Post-Feminism’, History, Narrative
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Post-Postfeminism?: New Feminist Visibilities in Postfeminist Times
FEMINIST MEDIA STUDIES, 2016 VOL. 16, NO. 4, 610–630 http://dx.doi.org/10.1080/14680777.2016.1193293 Post-postfeminism?: new feminist visibilities in postfeminist times Rosalind Gill Department of Sociology, City University, London, UK ABSTRACT KEYWORDS This article contributes to debates about the value and utility Postfeminism; neoliberalism; of the notion of postfeminism for a seemingly “new” moment feminism; media magazines marked by a resurgence of interest in feminism in the media and among young women. The paper reviews current understandings of postfeminism and criticisms of the term’s failure to speak to or connect with contemporary feminism. It offers a defence of the continued importance of a critical notion of postfeminism, used as an analytical category to capture a distinctive contradictory-but- patterned sensibility intimately connected to neoliberalism. The paper raises questions about the meaning of the apparent new visibility of feminism and highlights the multiplicity of different feminisms currently circulating in mainstream media culture—which exist in tension with each other. I argue for the importance of being able to “think together” the rise of popular feminism alongside and in tandem with intensified misogyny. I further show how a postfeminist sensibility informs even those media productions that ostensibly celebrate the new feminism. Ultimately, the paper argues that claims that we have moved “beyond” postfeminism are (sadly) premature, and the notion still has much to offer feminist cultural critics. Introduction: feminism, postfeminism and generation On October 2, 2015 the London Evening Standard (ES) published its first glossy magazine of the new academic year. With a striking red, white, and black cover design it showed model Neelam Gill in a bright red coat, upon which the words “NEW (GEN) FEM” were superimposed in bold. -
Introduction 1 Theorizing Women's Singleness: Postfeminism
Notes Introduction 1. See Ringrose and Walkerdine’s work on how the boundaries of femininity are policed, constituting some subject positions – those against which normative femininity comes to be defined – ‘uninhabitable’ (2008, p. 234). 1 Theorizing Women’s Singleness: Postfeminism, Neoliberalism, and the Politics of Popular Culture 1. Lewis and Moon (1997) have observed that women’s singleness is at once glamorized and stigmatized, however I suggest, and explore how, this is a particular feature of postfeminist media culture. 2. As Jill Reynolds argues, ‘the cultural context today incorporates new repre- sentations of singleness while continuing to draw on older, more devalued notions that being single is a problem for women: generally to be resolved through commitment to a heterosexual relationship’ (2008, p. 2). 3. In early feminist studies of how women were represented in the media, the ‘images of women’ style criticism dominated, arguing that women were mis- represented in and through the mainstream media and that such ‘negative’ rep- resentations had deleterious effects on the women who consumed them. This is a position that has been thoroughly critiqued and replaced by more nuanced approaches to both signification and consumption. See Walters’ chapter ‘From Images of Women to Woman as Image’ for a rehearsal of these debates (1995). 4. For example, in her critical text Postfeminisms, Ann Brooks (1997) conceptual- izes it in terms of the intersections of feminism, poststructuralism, postmod- ernism, and postcolonialism. Others have theorized it primarily as a popular manifestation which effectively represents an updated form of antifeminism (Faludi, 1991; Walters, 1995; Kim, 2001). 5. The idea that postfeminism is itself constituted by contradiction, ‘the product of competing discourses and interests’ (Genz & Brabon, 2009, p. -
Analyzing Postfeminist Themes in Girls' Magazines
Media and Communication (ISSN: 2183–2439) 2021, Volume 9, Issue 2, Pages 27–38 DOI: 10.17645/mac.v9i2.3757 Article What a Girl Wants, What a Girl Needs: Analyzing Postfeminist Themes in Girls’ Magazines Marieke Boschma 1 and Serena Daalmans 1,2,* 1 Department of Communication Science, Radboud University, 6500HE Nijmegen, The Netherlands; E-Mails: [email protected] (M.B.), [email protected] (S.D.) 2 Behavioral Science Institute, Radboud University, 6500HE Nijmegen, The Netherlands * Corresponding author Submitted: 19 October 2020 | Accepted: 22 December 2020 | Published: 23 March 2021 Abstract Girls’ magazines play an important role in the maintenance of gender perceptions and the creation of gender by young girls. Due to a recent resurgence within public discussion and mediated content of feminist, postfeminist, and antifeminist repertoires, centered on what femininity entails, young girls are growing up in an environment in which conflicting mes- sages are communicated about their gender. To assess, which shared norms and values related to gender are articulated in girl culture and to what extent these post/anti/feminist repertoires are prevalent in the conceptualization of girlhood, it is important to analyze magazines as vehicles of this culture. The current study analyzes if and how contemporary post- feminist thought is articulated in popular girl’s magazines. To reach this goal, we conducted a thematic analysis of three popular Dutch teenage girls’ magazines (N = 27, from 2018), Fashionchick, Cosmogirl, and Girlz. The results revealed that the magazines incorporate feminist, antifeminist, and as a result, postfeminist discourse in their content. The themes in which these repertoires are articulated are centered around: the body, sex, male–female relationships, female empower- ment, and self-reflexivity. -
Kellyanne Conway and Postfeminism: 'The Desert of the Real'
Kaleidoscope: A Graduate Journal of Qualitative Communication Research Volume 18 Article 7 2019 Kellyanne Conway and Postfeminism: 'The Desert of the Real' L. Shelley Rawlins Southern Illinois University Carbondale, [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/kaleidoscope Recommended Citation Rawlins, L. Shelley (2019) "Kellyanne Conway and Postfeminism: 'The Desert of the Real'," Kaleidoscope: A Graduate Journal of Qualitative Communication Research: Vol. 18 , Article 7. Available at: https://opensiuc.lib.siu.edu/kaleidoscope/vol18/iss1/7 This Article is brought to you for free and open access by OpenSIUC. It has been accepted for inclusion in Kaleidoscope: A Graduate Journal of Qualitative Communication Research by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Kellyanne Conway and Postfeminism: 'The Desert of the Real' Cover Page Footnote Acknowledgements: I thank my advisor and friend Dr. Craig Gingrich-Philbrook for his invaluable input on this work. I thank my mother Sandy Rawlins for sharing inspiring conversations with me and for her keen editing eye. I appreciate the reviewers’ helpful feedback and thank Kaleidoscope’s editorial staff, especially Shelby Swafford and Alex Davenport, for facilitating this publication process. L. Shelley Rawlins is a Doctoral Candidate at Southern Illinois University, Carbondale This article is available in Kaleidoscope: A Graduate Journal of Qualitative Communication Research: https://opensiuc.lib.siu.edu/kaleidoscope/vol18/iss1/7 Kellyanne Conway and Postfeminism: ‘The Desert of the Real’ L. Shelley Rawlins Postfeminism is a slippery, contested, ambivalent, and inherently contradictory term – deployed alternately as an “empowering” identity label and critical theoretical lens. -
Third Wave Feminist History and the Politics of Being Visible and Being Real
Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 6-12-2006 Third Wave Feminist History and the Politics of Being Visible and Being Real Robbin Hillary VanNewkirk Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation VanNewkirk, Robbin Hillary, "Third Wave Feminist History and the Politics of Being Visible and Being Real." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/wsi_theses/1 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THIRD WAVE FEMINIST HISTORY AND THE POLITICS OF BEING VISIBLE AND BEING REAL by ROBBIN VANNEWKIRK Under the Direction of Peter Lindsay ABSTRACT This project works to illuminate some of the main theoretical claims that writers of the third wave make in order to understand these claims as rhetorical devices used to make themselves visible and real. Being visible is a common theme in third wave texts and realness is a site that is both contested and embraced. Being Visible and being real work together to situate third wave actors in a U.S. feminist continuum that is sprinkled with contradiction and ambiguity. This thesis will examine the contextual development of third wave feminism, and then using examples of realness and visibility in the three third wave anthologies, Being Real, Third Wave Agenda, and Catching a Wave, this thesis will interrogate at the rhetorical significance of those themes. -
The Girl in the Postfeminist World: Rethinking the Impact of Chick-Lit Fiction
Union College Union | Digital Works Honors Theses Student Work 6-2011 The irG l in the Postfeminist World: Rethinking the Impact of Chick-Lit Fiction Sarah T. O'Connor Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Feminist, Gender, and Sexuality Studies Commons, and the Fiction Commons Recommended Citation O'Connor, Sarah T., "The irlG in the Postfeminist World: Rethinking the Impact of Chick-Lit Fiction" (2011). Honors Theses. 1038. https://digitalworks.union.edu/theses/1038 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. Running Title: Chick-Lit Fiction Impact The Girl in the Postfeminist World: Rethinking the Impact of Chick-Lit Fiction By Sarah T. O‘Connor * * * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Departments of English and Psychology UNION COLLEGE June, 2011 ii ABSTRACT O‘CONNOR, SARAH The Girl in the Postfeminist World: Rethinking the Impact of Popular Chick-lit Fiction. Departments of English and Psychology, June 2011. ADVISORS: Professors Judith Lewin, Claire Bracken, Suzanne Benack This thesis discusses ―chick-lit‖ series in relation to popular culture, adolescent development, and feminist theory. The role of the female in the United States is currently dominated by both neo-liberal and conservative postfeminist ideology. Postfeminism advocates female empowerment via consumption, sexual attractiveness and physical beauty, while at the same time valorizing passive femininity and the roles of wife and mother. -
Postfeminist Masculinity: the New Disney Norm?
social sciences $€ £ ¥ Article Postfeminist Masculinity: The New Disney Norm? Michael Macaluso Institute for Educational Initiatives, University of Notre Dame, Notre Dame, IN 46556, USA; [email protected]; Tel: +1-574-631-2737 Received: 30 September 2018; Accepted: 30 October 2018; Published: 5 November 2018 Abstract: A recent trend in Disney scholarship attends to postfeminist readings of Disney film and media. This paper contributes to that conversation by focusing on the representations of masculinity that accompany postfeminist sensibilities in and through Disney media and its reception. With a sociological focus on postfeminist masculinity, this article reviews several Disney characters to argue for a new model of postfeminist masculinity advanced in recent Disney films, with a particular focus on the Incredibles films, and examines how this representation has been received in popular media. Keywords: Disney; postfeminism; masculinity; gender; cultural studies 1. Introduction A recent trend in Disney scholarship, in the wake of the blockbuster animated film Frozen, attends to postfeminist readings of Disney film and media (e.g., Frasl 2018; Macaluso 2016; Stover 2013) and public reception of these films. Because of Disney’s questionable history of perpetuating dangerous gender stereotypes on film (e.g., Bell et al. 1995; Giroux and Pollock 2010)—and perhaps because of its implicit acknowledgement of this history, as evidenced by a recent string of movies with female leads—this postfeminist line of inquiry seems especially apt. This paper -
Political Ideologies an Introduction Sixth Edition SIXTH EDITION POLITICAL IDEOLOGIES an Introduction ANDREW HEYWOOD
Political Ideologies An Introduction sixth edition SIXTH EDITION POLITICAL IDEOLOGIES An Introduction ANDREW HEYWOOD © Andrew Heywood 1992, 1998, 2003, 2007, 2012, 2017 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First edition 1992 Second edition 1998 Third edition 2003 Fourth edition 2007 Fifth edition 2012 Sixth edition 2017 Published by PALGRAVE Palgrave in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of 4 Crinan Street, London, N1 9XW. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–60602–0 hardback ISBN 978–1–137–60601–3 paperback This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. -
Feminist Responses to Populist Politics
European Journal of English Studies ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/neje20 Feminist responses to populist politics Sanja Bojanic, Mónica Cano Abadía & Valentina Moro To cite this article: Sanja Bojanic, Mónica Cano Abadía & Valentina Moro (2021) Feminist responses to populist politics, European Journal of English Studies, 25:2, 113-132, DOI: 10.1080/13825577.2021.1946741 To link to this article: https://doi.org/10.1080/13825577.2021.1946741 Published online: 02 Aug 2021. Submit your article to this journal Article views: 383 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=neje20 EUROPEAN JOURNAL OF ENGLISH STUDIES 2021, VOL. 25, NO. 2, 113–132 https://doi.org/10.1080/13825577.2021.1946741 INTRODUCTION Feminist responses to populist politics Sanja Bojanic a, Mónica Cano Abadía b and Valentina Moro c aAcademy of Applied Arts, University of Rijeka, Rijeka, Croatia; bCoordination Centre for Gender Studies and Equal Opportunities, University of Graz, Graz, Austria; cHuman Sciences Department, University of Verona, Verona, Italy ABSTRACT KEYWORDS Given our situatedness as political subjects of knowledge — Feminist activism; trans- as activists and scholars from Southern Europe — we have inclusive feminism; mapped out in this issue some feminist responses to popu transfeminism; lism. This issue discusses diverse transfeminist and feminist intersectionality; academia; populism; Southern Europe political groups and ideas, and talks about feminisms as a constellation of accounts of politics, practices, knowledges, and experiences. Although it is beyond the scope of this issue to discuss the idea of populism, the plurality of definitions and their political implications, this collection of essays reflects our need to analyse modes of self-determination that, within feminism, are taking place in the name of the people and for the people. -
Trans Cinema and Its Exit Scapes Is the Doctoral Dissertation of Trans- Feminist Scholar and Berlin-Based Activist Wibke Straube
Linköping Studies in Arts and Science No. 628 2014 Trans embodiment is a growing trope in contemporary film. Particularly since the early 1990s, trans images have become more widespread and frequent within popular culture. Films such as Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012) have become well-known referents for what is here termed Trans Cinema and for broader cultural understanding of what it means to live in a gender- A Transfeminist Reading of dissident body. Utopian Sensibility and Gender Dissidence in Contemporary Film In conversation with recent transfeminist and queer theory as well as cul- Wibke Straube tural studies, this doctoral thesis by Wibke Straube sets out to investigate the utopian potential of Trans Cinema and makes a novel contribution to the emerging research field of transgender studies. The book offers an entrance to trans films by mapping out the so-called “exit scapes” that appear in scenic moments of dancing, singing or dreaming. These provide openings for alternative ways of imagining reality, and are thus key to the experiencing of trans-affirmative futures. Trans Cinema and iTs exiT sCapes is the doctoral dissertation of trans- feminist scholar and Berlin-based activist Wibke straube. Straube is also a researcher and teacher at Tema Genus (Gender studies), Department of Thematic Studies (Tema), Linköping University, Sweden. Linköping Studies in Arts and Science No. 628, 2014 Wibke Straube Wibke Department of Thematic Studies Gender Studies Linköping University SE-581 83 Linköping, Sweden www.liu.se Buch_Wibke_final.indd 1 21.07.14 21:35 Linköping Studies in Arts and Science, No. -
Lawrence Chapter 12 Lawrence and Ringrose August 31
CHAPTER 12 @NoToFeminism, #FeministsAreUgly and Misandry Memes: How Social Media Feminist Humour is Calling out Antifeminism Emilie Lawrence and Jessica Ringrose University College London, Institute of Education In The Aftermath of Feminism, Anglea McRobbie (2009) defines postfeminism as the simultaneous rejection of feminism by critics who argued it was outmoded because it aggravated for an irrelevant political issue (women’s equality), and the commodification of feminism through forms of faux-feminism or a ‘postfeminist masquerade’ that appropriated feminist rhetoric to sell products. Rosalind Gill’s (2007) conceptualisation of a “postfeminist sensibility” illustrated by the co-optation of feminism through contemporary advertising and other media, demonstrated this dynamic of the market-harnessing feminism. Gill and colleagues have shown how faux feminism and commodity feminism can work in many diverse forms; from aid campaigns where Western women and girls are inculcated to save women and girls in the ‘third world’ from their less empowered forms of femininities (Koffman and Gill 2011), to ‘Love Your Body’ discourses that co-opt fat activism and body positivy in the service of expanding capitalist markets to ever wider nets of consumers (Gill and Elias 2014). Thus, postfeminist media culture has been deemed to be a space where feminism is either vehemently rejected, or it is a form of cultural appropriation that subverts genuine feminist coalition, solidarity and politics. However, recent scholarship suggests that the analytical lens offerd by postfeminism may no longer be as useful as it once was. Catherine Driscoll (2016) maintains that postfeminism is a totalizing framework that invokes a temporal frame of before and after 1 feminism that is reductive but also Eurocentric, giving it limited purchase in global contexts. -
Vernacular Feminism: Gendered Media Cultures and Historical
TVNXXX10.1177/1527476420922976Television & New MediaTasker 922976research-article2020 Article Television & New Media 2020, Vol. 21(6) 671 –675 Vernacular Feminism: © The Author(s) 2020 Gendered Media Cultures Article reuse guidelines: sagepub.com/journals-permissions and Historical Perspectives https://doi.org/10.1177/1527476420922976DOI: 10.1177/1527476420922976 on Postdiscourse journals.sagepub.com/home/tvn Yvonne Tasker1 Abstract Although media studies as a discipline has long been involved in various theoretical elaborations of the “post,” it has been concerned far less often with the past that is purportedly posted. In this piece, the concept of postfeminism provides a useful case to highlight how thoughtful engagement with the past has immense value for contemporary media scholarship. I suggest that postfeminist scholarship has typically tackled history only obliquely—via generational tropes—and that a more direct engagement with media history allows an understanding that reaches past the “now” with which postdiscourse tends to concern itself. Patterns of continuity and change have been brought into view through the access to historical media formats facilitated by digital archives. I propose a concept of vernacular feminism as a tool for analyzing historical postfeminism, pointing to the broader relevance for postdiscourses that involve an evocation of the past in the present. Keywords postfeminism, vernacular feminism, media history, generations, archives, postdiscourse If one looks at contemporary culture, one might say that the proliferation of “posts” in our culture speaks to our deep concern with history at the beginning of the twenty-first century: from postmodern and postcolonial novels to more popular forms of culture. (Kennedy 2017, 20–21) 1University of Leeds, UK Corresponding Author: Yvonne Tasker, School of Media and Communication, Faculty of Arts, Humanities and Cultures, University of Leeds, 1.23 Clothworkers North, Leeds LS2 9JT, UK.