they found a locked door at the bottom of the stairs, many were burned alive.

Those workers who were on floors above the fire, including the owners, escaped to the roof and then to adjoining buildings. As firefighters arrived, they witnessed a horrible scene. The girls who did not make it to the stairwells or the elevator were trapped by the fire inside the factory and began to jump from the windows to escape it. The bodies of the jumpers fell on the fire hoses, making it difficult to begin fighting the fire. Also, the firefighters ladders reached only seven floors high and the fire was on the eighth floor. In one case, a life net was unfurled to catch jumpers, but three girls jumped at the same time, ripping the net. The nets turned out to be mostly ineffectual.

Within 18 minutes, it was all over. Forty-nine workers had burned to death or been suffocated by smoke, 36 were dead in the elevator shaft and 58 died from jumping to the sidewalks. With two more dying later from their injuries, a total of 146 people were killed by the fire.

Importance of the Triangle Shirtwaist Factory Fire

The fire helped unite organized labor and reform-minded politicians like progressive New York Governor Alfred E. Smith and Senator Robert F. Wagner, one of the legislative architects of President Franklin D. Roosevelt's New Deal agenda. Frances Perkins, who served on a committee that helped to set up the Factory Investigating Commission in New York in the wake of the fire, would later become Roosevelt's Secretary of Labor. The workers union set up a march on April 5 on New York's Fifth Avenue to protest the conditions that had led to the fire. It was attended by 80,000 people.

Despite a good deal of evidence that the owners and management had been horribly negligent in the fire, a grand jury failed to indict them on manslaughter charges. To settle lawsuits against them, they eventually paid $75 in compensation to each victim's family-a fraction of the $400 per death that they were paid by their insurer.

Still, the massacre for which they were responsible did finally compel the city to enact reform. In addition to the Sullivan-Hoey Fire Prevention Law passed that October, the New York Democratic set took up the cause of the worker and became known as a reform party. Both were crucial in preventing similar disasters in the future.

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On March 25, 1911, the Triangle Shirtwaist Company factory in New York City burned, killing 146 workers. It is remembered as one of the most infamous incidents in American industrial history, as the deaths were largely preventable.

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The labor movement began in the late 1800s as an attempt to better the conditions for blue collar workers in America.
Prior to unionization, employers could determine hours and wages without any input from their workers.

Unions created a system in which employers had to create set hour and wages for their workers, and gave workers a voice during negotiations.

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american federation of government employees

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The roots of our country's trade unions extend deep into the early history of America. Several of the Pilgrims arriving at Plymouth Rock in 1620 were working craftsmen. Captain John Smith, who led the ill-fated settlement in 1607 on Virginia's James River, pleaded with his sponsors in London to send him more craftsmen and working people.

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The first wave of Feminism took place during the late 1800s and early 1900s, formally beginning at the Seneca Falls Convention in 1848. At this convention, hundreds of men and women gather together to support the social, civil, and religious rights of women in the United States.
The women in this fight challenged the “cult of domesticity”, the idea that women belonged in the home and should act as nothing more than wives and mothers.

While this wave of feminism

promoted the increase of rights and liberties for women, the majority of women that took part in this wave, and benefited from any progress (such as suffrage) were white.

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This piece was originally published online in conjunction with the Fall 2008 issue of Pacific magazine. Martha Rampton is a professor of history and director of the Center for Gender Equity at Pacific University. Her specialty is the early medieval period with an emphasis on social history and the activities and roles of women. She holds an MA in medieval history from the University of Utah and a doctorate in medieval history from the University of Virginia.
It is common to speak of three phases of modern feminism; however, there is little consensus as to how to characterize these three waves or what to do with women's movements before the late nineteenth century. Making the landscape even harder to navigate, a new silhouette is emerging on the horizon and taking the shape of a fourth wave of feminism.

Some thinkers have sought to locate the roots of feminism in ancient Greece with Sappho (d. c. 570 BCE), or the medieval world with Hildegard of Bingen (d. 1179) or Christine de Pisan (d. 1434). Certainly Olympes de Gouge (d. 1791), Mary Wollstonecraft (d. 1797) and Jane Austen (d. 1817) are foremothers of the modern women's movement. All of these people advocated for the dignity, intelligence, and basic human potential of the female sex. However, it was not until the late nineteenth century that the efforts for women's equal rights coalesced into a clearly identifiable and self-conscious movement, or rather a series of movements.

The first wave of feminism took place in the late nineteenth and early twentieth centuries, emerging out of an environment of urban industrialism and liberal, socialist politics. The goal of this wave was to open up opportunities for women, with a focus on suffrage. The wave formally began at the Seneca Falls Convention in 1848 when three hundred men and women rallied to the cause of equality for women. Elizabeth Cady Stanton (d.1902) drafted the Seneca Falls Declaration outlining the new movement's ideology and political strategies.

In its early stages, feminism was interrelated with the temperance and abolitionist movements and gave voice to now-famous activists like the African-American Sojourner Truth (d. 1883), who demanded: "Ain't I a woman?" Victorian America saw women acting in very "un-ladylike" ways (public speaking, demonstrating, stints in jail), which challenged the "cult of domesticity." Discussions about the vote and women's participation in politics led to an examination of the differences between men and women as they were then viewed. Some claimed that women were morally superior to men, and so their presence in the civic sphere would improve public behavior and the political process.

The second wave began in the 1960s and continued into the 90s. This wave unfolded in the context of the anti-war and civil rights movements and the growing self-consciousness of a variety of minority groups around the world. The New Left was on the rise, and the voice of the second wave was increasingly radical. In this phase, sexuality and reproductive rights were dominant issues, and much of the movement's energy was focused on passing the Equal Rights Amendment to the Constitution guaranteeing social equality regardless of sex.

This phase began with protests against the Miss America pageant in Atlantic City in 1968 and 1969. Feminists parodied what they held to be a degrading "cattle parade" that reduced women to objects of beauty dominated by a patriarchy that sought to keep them in the home or in dull, low-paying jobs. The radical New York group called the Redstockings staged a counter pageant in which they crowned a sheep as Miss America and threw "oppressive" feminine artifacts such as bras, girdles, high-heels, makeup and false eyelashes into the trashcan.

Because the second wave of feminism found voice amid so many other social movements, it was easily marginalized and viewed as less pressing than, for example, Black Power or efforts to end the war in Vietnam. Feminists reacted by forming women-only organizations (such as NOW) and "consciousness raising" groups. In publications like "The BITCH Manifesto" and "Sisterhood is Powerful," feminists advocated for their place in the sun. The second wave was increasingly theoretical, based on a fusion of neo-Marxism and psycho-analytical theory, and began to associate the subjugation of women with broader critiques of patriarchy, capitalism, normative heterosexuality, and the woman's role as wife and mother. Sex and gender were differentiated-the former being biological, and the later a social construct that varies culture-to-culture and over time.

Whereas the first wave of feminism was generally propelled by middle class, Western, cisgender, white women, the second phase drew in women of color and developing nations, seeking sisterhood and solidarity, claiming "Women's struggle is class struggle." Feminists spoke of women as a social class and coined phrases such as "the personal is political" and "identity politics" in an effort to demonstrate that race, class, and gender oppression are all related. They initiated a concentrated effort to rid society top-to-bottom of sexism, from children's cartoons to the highest levels of government.

One of the strains of this complex and diverse "wave" was the development of women-only spaces and the notion that women working together create a special dynamic that is not possible in mixed-groups, which would ultimately work for the betterment of the entire planet. Women, due whether to their long "subjugation" or to their biology, were thought by some to be more humane, collaborative, inclusive, peaceful, nurturing, democratic, and holistic in their approach to problem solving than men. The term eco-feminism was coined to capture the sense that because of their biological connection to earth and lunar cycles, women were natural advocates of environmentalism.

The third wave of feminism began in the mid-90's and was informed by post-colonial and post-modern thinking. In this phase many constructs were destabilized, including the notions of "universal womanhood," body, gender, sexuality and heteronormativity. An aspect of third wave feminism that mystified the mothers of the earlier feminist movement was the readoption by young feminists of the very lip-stick, high-heels, and cleavage proudly exposed by low cut necklines that the first two phases of the movement identified with male oppression. Pinkfloor expressed this new position when she said that it's possible to have a push-up bra and a brain at the same time.

The "grrls" of the third wave stepped onto the stage as strong and empowered, eschewing victimization and defining feminine beauty for themselves as subjects, not as objects of a sexist patriarchy. They developed a rhetoric of mimicry, which appropriated derogatory terms like "slut" and "bitch" in order to subvert sexist culture and deprive it of verbal weapons. The web is an important tool of "girlie feminism." E-zines have provided "cybergrrls" and "netgrrls" another kind of women-only space. At the same time - rife with the irony of third-wave feminism because cyberspace is disembodied - it permits all users the opportunity to cross gender boundaries, and so the very notion of gender has been unbalanced in a way that encourages experimentation and creative thought.

This is in keeping with the third wave's celebration of ambiguity and refusal to think in terms of "us-them." Most third-wavers refuse to identify as "feminists" and reject the word that they find limiting and exclusionary. Grrl-feminism tends to be global, multi-cultural, and it shuns simple answers or artificial categories of identity, gender, and sexuality. Its transversal politics means that differences such as those of ethnicity, class, sexual orientation, etc. are celebrated and recognized as dynamic, situational, and provisional. Reality is conceived not so much in terms of fixed structures and power relations, but in terms of performance within contingencies. Third wave feminism breaks boundaries.

The fourth wave of feminism is still a captivating silhouette. A writer for Elle Magazine recently interviewed me about the waves of feminism and asked if the second and third waves may have "failed or dialed down" because the social and economic gains had been mostly sparkle, little substance, and whether at some point women substituted equal rights for career and the atomic self. I replied that the second wave of feminism ought not be characterized as having failed, nor was glitter all that it generated. Quite the contrary; many goals of the second wave were met: more women in positions of leadership in higher education, business and politics; abortion rights; access to the pill that increased women's control over their bodies; more expression and acceptance of female sexuality; general public awareness of the concept of and need for the "rights of women" (though never fully achieved); a solid academic field in feminism, gender and sexuality studies; greater access to education; organizations and legislation for the protection of battered women; women's support groups and organizations (like NOW and AAUW); an industry in the publication of books by and about women/feminism; public forums for the discussion of women's rights; and a societal discourse at the popular level about women's suppression, efforts for reform, and a critique of patriarchy. So, in a sense, if the second wave seemed to have "dialed down," the lull was in many ways due more to the success of the movement than to any ineffectiveness. In addition to the sense that many women's needs had been met, feminism's perceived silence in the 1990s was a response to the successful backlash campaign by the conservative press and media, especially against the word feminism and its purported association with male-bashing and extremism.

However, the second wave only quieted down in the public forum; it did not disappear but retreated into the academic world where it is alive and well-incubating in the academy. Women's centers and women's/gender studies have became a staple of virtually all universities and most colleges in the US and Canada (and in many other nations around the word). Scholarship on women's studies, feminist studies, masculinity studies, and queer studies is prolific, institutionalized, and thriving in virtually all scholarly fields, including the sciences. Academic majors and minors in women's, feminist, masculinity and queer studies have produced thousands of students with degrees in the subjects. However, generally those programs have generated theorists rather than activists.

Returning to the question the Elle Magazine columnist asked about the third wave and the success or failure of its goals. It is hard to talk about the aims of the third wave because a characteristic of that wave is the rejection of communal, standardized objectives. The third wave does not acknowledge a collective "movement" and does not define itself as a group with common grievances. Third wave women and men are concerned about equal rights, but tend to think the genders have achieved parity or that society is well on its way to delivering it to them. The third wave pushed back against their "mothers" (with grudging gratitude) the way children push away from their parents in order to achieve much needed independence. This wave supports equal rights, but does not have a term like feminism to articulate that notion. For third wavers, struggles are more individual: "We don't need feminism anymore."

But the times are changing, and a fourth wave is in the air. A few months ago, a high school student approached one of the staff of the Center for Gender Equity at Pacific University and revealed in a somewhat confessional tone, "I think I'm a feminist!" It was like she was coming out of the closet. Well, perhaps that is the way to view the fourth wave of feminism.

The aims of the second feminist movement were never cemented to the extent that they could survive the complacency of third wavers. The fourth wave of feminism is emerging because (mostly) young women and men realize that the third wave is either overly optimistic or hampered by blinders. Feminism is now moving from the academy and back into the realm of public discourse. Issues that were central to the earliest phases of the women's movement are receiving national and international attention by mainstream press and politicians: problems like sexual abuse, rape, violence against women, unequal pay, slut-shaming, the pressure on women to conform to a single and unrealistic body-type and the realization that gains in female representation in politics and business, for example, are very slight. It is no longer considered "extreme," nor is it considered the purview of rarified intellectuals to talk about societal abuse of women, rape on college campus, Title IX, homo and transphobia, unfair pay and work conditions, and the fact that the US has one of the worst records for legally-mandated parental leave and maternity benefits in the world.

Some people who wish to ride this new fourth wave have trouble with the word "feminism," not just because of its older connotations of radicalism, but because the word feels like it is underpinned by assumptions of a gender binary and an exclusionary subtext: "for women only." Many fourth wavers who are completely on-board with the movement's tenants find the term "feminism" sticking in their craws and worry that it is hard to get their message out with a label that raises hackles for a broader audience. Yet the word is winning the day. The generation now coming of age sees that we face serious problems because of the way society genders and is gendered, and we need a strong "in-your-face" word to combat those problems. Feminism no longer just refers to the struggles of women; it is a clarion call for gender equity.

The emerging fourth wavers are not just reincarnations of their second wave grandmothers; they bring to the discussion important perspectives taught by third wave feminism. They speak in terms of intersectionality whereby women's suppression can only fully be understood in a context of the marginalization of other groups and genders-feminism is part of a larger consciousness of oppression along with racism, ageism, classism, abelism, and sexual orientation (no "ism" to go with that). Among the third wave's bequests is the importance of inclusion, an acceptance of the sexualized human body as non-threatening, and the role the internet can play in gender-bending and leveling hierarchies. Part of the reason a fourth wave can emerge is because these millennials' articulation of themselves as "feminists" is their own: not a hand-me-down from grandma. The beauty of the fourth wave is that there is a place in it for all -together. The academic and theoretical apparatus is extensive and well honed in the academy, ready to support a new broad-based activism in the home, in the workplace, and in the streets.

At this point we are still not sure how feminism will mutate. Will the fourth wave fully materialize and in what direction? There have always been many feminisms in the movement, not just one ideology, and there have always been tensions, points and counter-points. The political, social and intellectual feminist movements have always been chaotic, multivalenced, and disconcerting; and let's hope they continue to be so; it's a sign that they are thriving.

Study Feminism at Pacific University

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This piece was originally published online in conjunction with the Fall 2008 issue of Pacific magazine. Martha Rampton is a professor of history and director of the Center for Gender Equity at Pacific University. Her specialty is the early medieval period with an emphasis on social history and the activities and roles of women.

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6) Power, Authority & Governance

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7) Production, Distribution & Consumption

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9) Global Connections

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10) Civic Ideals & Practices

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“Hear My Sorrow” tells a story of an Italian immigrant girl (Angela) who, like Bella from Uprising, comes to the United States for a new start with her family. Angela’s father is unable to work, so she takes on the role of being her family’s main source of income to survive. She leaves behind her education to be able to provide for her family by working at the Triangle Factory.

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"Flesh & Blood So Cheap: The Triangle Fire and Its Legacy" by Albert Marrin

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"Flesh & Blood So Cheap: The Triangle Fire and Its Legacy" by Albert Marrin

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This non-fiction text looks at the Triangle Shirtwaist Factory fire through the struggles immigrants and workers experienced during this trying time in American history.

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"The Triangle Shirtwaist Factory Fire" by Phil Miller & Jessica Gunderson

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"The Triangle Shirtwaist Factory Fire" by Phil Miller & Jessica Gunderson

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“The Triangle Shirtwaist Factory Fire” tells its readers the story on how the Triangle factory fire all began through a non-fiction graphic novel format.

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The theme explored in this unit is that of empowerment. We believe that this theme is one of great importance, for every student should be encouraged to find their voice, and speak up for what they believe in.

Throughout this learning segment, the students will investigate how women, workers, and immigrants all found their strength and voice in Uprising. The students will showcase their understanding of the theme, and the symbols present within the novel, through a variety of activities that will employ their creative/artistic abilities.

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Students should be able to recognize Haddix’s use of symbolism throughout the novel and how it impacts the story she is telling.

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CCSS.ELA-LITERACY.WHST.6-8.2
Write informative/explanatory texts, including the narration of historical events, scientific procedures/experiments, or technical processes.

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CCSS.ELA-LITERACY.WHST.6-8.2B
Develop the topic with relevant, well-chosen facts, definitions, concrete details, quotations, or other information and examples.

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CCSS.ELA-LITERACY.WHST.6-8.9
Draw evidence from informational texts to support analysis, reflection, and research.

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"Brave Girl: Clara and the Shirtwaist Makers' Strike of 1909" by Michelle Markel

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"Brave Girl: Clara and the Shirtwaist Makers' Strike of 1909" by Michelle Markel

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In “Brave Girl”, it tells the story of a Ukranian immigant girl, Clara, who thirsts for justice for all factory workers and especially women. This book was chosen because the main character, Clara, is sort of like a shadow/mirror image to  Yetta in the book Uprising, but in picture book format.

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2) Symbolism is portrayed a lot throughout the book "Uprising". Choose one symbol from the book and reflect on the symbol and its importance and meaning.

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2) Symbolism is portrayed a lot throughout the book "Uprising". Choose one symbol from the book and reflect on the symbol and its importance and meaning.

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1) Who are some men or women who have “empowered” you in some way in your life?

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1) Who are some men or women who have “empowered” you in some way in your life?

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3) The rose that Bella brings home during the blizzard sparks something in each of the three girls. What does the rose symbolize for Yetta? for Jane? and for Bella?

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3) The rose that Bella brings home during the blizzard sparks something in each of the three girls. What does the rose symbolize for Yetta? for Jane? and for Bella?

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4) How has the first wave of feminism impacted the lives of the women in "Uprising"?

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4) How has the first wave of feminism impacted the lives of the women in "Uprising"?

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5) Based on the information presented in the accompanying non-fiction texts, how did immigration impact the labor movement in the early 1900s, and in the Triangle Shirtwaist Factory in particular?

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5) Based on the information presented in the accompanying non-fiction texts, how did immigration impact the labor movement in the early 1900s, and in the Triangle Shirtwaist Factory in particular?

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6) Who is one historical figure that has sparked interest or “empowerment” within you? 

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6) Who is one historical figure that has sparked interest or “empowerment” within you? 

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7) Which character from Uprising do you see yourself/associate with? Explain why and use examples from the text to support your stance. 

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7) Which character from Uprising do you see yourself/associate with? Explain why and use examples from the text to support your stance. 

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8) Most of the characters within Uprising and the other supporting texts within the lesson have dealt with immigration. How are things  different or the same for immigrants now and back then?

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8) Most of the characters within Uprising and the other supporting texts within the lesson have dealt with immigration. How are things  different or the same for immigrants now and back then?

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9) The symbol of fire is represented in all texts we looked at within this lesson. What is your understanding of the message behind the symbol of fire?

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9) The symbol of fire is represented in all texts we looked at within this lesson. What is your understanding of the message behind the symbol of fire?

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10) Continuing on with the symbol of fire or a flame, what is something/someway you feel empowered by that fuels the “fire” with inside you to want to stand up and fight for? Explain your reasoning with a brief two-3 paragraph response accompanied with a picture collage that represents the “fire” within you.  

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10) Continuing on with the symbol of fire or a flame, what is something/someway you feel empowered by that fuels the “fire” with inside you to want to stand up and fight for? Explain your reasoning with a brief two-3 paragraph response accompanied with a picture collage that represents the “fire” within you.  

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During this unit, the students could visit a local fire station to learn more about fire safety and prevention. This field trip will give the students a better understanding as to how the Triangle Shirtwaist Factory fire started, and could have been prevented, and will teach the students important lessons on fire safety.

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Teacher Will Do: Teacher will pose a discussion question to the class and will ask that students turn to an elbow partner to discuss their stances/thoughts.

Student Will Do: Students will turn to their elbow partner and share out their stances/thoughts. Students should practice being active listeners during this activity/strategy.

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Teacher Will Do: Teacher will have students arrange their desks in a circle or have them all sit in one big circle on the classroom rug. Teacher will have students discuss the various books that they read and their own interpretations of them.

Student Will Do: Students will discuss and share out their interpretations/take-aways with their peers. However, students must practice being active and engaged listeners and being respectful of one’s opinion/perspective if it differs from their own.

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Teacher Will Do: Teacher will give students poems that are related to the theme of the unit we have been studying. Teacher will have students work in small groups and have each student practice reading and interpreting the poem. This helps the student build fluency along with comprehension skills within a small group activity.

Student Will Do: Students will read and interpret poems given to them by the teacher. They will practice being good listeners during the activity. Students will do their best to use self expression and fluency when reading their poems aloud to their peers.

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Teacher Will Do: Teacher will post the images from the Cornell Photos & Illustrations page around the classroom with a piece of blank paper next to each image. Teacher will allow the students the opportunity to walk around the classroom and look at each image and write a comment, note, or question on the accompanying piece of paper.

Student Will Do: Students will walk around the classroom and study each of the images from the Triangle Shirtwaist Factory fire. If the students have questions or comments regarding any of the images they will write them on the piece of paper next to the image in question.

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Teacher Will Do: Teacher will use the images from the Cornell Photos and Illustrations and will assign students to groups where they will act out what is occurring in the picture. Teacher will then ask students who are viewing the mini skits to interpret what they are seeing and the emotions associated with the acting.

Student Will Do: Students will reenact a specific image and put themselves in the people’s shoes showcasing their emotions they may be feeling at the time that ties into what they have learned about that time period/event. Students will then reflect after their brief performance.

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Teacher Will Do: Teacher will prompt students to sketch any symbol or image that represents an important message or event within the book, Uprising.

Students Will Do: Students will showcase their understanding of the importance of symbolism that can be seen all throughout the book Uprising. They can do so by drawing/coloring a picture with certain colors, symbols and images to show the viewers the hidden message behind this nonverbal activity.

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Once students complete their journal entries from one of the female characters point of view, the teacher will assess what the know thus far and their grammar.

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For the Emblem Comprehensive Project, the teacher will be assessing the students take-aways, comprehension and the ability to make connections with the text. Our essential idea of the lesson focuses on symbolism, and this project best assesses their understanding and creativity.

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Students’ poems will be assessed during their draft stage on content and grammar before they are able to move on to the publishing stage.

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During the Turn and Talk opportunities that take place after the teacher has asked the students to discuss different questions and ideas, the teacher will walk around the classroom and gauge the understanding of the students based on their conversations and responses.

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When teaching this unit the book will be divided into three parts, and a comprehensive quiz will be administered at the completion of each part. These small quizzes, which include both multiple choice and written response, are intended to measure the students’ understanding before moving onto the next part of the novel.

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An authentic assessment will be used during the Live Images Role Play activity. For this activity the students are being tasked with acting out the real emotions and actions of those who were present for the Triangle Shirtwaist Factory fire. The students’ interpretation of this event will impact how they complete this activity.

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“Eyewitness at the Triangle” By William Shepherd 

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“Eyewitness at the Triangle” By William Shepherd 

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This eyewitness account comes from a United Press reporter who happened to be walking through Washington Square on the day of the fire. Shepherd relayed the details of the tragedy to famous reporter Roy Howard over the phone while the event unfolded.

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Cornell University - ILR School - The Triangle Factory Fire

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a fire broke out at the Triangle Waist Factory in New York City. Within 18 minutes, 146 people were dead as a result of the fire.

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This website provides an abundance of images from the Triangle Shirtwaist Factory fire.  While many of the photos depict the aftermath of the fire, there are also images of the men many deem responsible, Max Blanck and Isaac Harris, and an illustration of the layout of the 9th floor.

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Cornell University - ILR School - The Triangle Factory Fire

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a fire broke out at the Triangle Waist Factory in New York City. Within 18 minutes, 146 people were dead as a result of the fire.

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The deadly Triangle Shirtwaist Factory fire inspires a contemporary composer (2019)

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The deadly Triangle Shirtwaist Factory fire inspires a contemporary composer (2019)

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( ) - Was it coincidence or fate that the New York Philharmonic commissioned Julia Wolfe to compose a new piece about the deadly fire at the Triangle Shirtwaist Factory?

For years she has passed the site on New York's Greene Street and Washington Place where 146 young women, all Eastern European Jewish and Italian immigrants, died on March 25, 1911. The factory was overcrowded and its exits locked or inaccessible, and the sight of women and girls leaping to their deaths haunted Greenwich Village for generations.

In the aftermath, there were massive protests led by the teenager Clara Lemlich and militant trade unionist Rose Schneiderman, the " farbrente Yidishe meydelkh" (the firebrand young Jewish girls), that ultimately led to improved conditions in garment factories.

"The subject is really close to my heart, and I've been thinking about it for years," said Wolfe, a music professor at nearby New York University.

For three nights at Lincoln Center beginning Jan. 24, her composition for full orchestra and voices, "Fire in My Mouth," will be the centerpiece of a two-week outreach program by the orchestra called New York Stories: Threads of Our City, which examines the city's immigrant roots.

The piece takes its title from Lemlich, who two years before the fire had helped inspire what then was the largest strike by female workers in the United States. Recalling her activist youth, an aging Lemlich told an interviewer, "Ah, then I had fire in my mouth!"

In several ways this is familiar terrain for Wolfe. She has written about labor previously, most famously in "Anthracite Fields," a piece about Pennsylvania coal miners that earned her a Pulitzer Prize. When she won a MacArthur "genius" grant in 2016, the foundation cited her "highly physical, large-scale narrative compositions that reimagine folk traditions and lore and address issues of the American worker."

Her father-in-law, an immigrant from Poland, was a cutter in the garment business. She lived 10 years in the Hillman Houses, a Manhattan cooperative originally built by the Amalgamated Clothing Workers for its members and named after the ACW's founder and first president, Sidney Hillman.

Wolfe, a Sabbath observer and self-described "kosher vegetarian," is a member of the Stanton Street Shul, a 10-minute walk from the ill-fated factory, now known as the Brown Building. On its walls are three plaques recalling the fire and its victims.

In the program notes, Wolfe describes the factory workers and their working conditions.

"They arrived to these shores with sewing skills and were eager to work on the large factory floors," she writes. "They sat at long tables, working long hours, amidst the roar of hundreds of sewing machines. The garment workers had no recourse against intolerable conditions, no worker protections. They began to organize. I became fascinated by the young women who led the fight for reform - Clara Lemlich, Rose Schneiderman, and others, who persevered against extreme obstacles."

Though not exclusively, Wolfe's compositions largely combine music and words. She has used religious texts in her work, notably an eight-minute piece for a large ensemble called "Guard My Tongue," which adapts the last prayer said thrice daily at the conclusion of the Amidah.

"Fire in My Mouth" pays homage to the victims using text drawn from oral histories, contemporary accounts and the protests that followed. Factory sounds can be heard. A snippet from a speech by Schneiderman condemns the public for ignoring the working conditions of the day.

"I would be a traitor to those poor burned bodies if I were to speak of good fellowship," the speech says. "I have tried you good people of the public, and I have found you wanting."

Wolfe read more than 20 books as part of her research about the fire and "women in the workplace at that time. So it requires time and energy to read and then write the text to music."

Still, preparing the text first has an upside, as it provides a road map for the tone of the music - for example, where mournful and joyful sounds should be placed.

"The text is sort of a gift," Wolfe explains, "because it builds the logic of the piece for you."

On stage are 36 members of The Crossing, a Philadelphia choir - "You know why I used 36," she says, referring to the life-affirming qualities that Jewish tradition assigns to the number 18 and its multiples. The chorus is split in two, one half singing "my arrangement of a Yiddish song and the other half a southern Italian folk song." They are joined later by 110 members of the Young People's Chorus of New York City for a total of 146 singers - one for each victim.

"I follow the story of these women who rose up to demand a more human existence," Wolfe writes in the program notes. "This piece is dedicated to their memory."

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The deadly Triangle Shirtwaist Factory fire inspires a contemporary composer - Jewish Telegraphic Agency

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( ) - Was it coincidence or fate that the New York Philharmonic commissioned Julia Wolfe to compose a new piece about the deadly fire at the Triangle Shirtwaist Factory? For years she has passed the site on New York's Greene Street and Washington Place where 146 young women, all Eastern European Jewish and Italian immigrants, died on March 25, 1911.

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Students will be given the opportunity to express themselves creatively, just like we were able to within ELED 304. Students can create a book artifact using any type of creative outlet (Padlet, Canva, diorama, Prezi, poem, song, etc) that symbolizes a specific event or message within a given text.

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The main book this lesson is focused around is on Uprising. However, we have provided 6 additional fiction and non-fiction texts that we will explore together or students can individually. If students are going to explore these texts on their own, they are able to pick any of the books listed of their choice, and will then complete a variety of activities and projects to showcase their findings and their enduring understandings.

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The Cornell Photos & Illustrations can be used as an in class activity for multiple teaching strategies. Showing students these photos will help them reflect and interpret what occurred and how people felt during that specific time in history. These photographs also serve as a great tool for small or large group discussions.

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Poems presented during this unit offer a creative way for students to express themselves, whether it is reading a poem that has already been written or writing one themselves.

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The books we selected for this unit best reflect the theme and enduring understandings for our students. The books are in various formats (graphic novel, novel & picture book). This gives the students varieties of different forms of texts and information to spark their creativity in completing activities and projects within this unit.

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1. Students will create a poetry book where they will create different styles of poems that cover the topics/events covered: Triangle Shirtwaist Factory Fire, immigration, and First Wave of Feminism. Once students have completed the writing stages and completion of this book, the teacher will host an in-class poetry slam for students to show/read the poems they have created. 

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1. Students will create a poetry book where they will create different styles of poems that cover the topics/events covered: Triangle Shirtwaist Factory Fire, immigration, and First Wave of Feminism. Once students have completed the writing stages and completion of this book, the teacher will host an in-class poetry slam for students to show/read the poems they have created. 

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2. Students will be assigned a project in which they create emblems for the character of their choice. Students will get to choose between Bella, Yetta, and Jane, and will then design an emblem that they believe represents the character and the their journey throughout the novel. One element of the project will include the creation the emblem itself, this being done on a single sheet of paper with color and design. The other element of this project will require the students to explain their emblem and all it entails in a written explanation. To meet the requirements for this project the written explanation must meet a determined length, and must include evidence from the text to support the student’s reasoning in the creation of the emblem.

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2. Students will be assigned a project in which they create emblems for the character of their choice. Students will get to choose between Bella, Yetta, and Jane, and will then design an emblem that they believe represents the character and the their journey throughout the novel. One element of the project will include the creation the emblem itself, this being done on a single sheet of paper with color and design. The other element of this project will require the students to explain their emblem and all it entails in a written explanation. To meet the requirements for this project the written explanation must meet a determined length, and must include evidence from the text to support the student’s reasoning in the creation of the emblem.

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Students will be able to recognize how ordinary objects or events can symbolism important themes, emotions, or ideas.

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Students will be able to understand how different perspectives and experiences can impact how people see the world.

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Students will be able to connect to the concept of women and their role in history through the theme of empowerment provided within the sources and texts utilized in the unit.

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Students will be able to creatively express their stances on feminism, immigration, and an event that occurred in history, through poetry and the fine arts with the theme of empowerment in mind.