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Masterarbeit Masterarbeit Titel der Masterarbeit Postfeministische Ambivalenzen: Eine Auseinandersetzung mit McRobbies Konzept der postfeministischen Maskerade verfasst von Karner Ulrike Susanne, Bakk. phil. angestrebter akademischer Grad Master of Arts (MA) Wien, 2014 Studienkennzahl A 066 808 Studienrichtung lt. Studienblatt Masterstudium Gender Studies Betreut von: Betreut von: Ao.Univ.-Prof. Dr. Mag. Eva Flicker 0.1 Einleitung .................................................................................................................... - 4 - 0.2 Mein Gender Begriff ................................................................................................... - 8 - 1.1 Angela McRobbie: feministische Theoriebildung im neoliberalen Geschlechterregime . ......................................................................................................................................... - 11 - 1.2 McRobbies Thesen zum Postfeminismus ................................................................. - 15 - 1.3 Methodologische Überlegungen – Anleihen bei den Cultural Studies ..................... - 18 - 2. Angela McRobbie: Weibliche Sichtbarkeit im Postfeminismus ................................. - 23 - 2.1 Ein neuer Geschlechtervertrag .................................................................................. - 23 - 2.2 Die vier Aufmerksamkeitsräume .............................................................................. - 25 - 2.2.1 Die postfeministische Maskerade ........................................................................... - 25 - 2.2.2 Die gebildete bzw. erfolgreiche Frau ..................................................................... - 34 - 2.2.3 Die phallische Frau ................................................................................................. - 36 - 2.2.4 Die globale Frau ..................................................................................................... - 37 - 3. Der Begriff der Maskerade .......................................................................................... - 39 - 3.1.1 Die Maskerade und ihre Bedeutung für die Gender Studies .................................. - 39 - 3.1.2 Ursprung und Verwendung des Begriffs in verschiedenen Disziplinen ................ - 40 - 3.1.3 Weiblichkeit und Maskerade in der Psychoanalyse ............................................... - 41 - 3.1.4 Offenheit bzw. Uneindeutigkeit des Konzepts der Maskerade .............................. - 43 - 3.2.1 Joan Riviere – Maskerade ist Weiblichkeit ............................................................ - 44 - 3.2.2 Mary Ann Doane – Maskerade als Abstand zum herrschenden Bild .................... - 48 - 3.2.3 Judith Butler- Maskerade als Bewahrung des verlorenen Liebesobjekts und Erschütterung der Geschlechterontologie ....................................................................... - 50 - 3.2.4 Emily Apter – die weibliche Maskerade als Bedingung für Männlichkeit ............ - 53 - 3.3.1 Deutungen der postfeministischen Maskerade vor dem Hintergrund des Begriffs der Maskerade ....................................................................................................................... - 56 - 3.3.2 Keine „Weiblichkeit“ in der postfeministischen Maskerade? Wie stellt sich McRobbies Weiblichkeitsbegriff dar? ............................................................................ - 58 - 3.3.3 Hat die postfeministische Maskerade auch positives Potential? ............................ - 60 - 4. Perspektiven zum Postfeminismus ............................................................................. - 63 - 4.1 Postfeminismus als „Double Entanglement“ bei Angela McRobbie und Rosalind Gill .. - 63 - 4.2 Postfeminismus als „Confusing Moment“: Third Wave Feminismus als Fortsetzung des Second Wave Feminismus und die Rolle des Third Way für den Postfeminismus ....... - 67 - 4.3 Wie kann der (Post-)Feminismus in Zukunft weiterbestehen? Lisa Adkins über das „Passing on“ des (Post-)Feminismus .............................................................................. - 74 - 5. Neoliberalismus und Postfeminismus: eine komplizierte Beziehung ........................ - 77 - 5.1 Neoliberalismus: Ursprung des Begriffs .................................................................. - 77 - 5.2 Feminismus und Neoliberalismus = Postfeminismus? ............................................. - 79 - 6. Handlungsoptionen im Postfeminismus – ausgewählte Beispiele ............................. - 90 - 6.1 Praktischer Feminismus der Dritten Welle: Missy Magazine und „Fashion Feminismus“ ................................................................................................................... - 91 - 6.2 (Post)feministische Perspektiven in der Theorie: Andrea Press und Catherine Lumby- methodologische Perspektiven für die feministischen Medienwissenschaften .............. - 98 - 6.3 Feminismus der Gegenwart und Zukunft in Institutionen: Sylvia Walby über die Zukunft des Feminismus .............................................................................................. - 100 - 6.4 Aus aktuellem Anlass: Der (Post)Feminismus der Conchita Wurst ...................... - 102 - 7. Fazit .......................................................................................................................... - 104 - 8. Bibliographie ............................................................................................................ - 110 - Abstract ......................................................................................................................... - 118 - Abstract (english) ......................................................................................................... - 120 - Lebenslauf .................................................................................................................... - 121 - Danksagung .................................................................................................................. - 122 - 0.1 Einleitung Seit einigen Jahren fällt mir eine gewisse Widersprüchlichkeit in Bezug auf Frauenbilder in populärkulturellen Medieninhalten auf. Während es in Serien aus den 1990ern meist um starke, unabhängige Frauen ging, geht es bei den weiblichen Protagonistinnen der letzten Jahre eher um hypersexualisiertes Auftreten und Erfolg bei Männern. Die Widersprüchlichkeit, die ich meine, bezieht sich darauf, wie Frauen in der westlichen Gesellschaft in Erscheinung treten „dürfen“ um als erfolgreich bzw. anerkannt zu gelten. Ambivalent dabei ist, dass Frauen zwar als beruflich unabhängig dargestellt werden, jedoch eine extreme Fixierung auf das Äußerliche an den Tag legen. Diesbezüglich ist mir ein Satz aus einer Filmkritik zum Film „3 Engel für Charlie“ aus dem Jahr 2003 in Erinnerung geblieben, der besagte, dass Frauen nun endlich beruflich erfolgreich und sexy sein können. Für mich schien es, als würde damit eine neue Ära des Feminismus eingeläutet werden. Leider hat sich dieses Versprechen nicht eingelöst: Was damals als etwas Positives vermarktet wurde, hat sich in den vergangenen Jahren zum Dogma gewandelt. Als Frau darf man nicht nur, sondern man soll sich extrem weiblich geben um anerkannt zu werden. Es wird dargestellt, als wäre das ein anzustrebendes Gesamtpaket: weiblich, sexy und erfolgreich. Ursprünglich wollte ich das österreichische Frauen- und Lifestyle-Magazin Woman einer empirischen Analyse unterziehen, weil dort meiner Meinung nach die obengenannten Widersprüchlichkeiten besonders stark zu Tage treten. In der ersten Hälfte der Zeitschrift geht es um alles, was Frauen angeblich schöner machen soll. Verbesserungsvorschläge Körper und Geist betreffend werden angeboten. Durch Make-up, Kleidung, Fitness, Wellness, Schönheitsoperationen und andere „Treatments“ soll der Körper ein Frauenleben lang sorgfältig bearbeitet werden. Ich denke, hier wird ein sehr traditionelles Frauenbild bedient. In der zweiten Hälfte des Heftes werden meist in der Öffentlichkeit stehende Karrierefrauen interviewt, die ökonomisch unabhängig sind und erfolgreich männliche Berufsdomänen gestürmt haben. Diese präsentieren dann im Interview ein perfekt organisiertes Leben zwischen Beruf und Familie. Auch in Serien wie „Sex and the City“ geht es um junge, gebildete, selbstbestimmte Frauen, die ihr berufliches wie privates Leben fest in ihren eigenen Händen halten: Frauen, die ihren Job und ihre/n PartnerIn wechseln können ohne negative gesellschaftliche Konsequenzen befürchten zu müssen. Trotzdem sind sie extrem auf ihr Äußeres fixiert und - 4 - träumen vom Mann des Lebens, der sie, wie es wirkt, aus ihrem scheinbar trostlosen, unabhängigen Leben retten soll. Lange hielt ich diese Ambivalenzen in vielen Populärmedien für eine Art Rückschrittlichkeit. Ich konnte nicht verstehen, warum junge Frauen plötzlich „alles“ können und dürfen, sich dafür aber extrem „weiblich“ geben müssen. Mitunter wird die Haltung der Feministinnen der zweiten Frauenbewegung mit „Unweiblichkeit“ bzw. mit der Nicht-Betonung von „weiblichen“ Attributen assoziiert. Daher könnte diese extreme Zurschaustellung von „Weiblichkeit“ auch als Emanzipation vom Dogma der „Unweiblichkeit“ der zweiten Frauenbewegung gedeutet werden, wenn das sich „weiblich"-geben in der postfeministischen Maskerade, ein Konzept, das im Mittelpunkt meiner Arbeit stehen wird, nicht wieder zu einem Muss werden würde. Irgendwann in diesem Denkprozess stieß ich auf Angela McRobbies „Top Girls. Feminismus und der Aufstieg des neoliberalen Geschlechterregimes“
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