Academic literature on the topic 'Housewife feminist feminism'
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Journal articles on the topic "Housewife feminist feminism"
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STRNAD, Grażyna. "Feminizm amerykański trzeciej fali – zmiana i kontynuacja." Przegląd Politologiczny, no. 2 (November 2, 2018): 19–27. http://dx.doi.org/10.14746/pp.2011.16.2.2.
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The history of American women fighting for equal rights dates back to the 18th century, when in Boston, in 1770, they voiced the demand that the status of women be changed. Abigail Adams, Sarah Grimke, Angelina Grimke and Frances Wright are considered to have pioneered American feminism. An organized suffrage movement is assumed to have originated at the convention Elizabeth Stanton organized in Seneca Falls in 1848. This convention passed a Declaration of Sentiments, which criticized the American Declaration of Independence as it excluded women. The most prominent success achieved in this period was the US Congress passing the Nineteenth Amendment to the Constitution granting women the right to vote. The 1960s saw the second wave of feminism, resulting from disappointment with the hitherto promotion of equality. The second-wave feminists claimed that the legal reforms did not provide women with the changes they expected. As feminists voiced the need to feminize the world, they struggled for social customs to change and gender stereotypes to be abandoned. They criticized the patriarchal model of American society, blaming this model for reducing the social role of women to that of a mother, wife and housewife. They pointed to patriarchal ideology, rather than nature, as the source of the inequality of sexes. The leading representatives of the second wave of feminism were Betty Friedan (who founded the National Organization for Women), Kate Millet (who wrote Sexual Politics), and Shulamith Firestone (the author of The Dialectic of Sex: The Case for Feminist Revolution). The 1990s came to be called the third wave of feminism, characterized by multiple cultures, ethnic identities, races and religions, thereby becoming a heterogenic movement. The third-wave feminists, Rebecca Walker and Bell Hooks, represented groups of women who had formerly been denied the right to join the movement, for example due to racial discrimination. They believed that there was not one ‘common interest of all women’ but called for leaving no group out in the fight for the equality of women’s rights. They asked that the process of women’s emancipation that began with the first wave embrace and approve of the diversity of the multiethnic American society.
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Kuss, Natalie. "Family and Feminism in Ursala K. Le Guin's The Dispossessed." Digital Literature Review 6 (January 15, 2019): 63–72. http://dx.doi.org/10.33043/dlr.6.0.63-72.
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The current American familial structure consists of a mother who serves as the housewife anda father who serves as the breadwinner. Although American society is breaking away fromthis norm, the nuclear family structure is still idealized, causing women to struggle against thepatriarchal confnes of this structure as they choose to remain single, enter the workforce, andrefuse to reproduce. Ursula K. Le Guin’s The Dispossessed utilizes the utopia genre to explore afctional planet, Anarres, that values collectivism over individualism in an attempt to become trulyegalitarian. This essay analyzes the egalitarian structure of Anarres through the experiences ofthe main character, Shevek, and uses it to examine the anti-feminist issues of the current familialstructure of America.
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Francis, Beverly Maria, and Dr Cheryl Davis. "Postfeminism’s Impact on Gendered labour." History Research Journal 5, no. 4 (August 22, 2019): 55–58. http://dx.doi.org/10.26643/hrj.v5i4.7116.
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Since the advent of postfeminist culture in the 1990s, women’s desire has often been described as wanting to return to a domestic, feminine lifestyle in which women are portrayed as “keen to re-embrace the title of housewife and re-experience the joys of a ‘new femininity’” (Genz and Brabon, 2009: 57). In movie and TV programs such as Footballer's Wives (2002-2006), The Real Housewives franchise, and Desperate Housewives (2004-2012), the rebranding of domestic labor as a place of enjoyment and liberty expressed through popular culture rejects feminist worries about tedious, repetitive, and exploitative housework.
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Johnson, Lesley. "'Revolutions are not made by down-trodden housewives'. Feminism and the Housewife." Australian Feminist Studies 15, no. 32 (July 2000): 237–48. http://dx.doi.org/10.1080/08164640050138743.
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Solodukhina, Elvira V. "CONSTRUCTING GENDER IN SOCIAL NETWORKS ON THE EXAMPLE OF THE NIKE SPORTSWEAR BRAND: THE NEW WOMEN AND THE SAME MEN." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 122–30. http://dx.doi.org/10.17223/22220836/40/10.
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Relevance of the study. Researches of advertising and media are important components of social and cultural research, as it allows to take a critical look at gender images that exist not only in the media, but also in the public consciousness. We chose Nike for the study because of two reasons. First, they purposefully use a gender approach. The brand chooses its models based on what gender issues they can attract attention to. Secondly, Nike is the global brand that influences consumers in many countries, including Russia, setting not only fashion trends, but also lifestyle and values. Purpose. To demonstrate what gender images and standards the Nike brand uses to construct gender in the social network Instagram. Methodology. The research is based on the theory of social construction of gender, critical studies of advertising and the theory of postfeminism. Main methods: content analysis and comparative analysis. Research result. Analysis of the visual content of the Nike brand account in Instagram allowed us to draw the following conclusions: 1. Nike, like many clothing brands, on the one hand, demonstrates the binary of “male” and “female” in its media. They focus on “women's” as discriminated against by society and an issue that needs to be discussed. On the other hand, by making both men and women heroes and putting them in the context of “competition and victory”, Nike unites them and erases the gender boundaries. 2. The image of a man in Nike remains within the existing stereotypes, and the image of a woman shows the duality: on the one hand, she acquires masculine characteristics, on the other – she strives to preserve her femininity. This duality may be because the introduction of women into the masculine field (sport) deconstructs masculinity and turns masculine into universal. 3. The female audience feels the need for the new role models. If earlier in advertising there were two predominant types of women aimed at the female audience – the housewife and the beauty woman, now there is a third type – a feminist woman who claims for the previously male spheres. Nike, in their social networks, strive to meet the requirements of postfeminism in sports, where equality is embodied through the accessibility of all sports and the uniqueness of each gender through gender issues. 4. The gender of all brand characters is still built through two poles: male and female. Cisgender individuals have their own explicit gender characteristic in the brand, and a transgender man and woman with high testosterone levels, according to World Athletics, protect their right to be a “man” or a “woman”. This again leads to a discussion about the binary division of gender. Conclusions. In the context of the presence of men and women in the main brand account, a woman is positioned as an equal player to a man, but at the same time discriminated against. Women in this account, on the one hand are in the field of sports, heroism, leadership (the field of traditionally masculine characteristics), but on the other hand, should be focused on women's issues, and such a new issue is postfeminism, which constructs the new woman. In the context of a women's account, where you no longer need to compete with a man, the brand delves more into the topic of “femininity”. Feminism is also important here, but it is no longer necessary to reach so far for equality with men. Here you can see another facet of post-feminism-the emphasis on femininity as itself important and unique. This uniqueness can be expressed by women's sexuality and physicality. We assume that in the future, global brands such as Nike will continue to look for images for genders that go beyond the binary order. This may lead to an increase in gender-neutral collections, but the advantage, in our opinion, will remain, on the contrary, for the expansion and uniqueness of genders, since this gives a variety of examples for identification. This will primarily be influenced by public thought and values, especially the feminist and LGBT movements, as they set the gender agenda.
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Sharp, Elizabeth A. "Betty Crocker Versus Betty Friedan: Meanings of Wifehood Within a Postfeminist Era." Journal of Family Issues 39, no. 4 (December 16, 2016): 843–67. http://dx.doi.org/10.1177/0192513x16680092.
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In this article, deploying Betty Friedan’s The Feminine Mystique and the fictional American icon Betty Crocker within a poststructural feminist analysis, the author analyzes a social science data set investigating how 18 contemporary wives think about wifehood. Crocker and Friedan are emblematic of the cultural DNA that make up wifehood: The mythical Betty Crocker represents the happy, traditional housewife of the 1950s, and Betty Friedan offers a critique of the happy, traditional housewife figure. Thinking about historical trends, in the 1950s to 1960s, femininity and families were rigidly prescribed and, thus, largely unquestioned. In the 21st century, with the influx of postfeminism, prescriptions for femininity and families are thought to be less rigid—but are they? Contemporary wives’ identity negotiations mapped onto both Betty Crocker and Betty Friedan but remained anchored in the Betty Crocker image.
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Rush, Florence, and Nicole Rich. "From Suburban Housewife to Radical Feminist." Women & Therapy 17, no. 3-4 (December 28, 1995): 419–24. http://dx.doi.org/10.1300/j015v17n03_15.
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Nicolás Gavilán, María Teresa, Carmen Quintanilla Jiménez, María de los Ángeles Padilla Lavín, and Perla Paola Vargas Zamorano. "Una Mujer de los ’60 Atrapada en un Serie de la TV Contemporánea: Claire Dunphy una Ama de Casa en “Modern Family”." Communication & Social Change 3, no. 1 (October 31, 2015): 19. http://dx.doi.org/10.17583/csc.2015.1774.
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<p class="hppag28TextAbstract">The character of Claire Dunphy from the TV series Modern Family is a married housewife with three kids who is fully dedicated to her home, husband and kids. The present analysis confronts the feminine model proposed by the character with the feminist conception of actual women during the first four seasons of the series. This allows establishing the kind of lifestyle and values that she transmits to the audience. By applying an ethical analysis model which questions about her anthropological spheres, Claire appears as a modern woman who chose her family over her career and has found in her current role, the feeling of a succeeding and loving life.</p>
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., Rully, Abdul Basit, and Muji Prabella. "FEMINISM IN ‘AFTER 11’ AN ADVERTISIMENT OF BUKALAPAK." Profetik: Jurnal Komunikasi 13, no. 1 (September 5, 2020): 168. http://dx.doi.org/10.14421/pjk.v13i1.1963.
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Abstrak. Perkembangan era digital saat ini telah memperlihatkan transformasi nyata dari perubahan ruang periklanan. Iklan dalam bentuk film telah menjadi bagian dari media massa sebagai salah satu media representasi yang merupakan cerminan dari masyarakat. Bukalapak melalui YouTube, membalut makna feminisme dalam kemasan film AFTER 11 yang sekaligus merupakan iklan untuk membangun pandangan agar masyarakat lebih berdaya. Dengan memperlihatkan figur perempuan seorang ibu yang tidak hanya berkiprah di ranah domestik, namun dapat melakukan aktifitas ataupun pekerjaan yang bersifat maskulin. Karakter perempuan yang menyadari kebebasannya membuat menarik untuk menguak dan menelitinya dari sisi feminisme, dengan menggunakan analisis semiotika Roland Barthes yang memaparkan denotasi, konotasi dan mitos. Kesimpulan dari penelitian ini menunjukan bahwa ada ideologi feminisme yang ingin dibawa oleh Bukalapak melalui media iklan dalam film AFTER 11, bahwa perempuan saat ini dapat beraktifitas sebebas-bebasnya tanpa perlu khawatir dan mampu berperan ganda dalam memenuhi kebutuhan anaknya, selain itu juga Bukalapak ingin mendobrak stereotip menjadi pengusaha harus dengan modal yang besar dan biasanya hal ini hanya dapat dilakukan oleh kaum kapitalis, namun dengan Bukalapak, UKM atau individu, ataupun hanya seorang ibu rumah tangga, dapat berdaya dan tangguh.Abstract. The development of the digital era today has shown a real transformation of the changing advertising space. Advertising in the form of films has become part of the mass media as one of the media representations that are a reflection of society. Bukalapak through YouTube, wrapped the meaning of feminism in the AFTER 11 film packaging which is also an advertisement to broaden views so that people are more empowered. By showing a female figure as a mother who not only takes part in the domestic sphere, but also carry out activities or jobs that are masculine. The character of women who realize their freedom makes it interesting to uncover and examine it from the side of feminism, using Roland Barthes's semiotic analysis which presents denotations, connotations and myths. The conclusion of this study shows that there is an ideology of feminism that Bukalapak wants to bring through the advertising media in the film AFTER 11, that women today can work as freely as possible without worrying and being able to play a dual role in meeting their children's needs, besides that Bukalapak also wants to break stereotypes being an entrepreneur must be with big capital and usually this can only be done by the capitalists, but with Bukalapak, UKM or individual, or just a housewife, can be empowered and resilient.
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Mayasari, Mayasari. "Kontribusi Perspektif Ekonomi Feminis dalam Pendidikan Ekonomi Keluarga Suku Melayu Jambi untuk Menanamkan Perilaku Ekonomi Pancasila." Jurnal Ilmiah Dikdaya 9, no. 1 (August 16, 2019): 62. http://dx.doi.org/10.33087/dikdaya.v9i1.141.
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The aims of this study was to determine the contribution of a feminist economic perspective in the family economic education of the Jambi Malay to instill the Pancasila economic life as seen from the mindset, attitude and behavior patterns. Research methods using qualitative methods with a phenomenological approach. The subjects of this study were housewives as key informants namely SHJ, RTW, RTSE, IDRI, SILSY, and FAU in providing economic education to embed Pancasila economic life. The results of this study are the contribution of a feminist economic perspective in this study is the perspective of housewives viewed from the mindset, attitude patterns, and behavior in family economic education teaches that it must prioritize adat bersendi syara’, syara’bersendi kitabullah that is combined with values -cultural values such as the value of helping to help, the value of togetherness, the value of cooperation, the value of responsibility, the value of surrender, the value of planning, the value of opportunity, and the value of hard work. These values are applied in carrying out economic life in both the family and community environment. Conclusion family economic education provided from the point of view of the Malay housewife has instilled the Pancasila economic behavior.
Dissertations / Theses on the topic "Housewife feminist feminism"
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Brunsdon, Charlotte Mary. "The feminist, the housewife and the soap opera : feminist television criticism and soap opera." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396230.
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Flaming, Anna Leigh Bostwick. ""The most important person in the world": the many meanings of the modern American housewife." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/6572.
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My dissertation demonstrates how housewives manipulated and redefined the image and identity of the housewife in the U.S. during the second half of the twentieth century. From the eras of June Cleaver to Gloria Steinem and Phyllis Schlafly, women invoked motherhood and domesticity for both progressive and traditionalist ends. They did so amid shifting expectations of homemakers. In the decades following World War II, the legalization of contraceptives and abortion transformed understandings of the connections among womanhood, marriage, and maternity; legislation offered limited opportunities for women to acquire education and participate in new sectors of the workforce; and the decline of the family wage and the introduction of no-fault divorce increasingly curbed men's and women's ability to keep mother at home. Whereas in 1962 more than fifty-five percent of women aged twenty-five to fifty-four were engaged in full-time homemaking, by 1985 housewives made up just over twenty-six percent of the same population. Amid this change, the word housewife served as a lingua franca in the 1960s, 1970s, and 1980s that helped people to organize under the banner of domesticity. The arbiters defining the American housewife included not only members of the conservative Silent Majority, but also members of the feminist National Organization for Women (NOW); not only white television stars like Donna Reed who spearheaded protest against the Vietnam War by the group Another Mother for Peace, but also African American and Catholic and Jewish women working together to promote cross-racial understanding; not only women who earned wages outside of the home, but also non-wage-earning househusbands.
I investigate how women's groups in the 1960s and early 1970s turned the dismissals that frequently accompanied the phrase "just a housewife" into an asset. Some groups deployed the housewife as the antithesis of the expert: Housewives' opinions about racism could be trusted as an authentic voice of the people because they did not rely on statistics calculated to fit into theories or models. Others relied on biologically determinist arguments: Motherhood made housewives into specialized experts on specific topics such as peace. Domesticity generally made these women less politically threatening and so better able to enact their agendas. While these housewife activists certainly grew and benefitted from their participation in these groups, the main purpose of their work was never to aid housewives exclusively.
Beginning in the mid-1970s, women finally capitalized on the authority of the housewife image to improve the lives of homemakers. The efforts of housewife groups in the 1970s and early 1980s who opposed and supported the proposed Equal Rights Amendment (ERA) to the U.S. Constitution underscores the flexible definition of "housewife." While they initially organized to lend the authority of the housewife name to a particular cause, these groups ultimately became political organizations that represented and mobilized housewives as a constituency. Despite many differences, traditionalists and feminists could find common ground in recognizing the problems homemakers faced. Both were troubled by the realities of second shifts in which women juggled wage-earning and family obligations. They were concerned by the feminization of poverty, especially among older women. Whereas many traditionalists advocated a performed femininity meant to produce starkly gendered male protector-breadwinner and female dependent-homemaker roles, feminists looked to legislative and social equality solutions to provide both men and women the opportunity to succeed at home and at work. Yet some traditionalists united with feminists to critique the vulnerabilities of displaced homemakers - women who had engaged in years of unwaged homemaking only to be displaced from their vocations by widowhood or divorce. These women drew on previous experience in maternalist, racial equality, and anti-poverty movements. They sought solutions that included transferring the skills of homemaking into well-paid jobs in traditionally-male fields. They accomplished this by simultaneously praising the work of homemaking even as they criticized homemaking as a vocation that put women in a vulnerable economic position. The formation of a movement by and for homemakers crystallized, however, at the same time as the erosion of housewife as a crucial identity for women.
Finally, I analyze the extent to which gender is caught up in the potentials and limitations of the housewife role by tracing the ways that Americans have envisioned the housewife as male. So long as the male homemaker was cast as exotic, role models and new precedents could be transformed into freak shows and warnings. Men who made the unusual choice to take on the role of family homemaker were further marginalized. Despite a sometimes overt emphasis on men's domesticity as a means of achieving social equality, the real efforts and the imagined experiences of the male housewife often ran counter to feminist goals. Varying from farcical to feminist, the successes and failures of these visions of male homemaking demonstrate the extent to which domesticity, economic dependency, and gender have been entangled in the American imagination.
My dissertation underscores how women (and some men) adopted flexible definitions of homemaking to create complicated and sometimes fleeting alliances through which housewives organized. My research complicates the dichotomous stereotypes of the feminist and the antifeminist by exploring how both progressive and traditionalist women organized as housewives. Although my project considers media and pop culture, I rely primarily on archival research and published primary sources to examine the way that women claiming to be homemakers and mothers actively manipulated cultural understandings of those roles. The definitions they employed demonstrate how perceptions of homemaking are laden with multiple and complex meanings about sex, gender, class, race, citizenship, labor, religion, and identity.
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Davis, Mary McPherson. "Feminist Applepieville architecture as social reform in Charlotte Perkins Gilman's fiction /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5071.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 25, 2007) Includes bibliographical references.
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Morrill, Kelli N. "From Housewives to Protesters: The Story of Mormons for the Equal Rights Amendment." DigitalCommons@USU, 2018. https://digitalcommons.usu.edu/etd/7056.
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On November 17, 1980, twenty Mormon women and one man were arrested on criminal trespassing charges after chaining themselves to the Bellevue, Washington LDS Temple gate. The news media extensively covered the event due to the shocking photos of middle-aged housewives, covered in large chains, holding protest signs and being escorted to police cars. These women were part of the group Mormons for the Equal Rights Amendment (MERA) and were protesting the LDS Church’s opposition to the ERA. The LDS Church actively opposed the ERA and played an important role in influencing the vote in key states leading to its eventual failure. However, ERA literature generally ignores the LDS Church and their influence, instead attributing the ERA’s failure to lack of appeal to lower class and minority women, the ratification process, and confusing messaging about the amendment. Literature that does discuss the LDS Church and its opposition to the ERA fails to tell the story of the small, but bold and attention grabbing group of Mormon women who organized a campaign in direct opposition to the position of their church. This thesis begins with an evaluation of MERA’s use of sacred space in protest, and their portrayal in the media. It then explores how MERA re-appropriated LDS hymns, rituals and language to assert their power and express discontent with the church’s position on ERA, and concludes with an evaluation of the institutional and social consequences MERA members faced as a result of their activism.
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Foehringer, Merchant Emma. "Radical Housewife Activism: Subverting the Toxic Public/Private Binary." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pomona_theses/101.
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Since the 1960s, the modern environmental movement, though generally liberal in nature, has historically excluded a variety of serious and influential groups. This thesis concentrates on the movement of working-class housewives who emerged into popular American consciousness in the seventies and eighties with their increasingly radical campaigns against toxic contamination in their respective communities. These women represent a group who exhibited the convergence of cultural influences where domesticity and environmentalism met in the middle of American society, and the increasing focus on public health in the environmental movement framed the fight undertaken by women who identified as “housewives.” These women, in their use of both traditional female stereotypes as well as radical influences from other social movements, synthesized their own unique type of activism, which has had a profound influence on the environmental movement and public health in the United States, especially in its relation to environmental justice.
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Triisberg, Airi. "The Workers of Society – the Artist, the Housewife and the Nun : A Feminist Marxist Analysis on the Intersections of Art, Care Work and Social Struggles." Thesis, Linköpings universitet, Tema Genus, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-113403.
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What do art workers, nuns and care workers have in common? How can these commonalities be conceptualised from the perspective of feminist Marxism? How would such conceptualisation open up intersectional and transversal perspectives for social movements struggling against precariousness? Departing from an auto-ethnographic account on activist experiences originating from the art workers’ movement in Tallinn, this thesis aims to theorise the intersection of precarious labour and gender. By using the thinking technology of diffractive reading, it places the debates around unwaged labour within art and care sector into the context of autonomist Marxist thinking. Furthermore, affinities and entanglements between feminist politics and the struggles of precarious workers are configured and imagined, in order to interlink and converge spatially and temporally isolated resistive practices that are constructed from the experience of unwaged and precarious workers.
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Marcucci, Virginie. "Desperate Housewives, miroir tendu au(x) féminisme(s) américain(s) ?" Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2014/document.
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Ce travail s’attache à étudier les éventuels féminismes de Desperate Housewives. La peinture que la série propose de femmes et mères au foyer américaines désespérées est a priori le lieu d’une dénonciation de leur vie et de leur condition qui n’est pas sans rappeler celle de Betty Friedan dans The Feminine Mystique au début des années soixante. De plus, de nombreuses contradictions du féminisme américain (en fait constitué de nombreuses sous-catégories et sensibilités) y trouvent un écho. Cette multiplicité des interprétations possibles de Desperate Housewives, ainsi que sa composante postmoderne et camp, en font le lieu privilégié d’un féminisme queer propre à la sérieThis study investigates the feminist messages conveyed by Desperate Housewives. The depiction of desperate American housewives and stay-at-home mothers seems at first to be a scathing indictment of their plight, not unlike that of Betty Friedan in The Feminine Mystique.Furthermore many inner dissensions of American feminism (a term far more pluralistic than one might think) are voiced in the television series. The different ways Desperate Housewives can be interpreted, along with its postmodern and camp components, make it possible for an idiosyncratic brand of queer feminism to emerge
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Yago, Alonso Carmen. "Palabras femeninas que nombran la injusticia en los cuidados familiares." Doctoral thesis, Universidad de Murcia, 2009. http://hdl.handle.net/10803/80646.
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Esta tesis se inscribe en una trayectoria de pensamiento libre de la diferencia sexual para nombrar en femenino la injusticia. Estudia específicamente lo negativo que encierra la creación y la gestión de la casa, el trabajo, el matrimonio y la maternidad. Teniendo en cuenta la teoría psicosocial sobre la percepción de injusticia y siguiendo la necesidad de ampliar el conocimiento de la justicia, la investigación profundiza en la representación de la injusticia en lengua materna. Participan 95 mujeres de la Región de Murcia narrando el trabajo y los cuidados en el ámbito doméstico y familiar. Se han utilizado varias metodologías y teorías de investigación: teoría feminista, teoría basada en los datos y psicología discursiva. La hipótesis de trabajo principal es que las palabras de las mujeres trascienden el sentido corriente de la injusticia de un modo inaudito. Los resultados re-significan los denominados paradigmas populares de la justicia.The present study focuses on the meaning of injustice for women from the thinking of sexual difference. The negative about household labor is studied. In response to psychosocial theory on the perception of injustice and to continue with justice knowledge, this research explores the representation of injustice for 95 women from Region of Murcia. These female participants were invited to narrate work and care in their families. It have been used several research methodologies and theories: feminist theory, Grounded theory and discursive psychology. The strongest support is for the hypothesis that suggests that women's words transcend the ordinary sense of injustice in a way unheard of. Findings give a new meaning of justice for social sciences.
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Bostelmann, Pamela. "A “mulher do futuro” em periódicos brasileiros: vestuário e decoração como tecnologias de gênero (1960 e 70)." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2664.
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CAPESO imaginário mobilizado pela corrida espacial no segundo período pós-guerra instigou a criação de um repertório visual que logo tornou-se fonte de inspiração em diversos campos da produção cultural. Neste trabalho tenho por objetivo discutir a construção da figura da “mulher do futuro” mediante a articulação entre as produções filiadas a esse imaginário no vestuário e na decoração de interiores. O recorte de estudo abarca as décadas de 1960 e 1970 e está centrado nas representações de interiores domésticos divulgados pela revista Casa & Jardim e nos editoriais e anúncios publicitários de vestuário divulgados pelas revistas Claudia e Manequim. Esses títulos colocaram em circulação uma série de recursos imagéticos e textuais que evidenciam aspectos do comportamento social da época, servindo como base para a investigação das novas representações de feminilidades que surgiram naquele período. A escolha por privilegiar a articulação entre decoração de interiores e vestuário se justifica pela relação historicamente construída entre essas materialidades e o corpo feminino, caracterizando-se como parte integrante na construção de identidades de gênero, classe e geração. Com esse trabalho pretendo evidenciar que as materialidades dos interiores domésticos e do vestuário inspirados pela iconografia espacial atuavam como dispositivos que criavam e reforçavam noções de feminilidades em diálogo com o processo de modernização da sociedade brasileira em curso.
The imagery mobilized by the space race in the second post-war period instigated the creation of a visual repertory that soon became the source of inspiration in several fields of cultural production. In this work I aim to discuss the construction of the "woman of the future" figure through the articulation between the productions affiliated to this imaginary in clothing and interior decoration. The study covers the 1960s and 1970s and is centered on the representations of domestic interiors published by Casa & Jardim magazine and the editorials and advertisements for clothing published by magazines Claudia and Manequim. These publications put into circulation a series of imagery and textual resources that demonstrated aspects of the time’s social behavior, serving as basis for the investigation of the new representations of femininities which appeared in that period. The choice to focus on the articulation between interior decoration and clothing is based on the historically constructed relation between these materialities and the female body, therefore being an important part in the construction of gender, class and generation identities. With this work I intend to show that the materialities of domestic interiors and clothing inspired by the space age iconography acted as devices that created and reinforced notions of femininity.
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Reutter, Sophia. "Arsenic in the Sugar." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617962150790269.
Full textBooks on the topic "Housewife feminist feminism"
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Brunsdon, Charlotte. The feminist, the housewife, and the soap opera. Oxford: Clarendon Press, 2000.
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Brunsdon, Charlotte. The feminist, the housewife and the soap opera: Feminist television criticism and soap opera. Birmingham: University of Birmingham, 1995.
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The way home: Beyond feminism, back to reality. Westchester, Ill: Crossway Books, 1985.
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Graglia, F. Carolyn. The housewife as pariah: Contemporary feminism's war on the family. [London]: Institute of United States Studies, University of London, 1997.
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León, Margarita Ponce de. Trés historias y un mismo camino de mujer. Montevideo, Uruguay: Red CEAAL, 1991.
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Simonen, Leila. Naisten reproduktiotyötä käsittelevää kirjallisuutta: Valikoiva bibliografia = Literature on women's reproductive work : selective bibliography. Helsinki, Finland: Tasa-arvoasiain neuvottelukunta, 1985.
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León, Margarita Ponce de. Tres historias y un mismo camino de mujer. Montevideo, Uruguay: Red CEAAL, 1991.
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Bauböck, Rainer. Hausarbeit und Ausbeutung: Zur feministischen Kritik am Marx'schen Arbeitsbegriff. Wien: Institut für Höhere Studien, 1988.
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Elson, Diane. Economic crises and unpaid work in low and middle income countries: A gender analysis. Delhi: Institute of Economic Growth, University of Delhi, 2010.
Find full textBook chapters on the topic "Housewife feminist feminism"
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Whelehan, Imelda. "Mad Housewives." In The Feminist Bestseller, 63–92. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21182-7_4.
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Oakley, Ann. "Socialization and Self-Concept." In The Sociology of Housework, 107–28. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447346166.003.0007.
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This chapter explores the connection between the socialization of women and their later performance of the housewife role. Many of the women made it clear in the interviews that their concern is not simply to get housework done in the most efficient way and the shortest possible time. Instead, they are bound up in the replication of previously set standards and routines which may actually frustrate the straightforward goal of simply getting housework done. To the extent that these ways of behaving are inherited from the mother, it can be hypothesized that they are not directly taught from mother to daughter: rather they are indirectly and unconsciously assimilated. The ‘nurturant’ child-caring relationship that exists between housewives and housewives-to-be serves to make this assimilation more likely than not. Subsequently, the learning lesson of domesticity sets up what is essentially a relationship between self (feminine) and role (housewife).
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Sayeau, Ashley. "Having it all: Desperate Housewives’ flimsy feminism." In Reading Desperate Housewives. I.B.Tauris, 2006. http://dx.doi.org/10.5040/9780755695782.ch-003.
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"3. Haunted housewives and the postfeminist mystique." In Feminism and Popular Culture, 71–104. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813567426-006.
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Sinclair, Donna. "From Housewife to Historian." In Reshaping Women's History, 207–21. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042003.003.0016.
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This chapter focuses on the personal, social, and historical contexts that shaped Donna Sinclair’s career as a feminist historian. The story of Sinclair’s trek to the 2013 Prelinger Award took root in a divorce that left the former army wife alone with three small children. Returning to school reshaped her identity, provided purpose, and led to her life’s work as an oral and public historian, educator, and social justice advocate. In this essay, Sinclair engages in the self-scrutiny that oral historians so often ask of their narrators. As recommended by Antonia Castaňeda, she digs into “the silences, gaps, and interstitial spaces” of experience to examine her journey to the Prelinger and beyond.
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""Hysterical Housewives" and Other Mad Women: Grassroots environmental organizing in the United States." In Feminist Political Ecology, 289–302. Routledge, 2013. http://dx.doi.org/10.4324/9780203352205-22.
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Brunsdon, Charlotte. "The Feminist, the Housewife, and the Soap Opera." In The Feminist, the Housewife, and the Soap Opera, 211–18. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780198159803.003.0013.
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"“I Am Not a Housewife, but . . .”: Postfeminism and the Revival of Domesticity." In Feminism, Domesticity and Popular Culture, 59–72. Routledge, 2008. http://dx.doi.org/10.4324/9780203889633-8.
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Richardson, Niall. "As Kamp as Bree: Post-feminist camp in Desperate Housewives." In Reading Desperate Housewives. I.B.Tauris, 2006. http://dx.doi.org/10.5040/9780755695782.ch-007.
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Brunsdon, Charlotte. "Fantasies of the Housewife: The Case of Crossroads." In The Feminist, the Housewife, and the Soap Opera, 66–83. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780198159803.003.0005.
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