Academic literature on the topic 'Feminism. Women in popular culture. Feminist criticism'
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Journal articles on the topic "Feminism. Women in popular culture. Feminist criticism"
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LICHEVA, Amelia. "POSTFEMINISM." Ezikov Svyat volume 19 issue 3, ezs.swu.v19i3 (October 1, 2021): 120–24. http://dx.doi.org/10.37708/ezs.swu.bg.v19i3.13.
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In the age of all "post" and "meta" things, when there has been more and more debates about the death of traditional categories, feminism makes no exception. Postfeminism has been discussed since the last decade of the twentieth century, when feminism was pronounced dead (by analogy with the many deaths that were pronounced in the period), or else it was noted as suffering from an "identity crisis." The multifaceted nature of the term depends on its uses in literary studies, academia, politics, and popular culture, respectively. It is part of the vocabulary and theories of feminist scholars working in the fields of gender studies, film studies and media criticism. Traditional feminism gives way to postfeminism. That is why the article deals with today's debates about the distinctions that postfeminism makes, declaring either that traditional feminism has failed or, on the contrary, that it has achieved all goals of its struggle and today there is no place for the topic of women's rights. The text also focuses on the links between postfeminism and popular culture, media, cinema, defending the ideology of successful women, of eternally young women. With its frequent emphasis on luxurious lifestyle, everyday pleasures and the small things in life, postfeminism is fully integrated into economic discourses and new market niches in Western societies.
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Shoos, Diane. "The Female Subject of Popular Culture." Hypatia 7, no. 2 (1992): 215–26. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00895.x.
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This essay discusses the place of popular culture, especially visual representation, in theories of female subjectivity and examines two recent works on women and popular culture as representative of two primary critical and methodological approaches to the female subject. The essay considers the limitations and implications of both qualitative communication research and text-based feminist criticism and the need to construct a dialogue between them.
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Koplowitz-Breier, Anat. "North to South through a Post-Feminist Prism: Israeli Society as Reflected in Ora Shem-Ur’s Fictional Detective Novels." Humanities 11, no. 6 (October 27, 2022): 133. http://dx.doi.org/10.3390/h11060133.
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Ora Shem-Ur’s detective series starring Ali Honigsberg established her as one of the early female pioneers in the new wave of Israeli detective fiction writers. In line with the current trend in post-feminist criticism towards analyzing the place of women within popular culture by looking at fiction as an agent of social change, this article suggests that the series not only addresses gendered topics but also other tensions and social exploitations of power within Israeli society. Shem-Ur thus provides a fascinating portrait of Israeli society in the 1990s, reflecting the way in which female detective fiction developed from light reading material into a social mirror presenting and addressing social changes and shifts in gender conception. Reading the series through a post-feminist lens, the article seeks to demonstrate how its themes of the relations between men, women, and power, and of economic corruption and politics, shed light on contemporaneous Israeli social issues.
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Telnoni, Wike Yuciana. "Analisis Reflektif Teologi Estetika John Navone." Matheteuo: Religious Studies 2, no. 2 (January 5, 2023): 101–13. http://dx.doi.org/10.52960/m.v2i2.154.
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ABSTRACT:
The presence of the media as one of the determinants of ideal body standards in self-esteem and beauty is a product of popular culture that has been created for a long time The ideal body standard is constructed through products from well-known brands advertised by Selebgram, influencers and celebrities through social media platforms. One standard of beauty and body beauty displayed by them is to have white skin. Women who have white skin are considered to have privileges, luxury, cleanliness and show an auara of beauty. One of the product that is being advertised, namely the Scarlett Whitening product, most women have reconstructed their minds so that being beautiful and beautiful does not have to be white. The author argues that basically true beauty and beauty can be achieved if we are not attached and able to respect ourselves as we were created by looking at the point of view of feminist criticism and aesthetic theology by John Navone.
Key words: Advertising, Aesthetic Theology, Feminist, Social media, Women.
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Jovkovska, Ana. "THE CULTURAL SHACKLES OF NORMATIVE FEMININITY THROUGH CERTAIN LITERARY AND FILM NARRATIVES." PHILOLOGICAL STUDIES 19, no. 2 (2021): 110–30. http://dx.doi.org/10.17072/1857-6060-2021-19-2-110-130.
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The contemporary challenges of culture and gender in consumer society are numerous. Through critical reflections on certain aspects of women's representation in popular culture, we will re-examine her role in society, seeking explicit and subliminal sexist messages embedded in literary and film language. Exploring the hegemony of the body, through the objectification of women and sexism, the cultural shackles of normative femininity, we will try to find gender asymmetry in the media representation and note the relationship with the ideology of consumerism and mass culture. Decoding the gender stereotypes, on the one hand, and the contemporary post-feminist transformations of femininity, on the other, we will re-examine the gender roles in popular culture by asking questions: To what extent do books and films about Bridget Jonesand The Stepford Wivesoppose the macho, sexist and patriarchal culture? Are they a rebellion against gender and structural discrimination against women? Is the criticism in those works clear and explicit or, in the attempt to detect gender stereotypes, do they in fact legitimize and strengthen them? Is it a matter of subversion, resistance or acceptance, or is it a reconciliation with the dominant values of popular culture and masculine society? Through the polysemic reading of the texts we will seek for the new meanings that are created through the juxtaposition of the code and the decoder, in the interaction between the text, the meaning, the context, the recipient and the discourse. The production of meanings extends far beyond the processes of fabrication, exchange and reproduction of culture
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Ameti, Lirije. "THE PORTRAIT OF THE AMERICAN WOMAN IN MARGARET MITCHELL'S NOVEL "GONE WITH THE WIND"." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1749–53. http://dx.doi.org/10.35120/kij31061749a.
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This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A masterpiece of 1037 pages published in 1939 and subsequently in the greatest and longest motion picture on screen. Piling up records and building it's own history and legends. The novel has sold in more than 25 million copies in at least 27 languages in thirty countries and in more than 185 editions according to the research conducted in 2004. These figures continue to increase, not to mention that the film is seen by more individuals than the total population of the USA. GWTW has grown and conflated into a phenomenon of American and later into a phenomenon of levels of basic appreciation after international popular culture. Thus criticism was attested at the levels of basic appreciation , often in the opposite poles of love and /or hate , the evaluation again in bipolar terms of praise and / or scorn. On the popular level the book was lauded and in the literary world it was defamed. Mitchell's novel " Gone With The Wind " was seen as important symbols of American culture forces. A serious biography in 1965 sparked reconsiderations simply by the assumption of Mitchell's importance as a writer. Other re- evaluations followed which asserted the literary quality of the work, notably in feminist terms. Attesting the qualities that critics wrote such as Michener who said: " The spiritual history of a region". Many other scholarly papers have been undertaken to attack it and completed to praise it. Because of the enormous popularity , readability , embodiment of the heroine woman character Scarlett O'Hara with many other women who saw themselves in those situations or experienced the same then or even nowadays. These multi themes to discuss about, issues primarily of women, the novel is defined as a woman's literary artistic achievement, seen through the eyes off a woman Scarlett herself and many other women characters. Is seen the distinction of the past and present of the old and new society. Mitchell herself says it is about courage and gumption to change as a necessity in order to survive war, reconstruction and transition. The search of survival by poor and nearly defeated young women who had no control or capacity to understand these tensions. Indeed this novel has become an icon of the US culture.
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Kettrey, Heather Hensman, Alyssa J. Davis, and Jessica Liberman. "“Consent Is F#@king Required”: Hashtag Feminism Surrounding Sexual Consent in a Culture of Postfeminist Contradictions." Social Media + Society 7, no. 4 (October 2021): 205630512110629. http://dx.doi.org/10.1177/20563051211062915.
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Hashtag feminism exists in a time of postfeminist contradictions marked by the simultaneous existence of popular feminism and popular misogyny. In one such contradiction, popular feminism has led women to expect the successful negotiation of sexual consent, while popular misogyny permits the circulation of traditional sexual scripts that disregard the necessity of consent. In this study, we analyze messages conveyed through digitized narratives of sexual consent posted on Tumblr, a social media site that is popular among feminist activists, to identify the ways that users construct meaning around the dissonance between expectations for consent and the inequalities that inhibit its negotiation. We specifically explore whether hashtag feminism navigates postfeminist contradictions in a way that simultaneously calls out misogyny and calls on feminism. We find that the Tumblr posts in our sample did both, albeit in a manner that failed to offer tangible solutions to the problem at hand. Calls on feminism were largely limited to tagging feminist allies and recirculating existing feminist campaigns. Thus, we argue that the hashtag ultimately became a handoff to a larger feminist abstraction. Future research should explore conditions under which activists link tangible issues, actors, and agendas to an otherwise abstract popular feminism.
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Tohidi, Nayereh. "The Primary Changes in Gender-Related Activism in Iran in the Past 100 Years." Iran Academia Journal, no. 9 (August 2022): 1–8. http://dx.doi.org/10.53895/iccifp0e.
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This presentation provides a brief summary of the changes in gender dynamics in Iran over the past 100 years (1300-1400/1921-2021), focusing on the status, rights, and demands of women. Women’s demands and the theoretical and practical framework in which they are conveyed will be the primary determinants. Socio-political transformation processes, including changes in the government and its politicians, as well as the economic, cultural background and popular domestic and international discourses, have influenced the strategies, slogans, and formatting of the major demands of women in every historical period. What strategies and solutions did prior generations and pioneers of the Iranian feminist movement employ to overcome various hurdles and obstacles, especially in historical contexts, and what lessons can the younger generations of Iran and other nations learn from the Iranian feminist mothers? In the context of the strategic framework and the future outlook of the women’s movement, some criticisms and recommendations are provided in the end. In the century under review, Iranian society, particularly its gender relations, has been influenced by a number of interconnected internal and foreign variables, such as two nationwide revolutionary movements with contrasting ideologies, worldviews, and discourses. The first is the unfinished constitutional revolution founded on modernity and modernism and a partial end to tyranny; the second is the “Islamic Revolution” founded on fundamentalism and religious dictatorship. Numerous political-social, scientific developments, and new technological inventions, especially in communication and information systems, have accelerated awareness, the interaction between cultures, and globalization processes, including the global-local (glocal) spread of new discourses and values such as Human rights, democracy, sustainable development, environmental protection, equality, de-discrimination, and feminism; All of them have had global-local (glocal) consequences and laid the foundation for the dynamics of new social movements, including women’s movements in the world and Iran.
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Kalogirou, Tzina, Xavier Mínguez López, and Catalina Millán-Scheiding. "Editorial: Feminism and Gender in Literary Education." Journal of Literary Education, no. 3 (December 12, 2020): 1. http://dx.doi.org/10.7203/jle.3.19203.
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The starting point for the making of this current issue were some fundamental questions about the intersection of Feminist Criticism and Gender Theory with Education: What might it mean to read and teach literature through the prism of feminist criticism and/or gender theory? In which texts, ways and methods can we integrate a balanced gender approach into literary didactics? How and in which teaching approaches can we produce some powerful feminist readings of the literary texts, whether they are texts long established by tradition, or contemporary and multimodal ones, belonging to popular culture? And how can these concerns about feminism and gender be adequately addressed and embedded into the literature classroom? Although we knew that all the previous questions could not be effectively addressed in one single issue, we still envisaged a publication with insightful contributions to the overall theme of Feminism and Gender in Literary Education.
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Gramsci, Antonio. "Gramsci on Theatre." New Theatre Quarterly 12, no. 47 (August 1996): 259–65. http://dx.doi.org/10.1017/s0266464x00010253.
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Our occasional series on early Marxist theatre criticism – which has already included Trotsky on Wedekind in NTQ28, Lunacharsky on Ibsen in NTQ39, and Mehring on Hauptmann in NTQ 42 – continues with two essays by the Italian Marxist philosopher Antonio Gramsci, whose concepts of hegemony, the national-popular, and the organic intellectual have had a profound influence on twentieth-century western thought. From 1916 to 1920 Gramsci was also a theatre critic, writing a regular drama review column in the Piedmont edition of the socialist daily newspaper Avanti! in which he first explored ideas about the ideological function of theatre. His review of a 1917 Italian production of Ibsen's A Doll's House is a particularly strong example of his attempt to generate notions of the theatre as an arena of political struggle in which the cultural values of the bourgeoisie were expressed, but which also had the potential to subvert these values and provide the proletariat with the critical wherewithal to express its hegemony. He saw the function of the theatre critic as promoting social, cultural, and moral awareness in the spectator, and Ibsen's play as a particularly apt vehicle for critiquing the moral superficiality of Italian bourgeois women in its powerful portrayal of the oppressions of a patriarchal society. While Gramsci's review of A Doll's House can be seen as a forerunner to contemporary feminist ideas, he saw Pirandello's use of the ‘power of abstract thought’ as making him a potentially revolutionary playwright, whom he described as ‘a commando in the theatre’. His plays were ‘like grenades that explode inside inside the brains of spectators, demolishing their banalities and causing their feelings and thoughts to crumble’. After reviewing ten of Pirandello's early plays for Avanti! Gramsci later expressed his intention of writing a full-length study of the playwright's ‘transformation of theatrical taste’. All that came of these intentions were the rather fragmented notes he made in the Prison Notebooks, in which he expressed his views on Pirandello in the context of the politics of culture and the idea of a national popular literature. Gramsci saw Pirandello's metatheatre as subverting traditional dramatic principles, but failing to establish new ones or to subvert the social and economic aspects of tradition. Gramsci responds to the critical debates on Pirandello in the 1920s by Tigher and Croce about Pirandellism's combination of art and philosophy and its conflict between ‘life’ and ‘form’, but his final comments about his views being taken with a ‘pinch of salt’ indicate that they are not definitive.
Dissertations / Theses on the topic "Feminism. Women in popular culture. Feminist criticism"
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Murphy, Kylie. "Bitch: the politics of angry women." Thesis, Murphy, Kylie (2002) Bitch: the politics of angry women. PhD thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/217/.
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'Bitch: the Politics of Angry Women' investigates the scholarly challenges and strengths in re theorising popular culture and feminism. It traces the connections and schisms between academic feminism and the feminism that punctuates popular culture. By tracing a series of specific bitch trajectories, this thesis accesses an archaeology of women?s battle to gain power.
Feminism is a large and brawling paradigm that struggles to incorporate a diversity of feminist voices. This thesis joins the fight. It argues that feminism is partly constituted through popular cultural representations. The separation between the academy and popular culture is damaging theoretically and politically. Academic feminism needs to work with the popular, as opposed to undermining or dismissing its relevancy.
Cultural studies provides the tools necessary to interpret popular modes of feminism. It allows a consideration of the discourses of race, gender, age and class that plait their way through any construction of feminism. I do not present an easy identity politics. These bitches refuse simple narratives. The chapters clash and interrogate one another, allowing difference its own space.
I mine a series of sites for feminist meanings and potential, ranging across television, popular music, governmental politics, feminist books and journals, magazines and the popular press. The original contribution to knowledge that this thesis proffers is the refusal to demarcate between popular feminism and academic feminism. A new space is established in which to dialogue between the two.
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Murphy, Kylie. "Bitch : the politics of angry women /." Murphy, Kylie (2002) Bitch: the politics of angry women. PhD thesis, Murdoch University, 2002. http://researchrepository.murdoch.edu.au/217/.
Full textAbstract:
'Bitch: the Politics of Angry Women' investigates the scholarly challenges and strengths in re theorising popular culture and feminism. It traces the connections and schisms between academic feminism and the feminism that punctuates popular culture. By tracing a series of specific bitch trajectories, this thesis accesses an archaeology of women?s battle to gain power.
Feminism is a large and brawling paradigm that struggles to incorporate a diversity of feminist voices. This thesis joins the fight. It argues that feminism is partly constituted through popular cultural representations. The separation between the academy and popular culture is damaging theoretically and politically. Academic feminism needs to work with the popular, as opposed to undermining or dismissing its relevancy.
Cultural studies provides the tools necessary to interpret popular modes of feminism. It allows a consideration of the discourses of race, gender, age and class that plait their way through any construction of feminism. I do not present an easy identity politics. These bitches refuse simple narratives. The chapters clash and interrogate one another, allowing difference its own space.
I mine a series of sites for feminist meanings and potential, ranging across television, popular music, governmental politics, feminist books and journals, magazines and the popular press. The original contribution to knowledge that this thesis proffers is the refusal to demarcate between popular feminism and academic feminism. A new space is established in which to dialogue between the two.
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Legge, Janet Helen. "Post-feminism in Cosmopolitan and For Him magazine (FHM) : a critical analysis." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1005956.
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Cosmopolitan and For Him Magazine (FHM) are, at present, both the most widely read and, therefore, the most popular "white" consumer magazines in South Africa. They both appeal to young audiences of between 18 and 34 years of age, approximately, and target middle-class, educated groups of readers. My interest in Cosmopolitan and FHM lies in their ability to influence and shape their readers' actions, values, identities and relationships, in particular with the other gender. My analysis is focused on the cover pages and the Editor's letters of six copies of each magazine, ranging from April to September 2003, providing me with a corpus of 12 cover pages and 12 Editor's letters. I adopt a critical perspective through the use of Fairclough's (1989) Critical Discourse Analysis, supported by Mills (1995) Feminist Stylistics, McLoughlin's (2000) textual analysis of cover pages and Kress & van Leeuwen's (1996) visual analysis tools. By combining these different methodologies my research falls into what is newly termed Feminist Critical Discourse Analysis (Lazar 2005). The cover page analyses used primarily McLoughlin and Kress & van Leeuwen and provides an element of pure genre analysis, while the analysis of the Editor's letters were subject to Fairclough's three inter-related stages of analysis, namely: a Description of the formal textual elements of the letters, an Interpretation which analyses the processes of text production and interpretation, and lastly an Explanation of the socio-historical context. Through an analysis of these magazines, whose interests are being served and how the readers are shaped and positioned by the magazines can be identified. My analyses revealed conflicting discourses within each magazine, however it was Cosmopolitan that revealed more tension and conflict in terms of identifying and representing women, while FHM subscribed, for the most part, uniformly to the "new lad" ideology. However, while Cosmopolitan attempted to show a forward-thinking and emancipatory view of the roles of men and women in society, both magazines covertly sustain patriarchal dominance and hegemonic masculinity. In conclusion, I reveal the need for consumers of the mass media to become more critically aware of the ideologies that are promoted through the differing tools of the media and that only through this critical awareness can any further movement towards equal relations between men and women be made.KMBT_363
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Tapia, Ruby C. "Conceiving images : racialized visions of the maternal /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3057347.
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Rhodes, Molly Rae. "Doctoring culture : literary intellectuals, psychology and mass culture in the twentieth-century United States /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9809139.
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Robinson, Penelope A. "A postfeminist generation young women, feminism and popular culture /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/37397.
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Thesis (Ph.D) -- University of Western Sydney, 2008.A thesis submitted to the University of Western Sydney, College of Arts, School of Social Sciences, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
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Di, Guglielmo Antoinette Christine. "Sex and the city: A postmodern reading." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3239.
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Sex and the City was a television show that aired on Home Box Office from 1998-2004. The tv show succeeded because of feminist's wanting a modern woman's drama rich in episodes about consumption, women's sexuality, financial independence, fashion and contemporary relationship dynamics. The characters captured and perpetuated just that. The modern take on the ideologies that drive women's perception of personal fulfillment, body image, consumerism, social behavior and values and romantic relationship dynamics made this tv show the phenomena that it became.
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Mosher, Victoria. "BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002141.
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Dunn, Jennifer C. "Legal Prostitution as Sex Work: Discourses of the Moonlite Bunny Ranch." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3371481.
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Harrington, Erin Jean. "Gynaehorror: Women, theory and horror film." Thesis, University of Canterbury. Cultural Studies, School of Humanities and Creative Arts, 2014. http://hdl.handle.net/10092/9586.
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This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of this subgenre outside of the dominant modes of inquiry by placing an emphasis upon philosophies of sex, gender and corporeality, rather than focussing on psychodynamic approaches. Thirdly, I consider not only what these theories may do for the study of horror films, but what spaces of inquiry horror films may open up within these philosophical areas.
To do this, I focus on six broad streams: the current limitations and opportunities in the field of horror scholarship, which I augment with a discussion of women’s bodies, houses and spatiality; the relationship between normative heterosexuality and the twin figures of the chaste virgin and the voracious vagina dentata; the representation and expression of female subjectivity in horror films that feature pregnancy and abortion; the manner in which reproductive technology is bound up within hegemonic constructions of gender and power, as is evidenced by the figure of the ‘mad scientist’; the way that discourses of motherhood and maternity in horror films shift over time, but nonetheless result in the demonisation of the mother; and the theoretical and corporeal possibilities opened up through Deleuze and Guattari’s model of schizoanalysis, with specific regard to the 'Alien' films. As such, this thesis makes a unique contribution to the study of women in horror film, while also advocating for an expansion of the theoretical repertoire available to the horror scholar.
Books on the topic "Feminism. Women in popular culture. Feminist criticism"
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Feminism and youth culture. 2nd ed. Houndmills, Basingstoke, Hampshire, UK: Macmillan Press, 2000.
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Feminism without women: Culture and criticism in a postfeminist age. New York: Routledge, 1991.
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Frauen und Popkultur: Feminismus, cultural studies, Gegenwartsliteratur. Bochum: Posth Verlag, 2011.
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Rosemarie, Buikema, and Smelik Anneke, eds. Women's studies and culture: A feminist introduction. London: Zed Books, 1993.
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Material girls: Making sense of feminist cultural theory. Berkeley: University of California Press, 1995.
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The rhetorics of feminism: Readings in contemporary cultural theory and the popular press. London: Routledge, 2004.
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Goddesses and monsters: Women, myth, power, and popular culture. Madison: University of Wisconsin Press/Popular Press, 2004.
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Mixed feelings: Feminism, mass culture, and Victorian sensationalism. New Brunswick, N.J: Rutgers University Press, 1992.
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Cvetkovich, Ann. Mixed feelings: Feminism, mass culture, and Victorian sensationalism. New Brunswick, N.J: Rutgers University Press, 1992.
Find full textBook chapters on the topic "Feminism. Women in popular culture. Feminist criticism"
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Clay, Catherine. "Mediating Culture: Modernism, the Arts and the Woman Reader." In Time and Tide, 75–102. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474418188.003.0004.
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This chapter examines Time and Tide’s early music, theatre, film and book reviews – a treasure-trove for exploring trends in interwar literature and the arts as well as debates about the nature and function of criticism itself. Focusing on the contributions of regular columnists including Christopher St John (née Christabel Marshall) and Sylvia Lynd the chapter discusses Time and Tide’s mediation of culture ranging from the modernist and ‘avant-garde’ to the ‘middlebrow’ and popular and posits that its position is identifiably feminist both in terms of its promotion of women in the cultural sphere and in its responses to developments in criticism in the interwar years. Engaging with such topics as the well-known ‘romanticism versus classicism’ debate and modernism’s ‘problem with pleasure’ (Frost 2013), the chapter demonstrates Time and Tide’s commitment both to educating the woman reader in a higher culture and defending traditional reading pleasures.
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Allmark, Panizza. "Dangerous Women Feminism." In Research Anthology on Feminist Studies and Gender Perceptions, 423–41. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-4511-2.ch025.
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In the last 10 years, feminism has been foregrounded in popular music more than at any time. At the same time, female pop music artists have been the target of hostility because of the feminist messages they espouse. This chapter examines US-based female popular music artists who have embraced a postfeminist agenda. This agenda engages messages of empowerment, sex positivity, and elements of girl culture. In addition, this chapter explores the notion of resilience in relation to how these music artists have used the voice of feminism to become outspoken and show independence and strength in celebrating the female body. In particular, the author discusses the discourse of their concert tours, as this is a time when these artists are in the spotlight through both their performance and the promotional materials for those performances and as a consequence are more open (and vulnerable) to critique than at other times.
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Mendes, Kaitlynn, Jessica Ringrose, and Jessalynn Keller. "Hashtag Feminism." In Digital Feminist Activism, 125–44. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697846.003.0006.
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This chapter focuses on women’s use of the Twitter hashtag #BeenRapedNeverReported. Using the hashtag, hundreds of girls and women shared the reasons they didn’t report incidents of sexual assault by partners, family members, friends, and acquaintances. We explore how this feminist hashtag developed in response to the public allegations of sexual violence made about then-popular Canadian CBC radio host Jian Ghomeshi, and ultimately moved across the media landscape, producing a robust public discussion about sexual violence and rape culture. Drawing on thematic analysis of #BeenRapedNeverReported tweets and interviews with eight women who contributed to the hashtag, we analyze the “affective solidarity” produced along this hashtag and the ways it created new lived possibilities for feminist identification, experience, organizing, and resistance. We contextualize this analysis within a larger Canadian media culture to position the hashtag as both a discursive and affective intervention into hegemonic public discourse about rape culture and sexual violence.
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Allmark, Panizza. "Dangerous Women Feminism." In Multidisciplinary Perspectives on Women, Voice, and Agency, 134–58. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4829-5.ch006.
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In the last 10 years, feminism has been foregrounded in popular music more than at any time. At the same time, female pop music artists have been the target of hostility because of the feminist messages they espouse. This chapter examines US-based female popular music artists who have embraced a postfeminist agenda. This agenda engages messages of empowerment, sex positivity, and elements of girl culture. In addition, this chapter explores the notion of resilience in relation to how these music artists have used the voice of feminism to become outspoken and show independence and strength in celebrating the female body. In particular, the author discusses the discourse of their concert tours, as this is a time when these artists are in the spotlight through both their performance and the promotional materials for those performances and as a consequence are more open (and vulnerable) to critique than at other times.
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Magoulick, Mary J. "Appropriative Roots and (Un?)Feminist Resonances of the Goddess Myth." In The Goddess Myth in Contemporary Literature and Popular Culture, 3–26. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837066.003.0001.
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The overall argument and key terms like myth, popular culture, and feminism are introduced, along with typical patterns of such stories in our culture. Problems with presentations of powerful women and many analyses thereof are explored. Tourism in prehistory and considerations of popular culture goddess patterns spurred this study. Why do goddesses and powerful women appeal to us, and why do we readily appropriate the ancient past in imagining them? Feminist theory and study receive a general overview in terms of aspects that will be applied.
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Clay, Catherine. "‘The Enjoyment of Literature’: Women Writers and the ‘Battle of the Brows’." In Time and Tide, 177–208. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474418188.003.0007.
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This chapter picks up and extends arguments advanced earlier in the book regarding the status of women’s writing and criticism during the years of modernism’s cultural ascendancy and academic institutionalisation. In the contexts of (1) a newly configured ‘University English’ which took an authoritative new role in the cultural field against an earlier belle-lettres tradition, and (2) the unprecedented prestige of middlebrow fiction in the 1930s, the chapter explores how Time and Tide navigated increasing tensions between ‘highbrow’ and ‘middlebrow’ spheres and succeeded in straddling both. First the chapter discusses the introduction in 1927 of a new ‘Miscellany’ section of the paper – home to E. M. Delafield’s popular serial ‘The Diary of a Provincial Lady’ – and argues that these columns created and legitimised a place for the ‘feminine middlebrow’ and amateur writer as the periodical increased its orientation towards the highbrow sphere. Second, with reference to the appointment of Time and Tide’s first two literary editors, the chapter discusses how the periodical negotiated a widening gap in this period between intellectual and general readers, and between amateur and professional modes of criticism.
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Sulimma, Maria. "Navigating Discourses of Universality and Specificity: The (Feminist) Voice of a Generation?" In Gender and Seriality, 68–88. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474473958.003.0004.
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The third chapter provides an exploration of Girls's larger cultural contexts. It traces the show’s participation in gendered discourses of universality and specificity and finds these to be indebted to its position within a postfeminist marketplace. Taking up feminist media scholar Charlotte Brunsdon’s observations regarding feminist criticism, the chapter further suggests the notion of an ur-feminist impulse which current postfeminist media texts propagate to benefit from the relatively recent (commercial) popularity of feminism. The chapter demonstrates how, for Girls, this specifically impacts its viewer-critics discussions of race and bodily representations within a binary of critique or redemption. As such, Girls’s investment in its viewer-critics’ conversations is exemplary of a new 'wave' of postfeminist co-optation and commercialization of feminism in popular culture.
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Magoulick, Mary J. "Mixed Messages in Modern Myths." In The Goddess Myth in Contemporary Literature and Popular Culture, 160–88. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837066.003.0007.
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Some fictional Goddesses by women writers in recent years exist more complexly toward a middle of the spectrum—mixing dark and light, troubling and promising qualities. These less completely dualistic goddesses seem more aligned with intersectional feminism, incorporating multicultural and feminist characters who offer actionable hope. Madeline Miller’s Circe (2018), is a goddess/witch who suffers but uses will and hard work to carve out a good life. Tomi Adeyemi’s Zelié (heroine of Children of Blood and Bone, 2018), tormented for her magical power, finds love via a goddess, and promises to change her world. N.K. Jemisin creates Yeine (The Hundred Thousand Kingdoms, 2010) and Essun (The Broken Earth trilogy), brown women who rise to goddess-hood after hardships and death. They demonstrate both will and power to re-make their worlds “better.” Speculative fiction that perceives the world’s troubles but nonetheless works to “weaponize optimism” can be called hopepunk.
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Mattar, Karim. "Women in the Literary Marketplace: The Anglophone Iranian Novel and the Feminist Subject." In Specters of World Literature, 260–99. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467032.003.0006.
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This chapter turns to anglophone Middle Eastern literary production as an increasingly important site for the discursive and representational worlding of the region. I focus on the anglophone Iranian novel, and orient my discussion around questions of gender after the Iranian Revolution of 1979. After an overview of diasporic Iranian literary production in the context of geopolitical tensions with the West, I then delve more deeply into representations of gender. I argue that the massive popular and critical acclaim by which Azar Nafisi’s memoir Reading Lolita in Tehran: A Memoir in Books was met was based on its conformity to and reproduction of the “rogue state” idea of Iran, and its related disavowal of any form of feminism – especially Islamic feminism – other than the secular-liberal or universal. Yasmine Crowther’s and Marjane Satrapi’s (graphic) novels The Saffron Kitchen and Persepolis work against the cosmopolitan literary and political ideals to which Nafisi’s text subscribes, and instead plot trajectories of feminist agency in Iran rooted in and taking their contours from a sense of multiple belonging in nation, religion, family, and profession. They thus bring important Iranian perspectives to bear on the contemporary discussion of Islamic feminism in literature and culture.
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DiCenzo, Maria. "Women’s Organisations and Communities of Interest: Introduction." In Women's Periodicals and Print Culture in Britain, 1918-1939. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412537.003.0031.
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THE INTERWAR PERIOD saw the proliferation of women’s organisations – voluntary, popular, non-political, party- and faith-based – some of which engaged with feminist discourses and others that deliberately avoided these associations, defining and generating a new array of women-defined collective identities.1 The work of feminist historians in recent decades has been instrumental in redefining the parameters of the women’s movement to include the efforts of non-feminist organisations as advocates for women’s rights. Maggie Andrews captures this tendency in the phrase ‘the acceptable face of feminism’ in her groundbreaking study of the Women’s Institute as a social movement, challenging the ‘jam and Jerusalem’ image so often attributed to these forms of women’s associational culture (1997). Recently Karen Hunt and June Hannam have argued for ‘a new archeology of “women’s politics”’ as a way to reframe and arrive at a more nuanced understanding of the participation and role of women in various areas of public life (2013). While many of the periodicals showcased in this section were not overtly feminist, they certainly engaged in women’s politics and forms of advocacy in this broader sense, and they did so across the political spectrum. It is important to recognise why it might have been more appealing and even more practical for organisations to distance themselves from feminism, particularly in a climate of hostile reaction. As DiCenzo and Eustance note in the previous Part, the ‘demise’ school of interwar history has not always fully recognised the adversarial conditions women faced and the resistance with which their demands were met....