DOCSLIB.ORG

Introduction Chapter 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction Chapter 1 Notes Introduction 1. Although Davis provides a guarded defence of cosmetic surgery, she con- cedes that it is an option often taken up by women who have few, if any, other alternatives. Chapter 1 1. Douglas Kellner (1993) has a useful discussion of the “problem” of identity in postmodernity. 2. See Charles Baudelaire (1978 [1863], 26–29) for a discussion of dandyism. 3. Arthur Marwick (1988, 13–22) also argues that physical appearance is accorded a greater importance today than ever before, though he fails to see this as being in any way problematic. 4. See Bonnie English (2007, 28–42) for a more detailed account of the democ- ratization of fashion in the early twentieth century. 5. Also indicative of the importance accorded to appearance in contemporary culture is the huge expenditure on cosmetics and other body care products, as Synnott points out (1993, 74–75). 6. Richard Sennett (1976, 162–76) goes on to argue that the advent of this notion of outward appearance as an expression of the personality of the wearer para- doxically resulted in clothing becoming more homogeneous and neutral, as people were afraid of revealing too much of themselves in public. This meant that those seeking to read someone’s personality through their clothes had to search for clues in the small details of dress, much in the manner of the detective undertaking a forensic investigation. While I concur with Sennett’s observation about the homogenization of appearance, I argue in this chapter that this is rather due to the increasing difficulty that individuals have in forg- ing, for themselves, a meaningful sense of identity through the fashioning of their physical appearance. 7. Hilary Radner (1989) draws attention to this in her discussion of the changing nature of cosmetics advertising directed at women. 8. Rosalind Coward (1987, 55–60) notes the growing prevalence of the defi- ant pout in women’s fashion advertising and points out that while, at first glance, it appears to present a more assertive image of female sexuality, it is 164 NOTES no less problematic than the ingratiating smile characteristic of earlier fashion models. 9. See Malcolm Barnard (1996, 166–69) for a discussion of this concept in rela- tion to postmodern fashion. However, while I am using the terms “pastiche” and “bricolage” interchangeably, Barnard seeks to distinguish the latter from the former, suggesting that bricolage is less nihilistic than pastiche. 10. Heike Jenß (2004) discusses a recent trend to resurrect the style of the 1960s, in which the aim is to be as “authentic” as possible. This is at odds with the predominant trend in postmodern culture of mixing styles from the past in an eclectic way, but even here, as she demonstrates, ’60s enthusiasts combine con- temporary clothes made in a ’60s style with actual garments from that period. Furthermore, their appropriation of ’60s style is very much determined by their contemporary cultural context. Thus, they are quite selective in what they have chosen to revive, favoring those items that correspond with their current cultural context and bodies. 11. See Goffman (1959) for an elaboration of his performative notion of the self. 12. See Susan Kaiser (1997, 515–18) for a further discussion of this. 13. See Charlotta Kratz and Bo Reimer (1998) for a further discussion of this. 14. See Gilles Lipovetsky (1994, 107–9) for a further discussion of this. 15. Alison Clarke and Daniel Miller analyze this phenomenon (2002). As they argue, in contemporary culture, where there is no single dominant fashion but rather a multiplicity of different styles, individuals face increasing anxiety about what to wear. In response to this, there is a tendency to retreat into forms of dress that are less individualizing or expressive in order to avoid possible social embarrassment. Even in instances where individuals are knowledgeable about fashion and style, they are often at a loss as to what is most appropriate for them to wear. Chapter 2 1. While there were dissenting voices within the Women’s Movement as dis- cussed, for example, by Wilson (1987, 230–37), this was the predominant feminist dress code at the time. 2. Shilling (1994, 63–67) provides a useful discussion of Orbach and Chernin in this regard. 3. See Oakley (1981, 83) for a description of feminist garb in the 1970s. 4. Similarly, Holliday and Sanchez Tayor argue that the “natural” aesthetic cham- pioned by feminists conceals its operations—looking natural is not the same as being natural. They go on to argue that “the feminist acceptance of only a naturally beautiful body in fact endorses certain modes of cultivation—such as the gym—while arbitrarily dismissing others such as the beauty industry, interpreting the former as active and chosen and the latter as passive and con- sumed” (2006, 185). 5. Holliday and Sanchez Taylor (2006, 184) make a similar point. NOTES 165 6. See Giroux (1993–94) for a development of this argument. See also Bordo (1993b), who points out the similarity between postmodern notions of the body and self-identity and those promoted by the fashion and advertising industry. 7. A similar criticism applies to Peiss’s and Holliday’s and Sanchez Taylor’s defense of the cultivation of appearance by black and working class women as a means of social advancement. According to Peiss (1996, 330), the employ- ment of beautification techniques by Afro-American women was a tool of empowerment insofar as it challenged stereotypical conceptions of the black woman as ugly and unkempt and conferred on them a sense of dignity and pride. The production of cosmetics for Afro-American women also opened up opportunities of employment for such women, giving them a greater economic independence than they would otherwise have enjoyed. Similarly, Holliday and Sanchez Taylor positively appraise the fact that working class women, such as shop assistants and office workers, who adopted a “lady-like” appearance, which belied their working class origins, were able to command greater respect (2006, 184). In these ways, these authors claim, the cultivation of appearance challenged race and class hierarchies among women, opening up new economic opportunities for black and lower class women, and giving voice to their claims for cultural legitimacy. In making such claims, however, Peiss and Holliday and Sanchez Taylor fail to address the social structures of inequality that necessitated such a strategy in the first place. It was only because such women were denied access to power through legitimate means that they were forced to resort to beautification as the only way of achieving their aims. 8. For instance, as Hollander (1994, 25–26) points out, there was a precedent for the big-shouldered look in old Hollywood movies, where it was worn with short skirts and long hair, not long pants and shingled hair. Chapter 3 1. Georg Simmel makes a similar point in his article, “The aesthetic significance of the face,” where he writes (1959, 278) that: “The face strikes us as the sym- bol, not only of the spirit, but also of an unmistakable personality. This feeling has been extraordinarily furthered in the period since the beginning of Chris- tianity by the covering of the body. The face was the heir of the body; for in the degree to which nakedness was the custom, the body presumably had its share in the expression of individuality.” 2. Craik (1994, 153–75) has a useful discussion of the contrasting nature of cos- metic practice in Western and non-Western cultures. 3. Andrew Strathern quotes one Mt Hagener tribesman who commented: “If the men’s faces can be seen too clearly, we say, ‘Oh, we went to that dance and even from a distance we were able to recognize the men early, it was no good.’ So they put on a lot of charcoal to make their faces really dark as night and 166 NOTES prevent their recognition, so that people will praise them. They say, ‘Hey, we can’t recognize these men, this is a good dance performance’” (1987, 29). 4. Grosz (1994, chap. 6) provides a useful discussion of Lingis’s analysis of body markings. 5. See Mercurio and Morera (2004) for examples of Andy Warhol’s portraiture. 6. See Bell et al. (1994, 42–43) for a useful discussion of this style. 7. In a later article where she reconsiders her earlier position on masquerade, Doane acknowledges the conservative nature of the professional woman’s masquerade of femininity as discussed by Rivière. However, she still main- tains that it is possible to read such a performance “against the grain,” arguing that “Rivière’s patient, looking out at her own male audience, with impropri- ety, throws the image of their own sexuality back to them as ‘game’ or ‘joke,’ investing it, too, with the instability and the emptiness of masquerade” (1988, 52–53). The question still remains, however, to what extent the audience will see the “joke” being played by the woman who parades the artificiality of her femininity. 8. See Craik (1989, 12–14) for a discussion of this book. 9. This image also appears in All the Rage: A history of fashion and trends (1992): 66. 10. See Marie Claire Australia, November 2006, 1–2, for an example of this Estée Lauder advertisement. Another Estée Lauder advertisement in a simi- lar vein from 2002 can be viewed at http://www.advertisingarchives.co.uk, no. 30518988 11. Wilson (1987, 110–11) also notes that when visible cosmetics were first pro- moted in the early twentieth century, they were seen as a sign of emancipation rather than of bondage by women. 12. See Peiss (1998, 249–51) for a discussion of this ad campaign.
Load more

Recommended publications
  • Expressions of Mind/Body Dualism in Thinspiration
    MIND OVER MATTER: EXPRESSIONS OF MIND/BODY DUALISM IN THINSPIRATION Annamarie O’Brien A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2013 Committee: Dr. Marilyn Motz, Advisor Dr. Rebecca Kinney Dr. Jeremy Wallach © 2013 Annamarie O’Brien All Rights Reserved iii ABSTRACT Dr. Marilyn Motz, Advisor Thinspiration images, meant to inspire weight-loss, proliferate online through platforms that encourage the circulation of user-generated content. Despite numerous alarmist critiques in mass media about thinspiration and various academic studies investigating ‘pro-anorexia’ sites, surprisingly little attention has been given to the processes of creation and the symbolic potential of thinspiration. This thesis analyzes the formal hybridity of thinspiration, and its use as an expressive medium. The particularities of thinspiration (including its visual characteristics, creative processes, and exhibition) may be considered carefully constructed instances of self- representation, hinging on the expression of beliefs regarding the mind and body. While these beliefs are deeply entrenched in popular body management discourse, they also tend to rely on traditional dualist ideologies. Rather than simply emphasizing slenderness or reiterating standard assumptions about beauty, thinspiration often evokes pain and sadness, and employs truisms about the transcendence of flesh and rebellion against social constraints. By harnessing individualist discourse and the values of mind/body dualism, thinspiration becomes a space in which people struggling with disordered eating and body image issues may cast themselves as active agents—contrary to the image of eating disorders proffered by popular and medical discourse. iv ACKNOWLEDGMENTS First, I would like to thank my thesis committee chair, Dr.
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Joan C. Callahan Professor Emerita Departments of Philosophy and Gender and Women’s Studies 1681 Leathers Road [email protected] Lawrenceburg, KY 40342 University of Kentucky 859-533-6863 Lexington, Kentucky 40506 Date: February 2014 Medical Leave 2008-2011 Retired March 2011 Areas of Specialization and Interest: Ethical Theory, Practical Ethics (including Biomedical Ethics, Professional Ethics, Ethics and Public Policy), Social and Political Philosophy, Feminism, Critical Race Theory, Philosophy of Law Higher Education: Ph.D. Philosophy: December 1982; University of Maryland, College Park M.A. Philosophy: December 1979; University of Maryland, College Park M.A. Humanities: June 1977; Simmons College B.A. Philosophy: June 1976; University of Massachusetts, Dartmouth Regular Positions: 2006-2007: Director, Gender and Women’s Studies Program, University of Kentucky 2004-2006: Director, Women’s Studies Program, University of Kentucky 1998-2003: Director, Women’s Studies Program, University of Kentucky 1995-present: Professor, Department of Philosophy; University of Kentucky 1988-1995: Associate Professor; Department of Philosophy; University of Kentucky 1986-1988: Assistant Professor; Department of Philosophy; University of Kentucky 1983-1986: Assistant Professor; Department of Philosophy; Louisiana State University 1982-1983: Instructor; Department of Philosophy; Louisiana State University Adjunct / Part-time / Other Positions: 2005-2011 Faculty Associate, Center for Bioethics, University of Kentucky 1994-2011: Graduate
    [Show full text]
  • Virtue of Feminist Rationality
    The Virtue of Feminist Rationality Continuum Studies in Philosophy Series Editor: James Fieser, University of Tennessee at Martin, USA Continuum Studies in Philosophy is a major monograph series from Continuum. The series features first-class scholarly research monographs across the whole field of philo- sophy. Each work makes a major contribution to the field of philosophical research. Aesthetic in Kant, James Kirwan Analytic Philosophy: The History of an Illusion, Aaron Preston Aquinas and the Ship of Theseus, Christopher Brown Augustine and Roman Virtue, Brian Harding The Challenge of Relativism, Patrick Phillips Demands of Taste in Kant’s Aesthetics, Brent Kalar Descartes and the Metaphysics of Human Nature, Justin Skirry Descartes’ Theory of Ideas, David Clemenson Dialectic of Romanticism, Peter Murphy and David Roberts Duns Scotus and the Problem of Universals, Todd Bates Hegel’s Philosophy of Language, Jim Vernon Hegel’s Philosophy of Right, David James Hegel’s Theory of Recognition, Sybol S.C. Anderson The History of Intentionality, Ryan Hickerson Kantian Deeds, Henrik Jøker Bjerre Kierkegaard, Metaphysics and Political Theory, Alison Assiter Kierkegaard’s Analysis of Radical Evil, David A. Roberts Leibniz Re-interpreted, Lloyd Strickland Metaphysics and the End of Philosophy, HO Mounce Nietzsche and the Greeks, Dale Wilkerson Origins of Analytic Philosophy, Delbert Reed Philosophy of Miracles, David Corner Platonism, Music and the Listener’s Share, Christopher Norris Popper’s Theory of Science, Carlos Garcia Postanalytic and Metacontinental, edited by James Williams, Jack Reynolds, James Chase and Ed Mares Rationality and Feminist Philosophy, Deborah K. Heikes Re-thinking the Cogito, Christopher Norris Role of God in Spinoza’s Metaphysics, Sherry Deveaux Rousseau and Radical Democracy, Kevin Inston Rousseau and the Ethics of Virtue, James Delaney Rousseau’s Theory of Freedom, Matthew Simpson Spinoza and the Stoics, Firmin DeBrabander Spinoza’s Radical Cartesian Mind, Tammy Nyden-Bullock St.
    [Show full text]
  • Susan Bordo “Never Just Pictures” Susan Bordo (Born 1947), Professor of English and Women’S Jutting out Through a Bias-Cut Gown
    Susan Bordo “Never Just Pictures” Susan Bordo (born 1947), professor of English and women’s jutting out through a bias-cut gown ... the clavicle in its studies University of Kentucky. She is Otis A. Singletary Chair in role as a coat hanger from which clothes are Humanities. Her book, Unbearable Weight: Feminism, suspended."1 (An old fashion industry justification for Western Culture, and th Body, was nominated for the Pulitzer skinniness in models was that clothes just don't "hang Prize. She has written extensively on gender and body image, and right" on heftier types.) The fashion industry has how these are effected by media and culture. She has written that taught us to regard a perfectly healthy, nonobese body “the body is a powerful symbolic form, a surface on which the such as the depicted in figure 1 as an unsightly “before” central rules . of a culture are inscribed, and thus reinforced.” (“Before CitraLean, no wonder they wore swimsuits like This essay is from her book Twilight Zones: The Hidden that"). In fact, those in the business have admitted that Life of Cultural Images form Plato to O.J., first published models have been getting thinner since 1993, when Kate in 1997. Moss first repopularized the waif look. British models Trish Goff and Annie Morton make Moss look well fed When Alicia Silverstone, the svelte nineteen- by comparison,2 and recent ad campaigns for Jil year-old star of Clueless, appeared at the Academy Sander go way beyond the thin-body- is-coat-hanger Awards just a smidge more substantial than she had paradigm to a blatant glamorization of the cadaverous, been in the movie, the tabloids ribbed her cruelly, calling starved look itself.
    [Show full text]
  • Feminism and Modern Philosophy
    2 DESCARTES Man of reason here does philosophy come from? Does it come out of human expe- Wrience, an extension of ordinary human abilities to respond and reflect? Is an Enquiry or a Metaphysics a personal statement: Here is how I, a man, lived or tried to live, in my time, in my place, in my social milieu, in my part of the world? Is philosophy then indistinguishable from expressive essay writing, autobiography, or story telling? If so it seems that philosophy can make little claim to truth. If Kant and Hume write out of their own experience in the eighteenth century, it may have little relevance in the pre- sent. If they write about their experience as men of a certain class, it may have little relevance for women or working people. Their world is not our world. We are unlikely to be enchanted by countesses in Parisian salons or devastated by sexual scandal in Königsberg. It is precisely the disavowal of contingency and dependence that informs many philosophers’ sense of their discipline’s identity and importance. The human agreeableness that is the basis for Hume’s ethics should stand on its own, regardless of the charm of Hume the man. Reason provides the logical foundation for Kant’s duty ethics, not one man’s soured romantic ideals. Otherwise it seems that ethics is reduced to autobiography of antiquarian or literary interest only.The modern period begins with a sense of the dan- gers of such relativism. In Europe, with religious certainty gone, with the authority of the universal Catholic Church and the divine right of kings com- promised, with even the heavens in doubt given new cosmologies, it could seem that nothing is real but a man’s private and personal sensations and ideas.
    [Show full text]
  • Should Feminists Forget Foucault?
    Studies in 20th Century Literature Volume 22 Issue 1 Special Issue: New Illnesses—Old Article 11 Problems, Old Illnesses—New Problems 1-1-1998 Should Feminists Forget Foucault? Dominique D. Fisher University of North Carolina, Chapel Hill Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Feminist, Gender, and Sexuality Studies Commons, and the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Fisher, Dominique D. (1998) "Should Feminists Forget Foucault?," Studies in 20th Century Literature: Vol. 22: Iss. 1, Article 11. https://doi.org/10.4148/2334-4415.1440 This Review Essay is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Should Feminists Forget Foucault? Abstract Up Against Foucault (1993), a collection of essays edited by Caroline Ramazanoglu, reevaluates Michel Foucault's theories on power and sexuality in regard to feminism from a sociological perspective… Keywords Up Against Foucault, Caroline Ramazanoglu, Michel Foucault, theories, power and sexuality, power, sexuality, feminism, sociological perspective, forget This review essay is available in Studies in 20th Century Literature: https://newprairiepress.org/sttcl/vol22/iss1/11 Fisher: Should Feminists Forget Foucault? Review Essay Should Feminists "Forget Foucault"? Dominique D. Fisher University of North Carolina, Chapel Hill Up Against Foucault (1993), a collection of essays edited by Caroline Ramazanoglu, reevaluates Michel Foucault's theories on power and sexuality in regard to feminism from a sociological per- spective.
    [Show full text]
  • Cultural Expressions of Mind-Body Dualism
    1 Susan Bordo FEMINISM, WESTERN CULTURE, AND THE BODY THE HEAVY BEAR "the withness of the body" Whitehead The heavy bear who goes with me, A manifold honey to smear his face, Clumsy and lumbering here and there, The central ton of every place, The hungry beating brutish one In love with candy, anger, and sleep, Crazy factotum, disheveling all, Climbs the building, kicks the football, Boxes his brother in the hate-ridden city. Breathing at my side, that heavy animal, That heavy bear who sleeps with me, Howls in his sleep for a world of sugar, A sweetness intimate as the water's clasp, Howls in his sleep because the tight-rope Trembles and shows the darkness beneath. The strutting show-off is terrified, Dressed in his dress-suit, bulging his pants, Trembles to think that his quivering meat Must finally wince to nothing at all. That inescapable animal walks with me, He's followed me since the black womb held, Moves where I move, distorting my gesture, A caricature, a swollen shadow, A stupid clown of the spirit's motive, Perplexes and affronts with his own darkness, The secret life of belly and bone, Opaque, too near, my private, yet unknown, Stretches to embrace the very dear With whom I would walk without him near, Touches her grossly, although a word Would bare my heart and make me clear, Stumbles, flounders, and strives to be fed Dragging me with him in his mouthing care, Amid the hundred million of his kind, The scrimmage of appetite everywhere. Delmore Schwartz Cultural Expressions of Mind-Body Dualism Through his metaphor of the body as "heavy bear," Delmore Schwartz vividly captures both the dualism that has been characteristic of Western philosophy and theology and its agonistic, unstable nature.
    [Show full text]
  • EXPLORING the FEMALE BODY POLITIC by Estelle M. Smith A
    STRONG WOMAN OR PRETTY GIRL? EXPLORING THE FEMALE BODY POLITIC by Estelle M. Smith A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment Of the Requirements for the Degree Master of Arts In Sociology May, 2000 STRONG WOMAN OR PRETTY GIRL? EXPLORING THE FEMALE BODY POLITIC by Estelle M. Smith Approved by the Master's Thesis Committee: June Leahy. Major Professor Elizabeth Watson. Committee Member Elizabeth Watson. Graduate Coordinator Ronald A. Fritzsche.� Dean for Research and Graduate Studies ABSTRACT Females are exposed to conflicting and confusing messages that they should be thin but strong, firm but shapely, fit but sexy. Although they are exposed to images of powerful women, such as scholars and athletes, they cannot escape images of fashion models whose idealized body shape can rarely be matched by other women. Girls and women strive to mold their bodies in these idealized shapes by depriving themselves of nourishment necessary for good health. Despite highly publicized advertisements and health culture campaigns that emphasize the benefits of healthy bodies, there are cultural messages that promote the "beauty myth." The "beauty myth" promotes, among other phenomena, the idea that female bodies can be whatever women want them to be. iii ACKNOWLEDGEMENTS I would like to thank all those who were involved in helping through the completion of my paper. I express my gratitude to my committee members June Leahy and Elizabeth Watson for their intellect, guidance, and time throughout this project. The associate graduate students in this program must be acknowledged for their valuable insight and resources. Lastly, my warmest gratitude goes out to my mother, Beverly Desselle, for her continual encouragement, support, and love.
    [Show full text]
  • Teen Sexuality in a Culture of Confusion
    1 MEDIA EDUCATION F O U N D A T I O N 60 Masonic St. Northampton, MA 01060 | TEL 800.897.0089 | [email protected] | www.mediaed.org Teen Sexuality in a Culture of Confusion Transcript MICHELLE: I think sexuality is a lot more than just having intercourse. SUSAN DOUGLAS: Your sexuality, particularly when you’re an adolescent, expresses itself in virtually every physical way – in the way you walk, in the way you talk, in how you dress, in what you do, and how you act. MICHAEL: I express my sexuality even though I’ve never had sex. LINDSAY: Sexuality is that little butterfly or knot in your stomach that says I care about this person. RAPHAEL: Sexuality is how a given individual feels toward another given individual, whether it be man to woman, woman to woman, or man to man. SUT JHALLY: Sexuality is one of those things that makes us human. And so the only question then is: how is the society going to talk about it? TITLE SCREEN – TEEN SEXUALITY IN A CULTURE OF CONFUSION MICHELLE: I’ve learnt a lot myself being a peer educator that I can stand up for what I believe in, and I can make a difference in other people’s lives. I am really lucky to have a mother that trusts me. I guess the best way to say it is she really shows that her love is unconditional. And if we make mistakes, well, that’s okay. Just learn from them, and go on. And I was eleven when my older sister had her first baby, and she was eighteen.
    [Show full text]
  • Bordo The-Male-Body.Pdf
    readers how and why they should pay a different kind of attention to the images around them. For this assignment, use Bordo's work to reconsider Berger's. Write an essay in which you consider the two chapters as examples of an ongoing project. Berger's essay precedes Bordo's by about a quarter of a century. If you look closely at one or two of their examples, and if you look at the larger concerns of their arguments, are they saying the same things? doing the same work? If so, how? And why is such work still necessary? If not, how do their projects differ? And how might you explain those differences? SUSAN BORDO SUSAN BORDO (b. 1947) is the Otis A. Singletary Chair of Humanities at the University of Kentucky. Bordo is a philosopher, and while her work has touched on figures and subjects traditional to the study of philosophy (Rene Descartes, for example), she brings her training to the study of culture, including popular culture and its representations of the body. She is a philosopher, that is, who writes not only about Plato but about Madonna and John Travolta. In Unbearable Weight: Feminism, Western Cul­ ture, and the Body (1993), Bordo looks at the complicated cultural forces that have produced our ways of understanding and valuing a woman's body. These powerful forces have shaped not only attitudes and lives but, through dieting, training, and cosmetic surgery, the physical body itself. Unbearable Weight was nominated for the 1993 Pulitzer Prize; it won the Association for Women in Psy­ chology's Distinguished Publication Award and was named by the New York Times as one of the "Notable Books of 1993." The book had a broad audience and made a significant contribution to the academic study of gender and the body.
    [Show full text]
  • Eating Culture
    Eating Culture Ron Scapp and Brian Seitz, Editors 'te University of New York Prt , .0 Introduction e think that the range of topics, perspectives, and possibilities pre­ ;ented here makes for an unusual and interesting menu. It is our hope :hat Eating Culture stimulates your appetite. Chapter 1 Hunger as Ideology Susan Bordo The Woman Who Doesn't Eat Much In a television commercial, two little French girls are shown dressing up in the feathery finery of their mothers' clothes. They are exquisite little girls, flawless and innocent, and the scene emphasizes both their youth and the natural sense of style often associated with French women. (The ad is done in French, with subtitles.) One of the girls, spying a picture of the other girl's mother, exclaims breathlessly, "Your mother, she is so slim, so beautiful! Does she eat?" The daughter, giggling, replies: "Silly, just not so much," and displays her mother's helper, a bottle of FibreThin. "Aren't you jealous?" the friend asks. Dimpling, shy yet self­ possessed, deeply knowing, the daughter answers, "Not if I know her secrets." Admittedly, women are continually bombarded with adver­ tisements and commercials for weight-loss products and programs, but this commercial makes many of us particularly angry. On the most obvious level, the commercial affronts with its suggestion that young girls begin early in learning to control their weight, and with its romantic mystification of diet pills as part of the obscure, eternal arsenal of feminine arts to be passed from generation to generation. This romanticization, as often is the case in American commercials, trades on our continuing infatuation with (what we imagine to be) the civility, tradition, and savoir-faire of "Europe" (seen as the stylish antithesis to our own American clumsiness, 11 12 Eating Culture Hunger as Ideology 13 tggressiveness, crudeness).
    [Show full text]
  • Immanence and Transcendence: Aesthetic Responses to "Madness" in Women's Literature from 1892
    The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Ph.D. Thesis Immanence and Transcendence: Aesthetic Responses to "Madness" in Women's Literature from 1892 Joanne Elizabeth Howell English Literature Department University of Durham 2003 Supervisor: Professor Patricia Waugh 21 MAY 2003 Contents Abstract 2 Part One: Theoretical Frameworks 4 The Immanent and Transcendent Female Subject 5 Women and Madness 6 The Hysteric: Reading The Yellow Wallpaper (1892) 14 Women and the Body 29 Simone de Beauvoir 38 The Narcissist in Angela Carter's Magic Toyshop (1967) 45 Women and Language 56 Writing the Body: the Schizophrenic and Autobiography 64 Feminist Responses 76 Notes 86 Part Two: Reading Virginia Woolf and Sylvia Plath 89 Virginia Woolf Writing a Woman's Life 90 Life and Fiction: Writing the Self 95 Writing the Body 104 Woolf s Mirrors 121 "The Lady in the Looking-Glass" (1929) 124 "The New Dress" (1927) 128 Economics, Class and Katherine Mansfield. 138 Death 149 Septimus Smith and Suicide 153 Mrs Dalloway and To The Lighthouse 165 Language and feminism 170 Notes 178 Sylvia Plath: A Woman Telling Stories 180 The Art of Saying "I" 187 "Poem for a Birthday" (1959) 195 The Bell Jar (1963) 199 Economics, femininity and popular culture. 205 "The Wishing Box" (1956) 214 "Day of Success" (1960) 220 "Its only a story / Your Story. My Story." 225 Notes 247 Contents Postmodern Bodies and Conclusion 250 Subjectivity, Feminism and Postmodern Theory 251 Fantastic Bodies 266 Nights at the Circus (1984) 269 Conclusion 275 Notes 278 Bibliography 280 Primary Sources Virginia Woolf 288 Critical Sources Virginia Woolf 289 Primary and Critical Sources Katherine Mansfield 289 Primary Sources Sylvia Plath 290 Critical Sources Sylvia Plath 290 Declaration No part of this work has been previously submitted for a degree at any university.
    [Show full text]