No, Emmeline Pankhurst would not be considered an archetypal representation of femininity. Some key reasons:
- She was a political activist and leader who fought aggressively for women's suffrage through militant tactics like hunger strikes, which went against traditional expectations of feminine behavior.
- Her activism and leadership role disrupted traditional gender roles that relegated women to the private sphere of home and family. She took on a very public role advocating for women's rights.
- Images and descriptions of her from the time period often emphasized her defiance of femininity through her strong public speaking, willingness to be arrested and imprisoned for her cause, and other assertive tactics.
- She challenged patriarchal power structures and norms
This document provides an overview of feminism and post-feminism. It discusses the women's movement in Europe and America in the late 1960s and early 1970s, including socialist feminism and radical feminism. It also covers feminist theory emerging from works in that time period. The document then discusses post-feminism in the 1980s and 1990s, and how feminism examines patriarchal constructions of women in areas like advertisements. Specific feminist theorists like Elaine Showalter and Luce Irigaray are mentioned. The document concludes by noting how feminism in cultural studies focuses on representations of women and their bodies.
The document discusses how media portrays gender through editing and modification of images. It creates unrealistic standards of beauty and gender norms that influence how people view themselves and others. Photoshop is often used to modify pictures of people in magazines. Lorde brought attention to this issue by posting unedited pictures of herself after a modified image surfaced. Media also teaches people about gender through representations in television and film, often portraying women as passive objects and positioning the audience perspective from a male gaze. It is important to view media critically rather than passively accept its messages.
Stuart Hall was a British cultural theorist who focused on racial thinking in the UK. He was influential in reviving the British political left in the 1960s and 1970s. Hall outlined three important concepts for understanding ideologies: 1) ideologies express interconnected concepts rather than distinct ones, 2) individuals function within ideologies rather than forming them, and 3) ideologies allow subjects positions to construct thoughts within ideological frameworks. Hall also looked at how audiences decode media texts differently based on their social positioning, such as accepting, modifying, or rejecting the preferred reading.
This document discusses feminism and post-feminism in media. It begins by providing context about pre-feminist era attitudes and the emergence of 1960s feminism in challenging patriarchal power structures. It then discusses Laura Mulvey's theory of the "male gaze" and how women are presented as passive objects. Post-feminism developed after 1960s feminism and believes women have gained equality but still face pressures to be feminine, attractive, have careers and families. Modern media is analyzed through a post-feminist lens by examining how gender roles and attributes are portrayed.
This document discusses various concepts related to post-feminism, third-wave feminism, and feminist thinkers. It explores ideas such as gender being more fluid and constructed than rigidly defined; empowerment and celebration of femininity; women wielding sexual power; and choosing liberation over victimhood. Several feminist authors are mentioned, including Camille Paglia, Susan Faludi, bell hooks, and Naomi Wolf, alongside their critiques of beauty standards, backlash against feminism, and marriage within patriarchal societies.
The Frankfurt School theorists saw popular culture in capitalist societies as promoting ruling class ideologies and preventing the collapse of capitalism predicted by Marx. They viewed cultural products like pop music and dancing as dull and undemanding, serving to make people docile and passive. However, later critics argued the Frankfurt School was too negative and sweeping in characterizing all popular culture as tools of capitalism, failing to recognize how consumers actively create their own meanings.
The document discusses various feminist perspectives on media representation of women. It summarizes liberal, radical, socialist, cultural studies/post-structuralist feminist views. Liberal feminists see stereotypical portrayals and advocate for more women in media roles. Radical feminists see media as upholding patriarchy and advocate separate women's media. Socialist feminists see media portraying capitalism and patriarchy positively. Cultural studies feminists see media constructing gender roles rather than reflecting reality and see texts as sites of struggle over meaning. The document also discusses cyberfeminism which sees opportunities in new media for women to create new identities and representations.
A2 representation theory feminism and the mediaKBucket
This document provides an overview of feminist perspectives and their application to media studies. It discusses key concepts in feminism such as the oppression and exploitation of women. It outlines the origins and types of feminism, including first, second, and third wave feminism as well as Marxist, radical, liberal, black, and postmodern feminism. The document also examines influential feminist media theories like Laura Mulvey's concept of the male gaze and how it constructs passive representations of women in film. It notes criticisms of Mulvey's work and discusses other types of gazes as well as further feminist readings of media like those of Jean Kilbourne and Naomi Wolf.
This document provides an overview of feminism and post-feminism. It discusses the women's movement in Europe and America in the late 1960s and early 1970s, including socialist feminism and radical feminism. It also covers feminist theory emerging from works in that time period. The document then discusses post-feminism in the 1980s and 1990s, and how feminism examines patriarchal constructions of women in areas like advertisements. Specific feminist theorists like Elaine Showalter and Luce Irigaray are mentioned. The document concludes by noting how feminism in cultural studies focuses on representations of women and their bodies.
The document discusses how media portrays gender through editing and modification of images. It creates unrealistic standards of beauty and gender norms that influence how people view themselves and others. Photoshop is often used to modify pictures of people in magazines. Lorde brought attention to this issue by posting unedited pictures of herself after a modified image surfaced. Media also teaches people about gender through representations in television and film, often portraying women as passive objects and positioning the audience perspective from a male gaze. It is important to view media critically rather than passively accept its messages.
Stuart Hall was a British cultural theorist who focused on racial thinking in the UK. He was influential in reviving the British political left in the 1960s and 1970s. Hall outlined three important concepts for understanding ideologies: 1) ideologies express interconnected concepts rather than distinct ones, 2) individuals function within ideologies rather than forming them, and 3) ideologies allow subjects positions to construct thoughts within ideological frameworks. Hall also looked at how audiences decode media texts differently based on their social positioning, such as accepting, modifying, or rejecting the preferred reading.
This document discusses feminism and post-feminism in media. It begins by providing context about pre-feminist era attitudes and the emergence of 1960s feminism in challenging patriarchal power structures. It then discusses Laura Mulvey's theory of the "male gaze" and how women are presented as passive objects. Post-feminism developed after 1960s feminism and believes women have gained equality but still face pressures to be feminine, attractive, have careers and families. Modern media is analyzed through a post-feminist lens by examining how gender roles and attributes are portrayed.
This document discusses various concepts related to post-feminism, third-wave feminism, and feminist thinkers. It explores ideas such as gender being more fluid and constructed than rigidly defined; empowerment and celebration of femininity; women wielding sexual power; and choosing liberation over victimhood. Several feminist authors are mentioned, including Camille Paglia, Susan Faludi, bell hooks, and Naomi Wolf, alongside their critiques of beauty standards, backlash against feminism, and marriage within patriarchal societies.
The Frankfurt School theorists saw popular culture in capitalist societies as promoting ruling class ideologies and preventing the collapse of capitalism predicted by Marx. They viewed cultural products like pop music and dancing as dull and undemanding, serving to make people docile and passive. However, later critics argued the Frankfurt School was too negative and sweeping in characterizing all popular culture as tools of capitalism, failing to recognize how consumers actively create their own meanings.
The document discusses various feminist perspectives on media representation of women. It summarizes liberal, radical, socialist, cultural studies/post-structuralist feminist views. Liberal feminists see stereotypical portrayals and advocate for more women in media roles. Radical feminists see media as upholding patriarchy and advocate separate women's media. Socialist feminists see media portraying capitalism and patriarchy positively. Cultural studies feminists see media constructing gender roles rather than reflecting reality and see texts as sites of struggle over meaning. The document also discusses cyberfeminism which sees opportunities in new media for women to create new identities and representations.
A2 representation theory feminism and the mediaKBucket
This document provides an overview of feminist perspectives and their application to media studies. It discusses key concepts in feminism such as the oppression and exploitation of women. It outlines the origins and types of feminism, including first, second, and third wave feminism as well as Marxist, radical, liberal, black, and postmodern feminism. The document also examines influential feminist media theories like Laura Mulvey's concept of the male gaze and how it constructs passive representations of women in film. It notes criticisms of Mulvey's work and discusses other types of gazes as well as further feminist readings of media like those of Jean Kilbourne and Naomi Wolf.
Stuart Hall outlines three strategies for contesting stereotypes:
1. Reversal of stereotypes - Strong female leads in action movies reversing the damsel in distress trope. Positive portrayals of working mothers in advertising.
2. Substitution of positive images - Diversity of women in media of all ages, sizes, abilities replacing narrow beauty standards. Inclusive marketing features all types of families.
3. Making stereotypes work against themselves - Sassy women in commercials drawing attention to exaggerated gender roles for comedic effect. Subversive social media drawing from and reinventing tropes.
This document provides an overview of queer theory and its application to media representations of gender and sexuality. It discusses how queer theory emerged in the 1990s to challenge heteronormativity and limited representations of LGBT people. It also summarizes key concepts like gender as a social construct and "gender trouble." Examples are given of media texts like Will & Grace and Brokeback Mountain that can be analyzed through this theoretical lens.
Queer theory holds that all identities, including gender and sexual identities, are social constructions rather than innate. It critiques the traditional binary categories of gender and sexuality, such as man/woman and gay/straight. Judith Butler, a key scholar, argued that repeated representations of heterosexuality work to present it as normal, but representations of alternatives like drag queens can subvert and destabilize dominant heterosexual ideology. However, some argue that mainstream media representations of queer identities do little to challenge gender norms and are used more for shock value than celebration of diversity.
An introductory lecture in ideological analysis of media, covering works of Marx, Gramsci, Adorno & Horkheimer, Hall, given to BA-1 students at the Erasmus University Rotterdam
The document discusses the history and key concepts of feminism from the 19th century to present day. It covers the three waves of feminism, fighting for women's political, social, and economic rights. It also examines ongoing debates around representations of women in media and their impact, including the objectification of women's bodies and the pressure to conform to narrow beauty ideals. Critics argue this influences women's self-image and reinforces gender inequality, while others believe audiences are more active and resistant to media effects.
As a literary theory, postcolonialism deals with literature produced in formerly colonized countries and literature from colonial powers that features colonized subjects. It emerged in the 1970s with Edward Said's work on orientalism and how the West constructs discourse about the East. Major postcolonial thinkers examined the experiences of colonized people and their interactions with European imperial powers. Postcolonial theory provides tools to analyze hybridity, alterity, diaspora, imperialism, and Eurocentrism in former colonies. Examples of
Stuart Hall developed reception theory and the theory of encoding and decoding. He argues that audiences do not passively accept media texts, but actively negotiate meaning. Hall believes that culture is a site of social action and intervention where power relations can be established or challenged. He views identity as an ongoing cultural production rather than a fixed attribute, and has discussed how notions of race and ethnicity are socially constructed. Hall's influential work examines how institutions like the media can manipulate representations of issues like crime statistics for political purposes and ignite moral panics.
Feminism is defined as the belief that women and men should have equal rights and opportunities. It arose from the understanding that historically, women have been unable to fully participate in social institutions and have often been treated differently than men. Feminism aims to remedy this situation by eliminating old assumptions about gender roles. There have been three major waves of feminism. The first wave in the late 19th and early 20th centuries focused on women's suffrage and legal rights. The second wave from the 1960s-90s took on issues like reproductive rights and the fight for the Equal Rights Amendment. The third wave since the 1990s challenges concepts like universal womanhood and promotes defining femininity on women's own terms.
This document discusses the history and key concepts of feminism. It defines feminism as movements and ideologies that work to establish political, socio-economic, and reproductive rights for women. The document outlines three waves of feminism: first-wave feminism in the 19th-20th centuries focused on women's suffrage and property rights, second-wave feminism in the 1960s focused on issues like education and career opportunities, and third-wave feminism addresses issues like government representation and gender violence. It also discusses feminist theory, different feminist movements and ideologies, and notable feminists from Pakistan who have advocated for women's rights.
The document discusses gender representations in media. It notes that males and females are portrayed differently, with males generally given more prominent and positive roles. For example, in advertisements, males are often shown as powerful professionals while females are depicted as thin, beautiful objects or in traditional domestic roles. The media also tends to focus more on male athletes and sports. Furthermore, males are commonly represented in media as independent, strong, and leaders, while females are often shown as dependent, emotional, and passive.
Second wave feminism occurred in the 1960s-1970s and focused on improving women's rights in the workplace such as equal pay, employment opportunities, and freedom from sexual harassment. It also aimed to increase reproductive rights and challenge traditional gender roles that restricted women to domestic duties. Protests and lobbying achieved some successes like equal pay laws, but discrimination persisted and the movement continued pushing for full legal equality and choice over women's lives.
The document discusses and compares post-feminism and third-wave feminism. It questions whether equality has truly been achieved with post-feminism and argues it has been used to depoliticize and oppress women by promoting traditional gender roles. Third-wave feminism acknowledges advances but aims to be more inclusive by considering a broader range of social perspectives and recognizing gender as more fluid.
This document provides an overview of feminism and post-feminism. It defines feminism as a social movement that fights for political, economic, and social rights for women based on the belief that men and women are equal. Post-feminism is described as viewpoints that are critical of certain goals of third-wave feminism, but not anti-feminist. The document also discusses different types of feminism, feminist theory, and provides examples of influential feminist thinkers like Kate Millett. It examines how feminism is relevant to analyzing issues in cultural studies and media representation. In conclusion, it notes that while progress has been made, gender discrimination and unequal treatment of women still persists in many societies.
Representation is how groups are portrayed in media using stereotypes. Stereotypes are commonly used to represent people based on their age, gender, ethnicity, sexuality, class and ability. Negative stereotypes are often used and include portraying teenagers as anti-social, the elderly as helpless, women as dependent, minorities as criminals or exotic, and the disabled as victims. Positive representation in media can challenge stereotypes and show groups in a more realistic light.
The Frankfurt School was an institute founded in 1923 in Germany by Marxist intellectuals to develop Marxist theory independently of political parties. It became influential in developing critical theory. In 1933, the Nazis forced it to close and relocate to Columbia University in the US. Key members included Horkheimer, Adorno, Fromm, and Marcuse. The school is known for developing critical analyses of culture, ideology, authoritarianism and advancing emancipatory social science.
Feminist criticism began in the 1960s as a product of second-wave feminism and focused on exposing the patriarchal ideology and stereotypical representations of women in literature written by men. It aimed to show how these works emphasized masculine dominance and inferior portrayals of women characters. In later decades, feminist criticism shifted to discovering neglected works written by women and evaluating literary representations of women against social realities. There are differences between Anglo-American feminist criticism, which emphasizes close reading of texts, and French feminism, which incorporates more post-structuralist and psychoanalytic approaches.
This document discusses gender representation in media. It begins by outlining the learning objectives of exploring how femininity and masculinity are represented in media through stereotypes in film, music and advertising. It then discusses student tasks analyzing representations of gender in magazines, television shows, and advertisements. Specifically, it notes that women are often represented narrowly through domestic or sexualized roles, while representations of men increasingly focus on physique, strength, and sexuality. The document aims to have students understand and critique common gender stereotypes in various media.
This document discusses feminism and its history and types. It defines feminism as advocating for political, economic, and social equality between women and men. It outlines the three waves of feminism, focusing on increasing rights and addressing discrimination. It also describes several types of feminism, including liberal feminism working within existing systems, radical feminism advocating a reconstruction of society, cultural feminism building alternatives, Marxist feminism seeing capitalism as the root cause, and ecofeminism linking oppression of women and the environment.
Feminism aims to establish equal political, economic, and social rights and opportunities for women. The document traces the history and evolution of feminism through its three waves. The first wave in the 19th-early 20th century focused on women's suffrage and property rights. The second wave from the 1960s-1980s targeted discrimination and social/cultural stereotypes. The ongoing third wave since the 1990s further addresses issues of race, class, sexuality and other intersections of identity. Different types of feminism like liberal, radical, cultural, Marxist, and eco-feminism are also outlined.
Stuart Hall outlines three strategies for contesting stereotypes:
1. Reversal of stereotypes - Strong female leads in action movies reversing the damsel in distress trope. Positive portrayals of working mothers in advertising.
2. Substitution of positive images - Diversity of women in media of all ages, sizes, abilities replacing narrow beauty standards. Inclusive marketing features all types of families.
3. Making stereotypes work against themselves - Sassy women in commercials drawing attention to exaggerated gender roles for comedic effect. Subversive social media drawing from and reinventing tropes.
This document provides an overview of queer theory and its application to media representations of gender and sexuality. It discusses how queer theory emerged in the 1990s to challenge heteronormativity and limited representations of LGBT people. It also summarizes key concepts like gender as a social construct and "gender trouble." Examples are given of media texts like Will & Grace and Brokeback Mountain that can be analyzed through this theoretical lens.
Queer theory holds that all identities, including gender and sexual identities, are social constructions rather than innate. It critiques the traditional binary categories of gender and sexuality, such as man/woman and gay/straight. Judith Butler, a key scholar, argued that repeated representations of heterosexuality work to present it as normal, but representations of alternatives like drag queens can subvert and destabilize dominant heterosexual ideology. However, some argue that mainstream media representations of queer identities do little to challenge gender norms and are used more for shock value than celebration of diversity.
An introductory lecture in ideological analysis of media, covering works of Marx, Gramsci, Adorno & Horkheimer, Hall, given to BA-1 students at the Erasmus University Rotterdam
The document discusses the history and key concepts of feminism from the 19th century to present day. It covers the three waves of feminism, fighting for women's political, social, and economic rights. It also examines ongoing debates around representations of women in media and their impact, including the objectification of women's bodies and the pressure to conform to narrow beauty ideals. Critics argue this influences women's self-image and reinforces gender inequality, while others believe audiences are more active and resistant to media effects.
As a literary theory, postcolonialism deals with literature produced in formerly colonized countries and literature from colonial powers that features colonized subjects. It emerged in the 1970s with Edward Said's work on orientalism and how the West constructs discourse about the East. Major postcolonial thinkers examined the experiences of colonized people and their interactions with European imperial powers. Postcolonial theory provides tools to analyze hybridity, alterity, diaspora, imperialism, and Eurocentrism in former colonies. Examples of
Stuart Hall developed reception theory and the theory of encoding and decoding. He argues that audiences do not passively accept media texts, but actively negotiate meaning. Hall believes that culture is a site of social action and intervention where power relations can be established or challenged. He views identity as an ongoing cultural production rather than a fixed attribute, and has discussed how notions of race and ethnicity are socially constructed. Hall's influential work examines how institutions like the media can manipulate representations of issues like crime statistics for political purposes and ignite moral panics.
Feminism is defined as the belief that women and men should have equal rights and opportunities. It arose from the understanding that historically, women have been unable to fully participate in social institutions and have often been treated differently than men. Feminism aims to remedy this situation by eliminating old assumptions about gender roles. There have been three major waves of feminism. The first wave in the late 19th and early 20th centuries focused on women's suffrage and legal rights. The second wave from the 1960s-90s took on issues like reproductive rights and the fight for the Equal Rights Amendment. The third wave since the 1990s challenges concepts like universal womanhood and promotes defining femininity on women's own terms.
This document discusses the history and key concepts of feminism. It defines feminism as movements and ideologies that work to establish political, socio-economic, and reproductive rights for women. The document outlines three waves of feminism: first-wave feminism in the 19th-20th centuries focused on women's suffrage and property rights, second-wave feminism in the 1960s focused on issues like education and career opportunities, and third-wave feminism addresses issues like government representation and gender violence. It also discusses feminist theory, different feminist movements and ideologies, and notable feminists from Pakistan who have advocated for women's rights.
The document discusses gender representations in media. It notes that males and females are portrayed differently, with males generally given more prominent and positive roles. For example, in advertisements, males are often shown as powerful professionals while females are depicted as thin, beautiful objects or in traditional domestic roles. The media also tends to focus more on male athletes and sports. Furthermore, males are commonly represented in media as independent, strong, and leaders, while females are often shown as dependent, emotional, and passive.
Second wave feminism occurred in the 1960s-1970s and focused on improving women's rights in the workplace such as equal pay, employment opportunities, and freedom from sexual harassment. It also aimed to increase reproductive rights and challenge traditional gender roles that restricted women to domestic duties. Protests and lobbying achieved some successes like equal pay laws, but discrimination persisted and the movement continued pushing for full legal equality and choice over women's lives.
The document discusses and compares post-feminism and third-wave feminism. It questions whether equality has truly been achieved with post-feminism and argues it has been used to depoliticize and oppress women by promoting traditional gender roles. Third-wave feminism acknowledges advances but aims to be more inclusive by considering a broader range of social perspectives and recognizing gender as more fluid.
This document provides an overview of feminism and post-feminism. It defines feminism as a social movement that fights for political, economic, and social rights for women based on the belief that men and women are equal. Post-feminism is described as viewpoints that are critical of certain goals of third-wave feminism, but not anti-feminist. The document also discusses different types of feminism, feminist theory, and provides examples of influential feminist thinkers like Kate Millett. It examines how feminism is relevant to analyzing issues in cultural studies and media representation. In conclusion, it notes that while progress has been made, gender discrimination and unequal treatment of women still persists in many societies.
Representation is how groups are portrayed in media using stereotypes. Stereotypes are commonly used to represent people based on their age, gender, ethnicity, sexuality, class and ability. Negative stereotypes are often used and include portraying teenagers as anti-social, the elderly as helpless, women as dependent, minorities as criminals or exotic, and the disabled as victims. Positive representation in media can challenge stereotypes and show groups in a more realistic light.
The Frankfurt School was an institute founded in 1923 in Germany by Marxist intellectuals to develop Marxist theory independently of political parties. It became influential in developing critical theory. In 1933, the Nazis forced it to close and relocate to Columbia University in the US. Key members included Horkheimer, Adorno, Fromm, and Marcuse. The school is known for developing critical analyses of culture, ideology, authoritarianism and advancing emancipatory social science.
Feminist criticism began in the 1960s as a product of second-wave feminism and focused on exposing the patriarchal ideology and stereotypical representations of women in literature written by men. It aimed to show how these works emphasized masculine dominance and inferior portrayals of women characters. In later decades, feminist criticism shifted to discovering neglected works written by women and evaluating literary representations of women against social realities. There are differences between Anglo-American feminist criticism, which emphasizes close reading of texts, and French feminism, which incorporates more post-structuralist and psychoanalytic approaches.
This document discusses gender representation in media. It begins by outlining the learning objectives of exploring how femininity and masculinity are represented in media through stereotypes in film, music and advertising. It then discusses student tasks analyzing representations of gender in magazines, television shows, and advertisements. Specifically, it notes that women are often represented narrowly through domestic or sexualized roles, while representations of men increasingly focus on physique, strength, and sexuality. The document aims to have students understand and critique common gender stereotypes in various media.
This document discusses feminism and its history and types. It defines feminism as advocating for political, economic, and social equality between women and men. It outlines the three waves of feminism, focusing on increasing rights and addressing discrimination. It also describes several types of feminism, including liberal feminism working within existing systems, radical feminism advocating a reconstruction of society, cultural feminism building alternatives, Marxist feminism seeing capitalism as the root cause, and ecofeminism linking oppression of women and the environment.
Feminism aims to establish equal political, economic, and social rights and opportunities for women. The document traces the history and evolution of feminism through its three waves. The first wave in the 19th-early 20th century focused on women's suffrage and property rights. The second wave from the 1960s-1980s targeted discrimination and social/cultural stereotypes. The ongoing third wave since the 1990s further addresses issues of race, class, sexuality and other intersections of identity. Different types of feminism like liberal, radical, cultural, Marxist, and eco-feminism are also outlined.
1. The document discusses key concepts from Marxism, post-colonialism, feminism, and post-feminism as they relate to analyzing media and culture.
2. It addresses Marxist views of how the dominant ideology and institutions like the media subtly control society. Post-colonial theory examines the effects of colonialism on cultures.
3. Feminism challenges patriarchal power structures, while post-feminism believes women have gained equality but still face issues like the "triple burden" of domestic and professional responsibilities. Post-feminist analysis looks at how gender and sexuality are portrayed.
4. The document prompts applying these theoretical lenses to analyze representations in media like films
Feminist perspectives on media focus on analyzing how gender structures society and our experiences. Early feminist media studies highlighted how women were underrepresented or portrayed in stereotypical roles. Liberal feminism aims to achieve equal opportunities, while radical feminism sees patriarchy as oppressing all women. Socialist feminism incorporates class analysis. Cultural studies approaches examine audience interpretations and the social construction of gender through media. Feminist critiques aim to make masculinity and power relations visible and provide alternative communications.
This document provides an overview of feminism and its relationship to media representation of women. It defines feminism as a response to assumptions that women should be subservient to men and discusses how early feminism fought for women's rights and equality. It outlines some key feminist theories like patriarchy and objectification. The document then traces the history of feminism from the 18th century through the suffrage movement and both first and second wave feminism. It discusses post-feminism and criticisms that it distracts from feminist goals by promoting stereotypical roles. The document also examines gender studies theories like gender performance and the relationship between gender and lifestyle.
Feminism seeks to challenge patriarchal power structures and change perceptions of women. Feminists criticize how mass media reinforce patriarchal ideology through gender stereotypes. They view media as contributing to ideas of masculinity and femininity. While gender roles have changed over time, media still presents disempowering stereotypes of women's bodies and sexuality. Various feminist theorists have examined how media objectifies and sexualizes women from the male gaze. Feminism has progressed through several waves focusing on social, political, and cultural equality and empowerment of women.
R . C l a i r e S n y d e rWhat Is Third-Wave Feminism A .docxmakdul
This document summarizes and analyzes the key claims made about third-wave feminism in popular literature from the 1990s and early 2000s. It finds that while third-wave feminists emphasize having their own approach suited to their generation, much of second-wave feminism also focused on the issues they highlight like cultural critique. It also notes that third-wavers' portrayal of second-wave feminism as antifeminine and antisex oversimplifies the diversity and debates within that movement. Overall, the document argues third-wave feminism is best understood not as entirely separate from second-wave feminism, but as continuing its development while focusing more on inclusion, coalition-building and critique within multiple discur
Feminism has significantly influenced sociology in two main ways. First, it has brought to light issues that were previously overlooked, such as women's experiences. Second, it has criticized traditional sociological methods for reinforcing hierarchies between researchers and subjects. In response, feminist researchers have advocated more collaborative methods. However, critics argue that feminist methodology does not eliminate power imbalances and early feminism did not consider the experiences of all women.
Judith Butler argues that gender is a performance rather than a stable identity. Laura Mulvey's theory of the "male gaze" describes how women are typically objectified in media for the viewing pleasure of male audiences. Queer theory challenges rigid definitions of sexuality and gender identities, arguing they are socially constructed and fluid. Stuart Hall believes cultural identity is an ongoing process shaped by history and power relations, rather than a fixed attribute, and that media can propagate moral panics and manipulate representations of race.
This document provides an overview of key concepts in feminism and gender theory, including:
- Definitions of feminism and a brief history covering first, second, and third-wave feminism.
- Summaries of the work and ideas of prominent theorists Angela McRobbie and Judith Butler. McRobbie studied youth culture and gender, while Butler argued that gender is a social construct and performance rather than a stable identity.
- An introduction to queer theory and how it builds on Butler's work to question traditional definitions of sex, gender, and sexuality.
Feminism is defined as the belief that women and men should have equal rights and opportunities. It arose from the understanding that historically, women have been unable to fully participate in social institutions and have often been treated differently than men. Feminism aims to remedy this situation by eliminating old assumptions about gender roles. There have been three major waves of feminism. The first wave in the late 19th and early 20th centuries focused on women's suffrage and legal rights. The second wave from the 1960s-90s centered around issues of sexuality, reproductive rights, and gender equality. The third wave since the mid-1990s challenges concepts like universal womanhood and promotes individual empowerment and expression of gender and sexuality.
The document provides an overview of the history of feminism through three waves. The first wave in the 19th/early 20th century focused on gaining women's suffrage and legal rights. The second wave from the 1960s-80s addressed unofficial inequalities related to sexuality, family, workplace, and reproductive rights. The third wave from the 1990s onward responded to failures of the second wave and embraced diversity, allowing women to define feminism through their identities.
This document provides an overview of feminism and key figures in its development. It discusses Mary Wollstonecraft as one of the early advocates for women's rights and education. It also mentions Rebecca West's definition of feminism as the belief that women are equal to men. The document then focuses on Elaine Showalter and her development of feminist literary criticism and the concept of gynocritics. It provides various waves of feminism and examples of feminist writers and texts.
This document provides an overview of feminism and its significance. It discusses the three waves of feminism, including first wave suffrage movements, second wave focus on social and cultural equality, and third wave emphasis on gender as a social construct. Key feminist concepts are explained like patriarchy, biological determinism, and the personal is political. Visual examples show how feminist artists have challenged gender stereotypes and reclaimed representations of women. The document addresses ongoing debates around feminism and post-feminism, and argues that feminism remains important today given continued gender inequalities.
Feminism seeks to achieve equal social, political, and economic rights for women and men. It originated in France in the 1870s and refers to organized actions to end patterns that have disadvantaged women. There have been four waves of feminism focused on issues like suffrage, workplace discrimination, sexuality, and today's focus on issues like campus rape and sexual harassment through movements like #MeToo. Schools of feminism include radical feminism, which believes the patriarchal hierarchy must change for equality, and cultural feminism, which celebrates women's experiences and values.
The document provides an overview of the three waves of feminism:
- First wave feminism in the 19th/early 20th century focused on gaining women's suffrage and legal rights.
- Second wave feminism in the 1960s-80s addressed unofficial inequalities related to sexuality, family, workplace, and reproductive rights.
- Third wave feminism from the 1990s onward responded to failures of previous waves and embraced diversity, allowing women to define feminism through their identities and perspectives. It focuses on issues of race, social class, sexuality, and workplace discrimination.
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
Gender & Identity on Postcolonial Studies - Wiwin Malinda.pdfMalindaWin
The document discusses gender and identity in postcolonial studies. It examines how postcolonial and gender theories emerged from political struggles and intellectual traditions. These theories seek to challenge hierarchical binaries like center/margin and male/female. Judith Butler's work on gender performativity is discussed, arguing that gender is an ongoing process of boundary marking rather than a fixed identity. The document also analyzes how postcolonial gender theorists have critiqued concepts like epistemic violence and the positioning of Western knowledge as the norm. Their work aims to deconstruct margins and understand relationships between Self and Other.
Karl Marx suggested that true freedom only exists under communism and that wealth is determined by skill and social status. Neo-Marxism updated traditional Marxism by addressing criticisms of only two classes and recognizing a more complex class structure. Marxism is a philosophy and analysis of history and capitalism that views society through a materialist lens and theorizes social change. Stuart Hall argued that dominant ideologies are not automatically adopted by audiences. Pluralism posits that society is diverse with many beliefs, while hegemony describes one group dominating through popular consent. Capitalism is an economic system based on private ownership. Louis Althusser was a structural Marxist who argued Marxism underwent an epistemological break and analyzed threats to
1. Explain why the author (hooks) states that its hard to achie.docxstilliegeorgiana
1. Explain why the author (hooks) states that it's hard to achieve sisterhood? List some of the challenges to achieve sisterhood.
-Bell Hooks states that it’s hard to achieve sisterhood because “male supremacist ideology” encourages women to believe that they are useless and are only valuable when relating to or bonding with men. Women are taught that their “natural enemies” are themselves, and that “solidarity” will not exist because they cannot and should not bond with one another. Therefore relationships between other women are seen as less valuable and “diminish” rather than “enrich” their own experiences. Women are divided by sexist attitudes, racism, class privilege, and many other prejudices that seek to divide women and turn them against each other. As such, there can be no “mass-based movement” to end sexist oppression without women demonstrating that they are willing to work together and bond in order to achieve their cause. “Some feminists now feel that unity among women is impossible given our differences” (Hooks 44). The fact that many women (like the bourgeois white women) are “exploiting and oppressing other women” for their own gains is only hurting their cause and is giving men more power to control them. “According to Bourgeois women, the basis for bonding was shared victimization, hence the emphasis on common oppression” (Hooks 45). This meant that women had to be represented as “victims” in order to feel that the feminist movement was relevant to their lives. Bonding as “victims” created a situation in which “self-affirming women” (like black women) were often seen as having no place in the feminist movement. It was this logic that led many white women activists to abandon the feminist movement when they no longer embraced the “victim” identity. They cannot afford to see themselves solely as “victims” because it would be psychologically demoralizing for these women to bond with other women on the basis of “shared victimization” and under male patriarchy they would continue to devalue women who were outside of their group and continue to exercise their influence and power over their “allies”. For women to be able to make any kind of impact, on any social or political platform, they have to be able to bond and connect with each other on the basis of shared strengths and resources. It is this type of bonding that is the essence of Sisterhood.
2. Explain how the feminist movement has been shaped since 1960 (provide details in chronological order).
-During the 1960s, influenced and inspired by the Civil Rights Movement, women of all ages began to fight to secure a stronger role in American society. As members of groups like the National Organization for Women (NOW) asserted their rights and strove for equality for themselves and others, they upended many accepted norms and set groundbreaking social and legal changes in motion. Title VII is the section of the Civil Rights Act of 1964 that prohibited discrimination in employm.
Applying Academic Ideas to Long Form Television Drama discusses various academic ideas and arguments that can be applied when analyzing long form television dramas, such as Stranger Things. It outlines theories of semiology, narratology, genre, structuralism, and postmodernism. For each theory, it provides a one sentence summary of the key ideas and discusses how the theory can be applied and evaluated using Stranger Things as an example, noting both the insights and limitations of each approach.
This document discusses the differences between broadsheet and tabloid newspapers in the UK. It notes that broadsheets traditionally focus on hard news topics that have widespread impact, while tabloids emphasize soft news topics like entertainment and celebrity gossip. It provides background on the Daily Mail and The Guardian newspapers, including their founding dates, owners, and corporate structures. The Daily Mail is owned by Daily Mail and General Trust and chaired by Jonathan Harmsworth, while The Guardian is owned by the Scott Trust to maintain its financial and editorial independence in perpetuity.
The document discusses the concept of genre in media studies. It defines genre as a type or category of media text that has predictable characteristics. Genre is identified through codes, which are symbols that represent ideas, and conventions, which are typical characteristics of a genre like characters, storyline and settings. The document provides examples of different film and music genres and examines how codes and conventions establish expectations in genres. It also discusses hybrid genres that combine two genres.
The document discusses the differences between broadsheet and tabloid newspapers in the UK. Broadsheets, like The Guardian, focus on hard news for a niche audience while tabloids, like the Daily Mail, focus on soft news and sensational stories for mass appeal. Broadsheets have a broadsheet format with long vertical pages, while tabloids have a compact size. The document also provides ownership information for The Guardian and Daily Mail newspapers.
This document discusses the differences between broadsheet and tabloid newspapers in the UK. It provides information on their typical page sizes, the types of content they focus on, and their typical political biases. Broadsheets tend to focus more on hard news and have a more niche audience, while tabloids emphasize soft news and sensational stories to appeal to a mass audience. It also provides ownership details of two major UK newspapers - the Daily Mail, owned by Daily Mail and General Trust, and The Guardian, owned by Guardian Media Group and wholly owned by the Scott Trust.
The document provides an analysis of the short film "Meal Ticket" by the Coen Brothers for Netflix. It examines the symbolic meanings represented by the characters. The thespian represents the old world of art and philosophy. The impresario represents the materialistic nature of business. The chicken represents the commercialization and algorithmic transmission of culture. Every element of the film carries a deeper symbolic meaning and uses references from literature and other texts.
Roland Barthes argues that narratives contain multiple narrative codes that provide meaning. The main codes are:
1) The proairetic code refers to the actions characters take to solve conflicts or problems.
2) The hermeneutic code involves the enigmas posed in stories and their interpretations, which generate audience emotions like suspense.
3) The cultural code references outside knowledge, while the symbolic code organizes opposing ideas or themes.
Clay Shirky is an Associate Arts Professor at NYU's Telecommunications Program and Associate Professor in the Journalism Department. He is also a Fellow at the Berkman Center for Internet and Society at Harvard University and was the Edward R. Murrow Visiting Lecturer at Harvard's Shorenstein Center in 2010. Shirky studies the effects of new media technologies on social and economic institutions.
Henry Jenkins is a professor who has authored or edited seventeen books on media and popular culture. He explores how fans actively engage with media texts by creating their own cultures and communities. The rise of new media has accelerated participatory culture where audiences are active participants rather than passive consumers by generating online content and solving problems collectively. For Jenkins, convergence is a cultural process rather than just a technological one, and he prefers the term "spreadable media" to emphasize the active role of audiences online.
Newspaper analysis task 1_Daily Mail mediation and cognitive disonance.pptxRafaelPerezOlivan
The document discusses three examples from the Daily Mail newspaper that demonstrate cognitive dissonance, mediation, and biased representation of trade unions. It asks the reader to analyze the stages of mediation in one Daily Mail article, the potential ideological reasons for discrepancies in how teachers are portrayed, and the possible ideological motivations for misrepresenting trade unions, providing points, evidence, examples, analysis, and a conclusion for each.
This document provides sample exam questions about The Lego Movie film and video game. It includes questions that require identifying media organizations, film studios, and video game developers involved with The Lego Movie, as well as questions about marketing strategies, audience experiences, representations in media, and use of genre conventions. The questions range from 1 to 15 marks and require explaining concepts, analyzing representations, and applying media theories.
This document provides instructions and tasks related to analyzing newspaper articles on immigration from different dates and sources. The tasks involve comparing the social and cultural representations in two sources and analyzing how the combination of media language elements used influence the meaning and construction of meaning across the two newspaper articles on the same event. The analysis must apply a theory of representation and consider the ideology of each newspaper as portrayed through the front covers.
This document outlines two tasks related to analyzing representations in newspaper sources. Task 1 involves analyzing the social and cultural representations in two newspaper front covers, applying a representation theory and discussing the ideology of each newspaper. Task 2 requires explaining how media language combinations influence newspaper meaning, analyzing how the sources use media language to construct meaning, and making a judgment on the extent media language influenced the sources' meanings.
There are three types of media ownership: public, private, and state-owned. Publicly owned media is owned by the public and funded through license fees. Privately owned media is owned by private companies and funded through advertising and commercial revenue. State-owned media is owned by the government and funded by taxpayers. Each type has advantages and disadvantages related to bias, diversity of content, and profit motives. Examples of each type of ownership from around the world are provided.
The document discusses the concept of genre and provides examples of how genre is expressed in different media like music and film. It defines genre as a type or category of media text with predictable characteristics. Codes are described as systems of symbols that represent ideas, while conventions are typical characteristics of a specific genre that are repeated. The document uses examples from film posters and magazine covers to illustrate how codes and conventions define different genres.
Stuart Hall outlines three historical moments in the creation of racialized representations:
1) The colonial period which established stereotypes of colonized peoples as inferior.
2) The post-abolition period which saw the emergence of ideas around scientific racism.
3) The long 20th century period of decolonization, immigration, and civil rights movements.
During these periods, stereotypes in the media portrayed racialized groups as primitive, childlike, or threatening in order to justify their subjugation. These representations were circulated widely through newspapers, magazines, and other media to naturalize racial inequalities. Hall refers to this exploitation of racial stereotypes for economic and political gain as "commodity racism."
Serif fonts have small lines or "feet" at the end of strokes that help guide the eye across lines of text. They are commonly used for body text in books, newspapers and other long-form reading materials because studies have shown serif fonts can increase readability compared to sans-serif fonts. Popular serif typefaces include Times New Roman, Garamond, Georgia and Century.
The document provides a detailed summary of the plot of the film Split. It describes the main characters of Casey Cooke, Claire Benoit, and Marcia and how the three girls are kidnapped by Kevin Wendell Crumb who has dissociative identity disorder and 23 personalities, including the dangerous personality known as "The Beast". The summary then outlines Casey's journey to try and escape with the other girls and ultimately defeat The Beast with the help of clues from the psychiatrist. It concludes with Casey reporting her uncle to police for past abuse.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
BÀI TẬP DẠY THÊM TIẾNG ANH LỚP 7 CẢ NĂM FRIENDS PLUS SÁCH CHÂN TRỜI SÁNG TẠO ...
Angela McRobbie
1. Angela McRobbie (born 1951), is a
British cultural theorist, feminist and
social commentator whose work
combines the study of popular culture,
contemporary media practices and
feminism. She is a Professor of
Communications at Goldsmiths
College, University of London.
McRobbie has authored many books
and scholarly articles on young
women and popular culture, gender
and sexuality, the British fashion
industry, social and cultural theory,
the changing world of work and the
new creative economy, feminism and
the rise of neoliberalism.
2. Popular culture ensures young women that the traditional feminism is something
they can happily live without, and young women are encouraged to adopt a “post-
feminist” ideology.
Post-feminism draws on a neo-liberal vocabulary of “empowerment” and “choice,”
offering these to young women as substitutes for more radical feminist political
activity.
Post-feminist femininity, with its deceptive ideas of “capacity, freedom, change and
gender equality” reinstates gender hierarchies and breeds new forms of patriarchal
power.
3. Concept:
Post-feminism: a kind of substitute for, or
displacement of, feminism as a political movement.
Explanation:
Young women today are the beneficiaries of past
liberal feminist victories, to the extent that “gender
equality” now seems to be common sense.
As a consequence, the media suggests that feminism
is no longer relevant — it is expendable, a thing of the
past.
4. Post-feminism: a kind of substitute for, or displacement of, feminism as a
political movement. McRobbie defines post-feminism as an active
process by which feminist gains of the 1970-80s come to be undermined
(Explanation:Young women today are the beneficiaries of
past liberal feminist victories, to the extent that "gender equality" seems
to be common sense.As a consequence, the media suggests that
feminism is no longer relevant — it is expendable, a thing of the past.)
It proposes that elements of contemporary culture have a harmful effect
on the undoing of feminism while appearing to a be well-informed and
well-intended response to feminism. (Explanation: there is a trend
found in popular cultural products that seems to suggests or imply that
feminism is no longer needed and that female empowerment is
achieved through means of the traditional idea of femininity i.e. being
“sexy”, having a specific type of body, self-representing in a specific
“feminine” way, etc..)
Paradox: a statement or proposition which, despite apparently sound
reasoning from acceptable premises, leads to a conclusion that seems
logically unacceptable or self-contradictory.
5. McRobbie talks about a double entanglement which she says is “manifest in popular
and political culture” (Explanation: there are two forces working (neo-
conservative/capitalist ideology and its reflection in popular cultural artifacts with
regards cultural commodification) together to diminish feminism with the argument
that it is no longer needed or even desirable, or by appropriating the language and
codes of feminism and emptying them of their original meaning, such as in false
ideas of female empowerment through the traditional ideas of femininity)
“Women are
currently being
disempowered
through the very
discourses of
empowerment they
are being offered
as substitutes for
feminism”
6. Marilyn Monroe in Gentlemen prefer blondes (Howard Hawks, 1953) Beyonce performs onstage during the MTV Video Music Awards August, 2014.
Popular feminism is a new form of
pretended feminism that looks too much
like the old idea of femininity, and which,
unlike traditional feminism, is broadcast
widely in the media and iconically
appropriated by celebrities. “How does it
happen that this new feminism looks so
much like the old, conventional
femininity? “
7. Feminist success: Feminism has eventually had an
impact every aspect of public life, from the media to
the educational system. However, McRobbie
questions how success is being measured.
(Explanation: During the late 80s and especially during
the 90s, feminism was taken into account within a
range of institutions, making them look “modern
and abreast with social change”, and feminist values
were taken on board in education, law and the media.
McRobbie explains that within this XXI century cultural
space, women don’t like to identify with feminism
anymore and choose to reject the notion.This form
of anti-feminist is seen to be embodied in the
successful ‘TV blonde’, young women as “privileged
subjects of social change”, however the terms for this
success is that they must do without more
autonomous feminist politics.
8. One strategy is disempowering of feminism includes it being historicised and
generationalised and thus easily rendered out of date.This presents the idea
of feminism as an ideology from the past.
Popular cultural products and texts represent feminism as incompatible
with femininity, or rather present the idea of female empowerment through
the traditional idea of femininity, by provocatively "enacting sexism“, whilst at
the same time playing with those debates about objectification of women
and the female body (ie.TheWonderbra advert featuring Eva Herzigova)
Since women have achieved economic independence – they conform a new
market in which women are new consumers of women’s products.
According to McRobbie, this has created a hyper-culture of commercial
sexuality, that can be found in almost every product marketed to the
women.
Female achievement is predicated not on feminism, but on female
individualism, which turns out to mean competition, rather than cooperation,
the foundational principle of feminism (as much as of any other revolutionary
movement).This certainly hinders the effectiveness of the feminist struggle.
10. Young women today ironically accept the normalisation of pornography, ‘lad
mags’, the “page 3 girl”, etc. and the hyper sexualised representations of women
within the media as a sign of sophistication (or “being cool”) and empowerment.
Sexual objectification is seen as empowering.
Due to the ubiquitous presence of this hyper sexualised message and idea about
women, most young women prefer to stay silent about this new growth of hyper
sexualisation of the female body, as they are afraid to be criticised or to be
perceived as a “prude”, “uncool”, or “old fashioned”.
11. McRobbie introduces the concept of “Post-feminist masquerade” as one form of
dispersed and body-oriented gender power central to the (re)production of
masculine hegemony. Exemplified by the “so-called fashionista,” (McRobbie, p. 67)
the post-feminist masquerade and its various incarnations — the well-educated
working girl, the swearing and boozing phallic girl, and the racialized global girl — are
adopted freely and self-consciously as statements of personal choice and female
empowerment. Paradoxically, however, the post-feminist masquerade operates as
an ironic, quasi-feminist gesture, while at the same time, warding off any potential
threat or challenge to the traditional patriarchal authority.
12. Neo-conservative ideas have had an impact on the western world and the
way the newest generation thinks. One of these ideas is the concept of
individualisation, as presented by sociologists such as Giddens and Becks.
The earlier period of modernisation (“first modernity”) created a welfare
state and a set of institutions (e.g. education and health care) which allowed
people in general and women in particular, who had been traditionally
dependent on men, to become more independent and able, for example, to
earn their own living.
Young girls who aim to be independent women must have a lifeplan must
become more reflexive in regard to every aspect of their lives, from making
the right choice in marriage, to taking responsibility for their own working
lives.These arguments appear to fit very directly with the kinds of scenarios
and dilemmas facing the young women characters in the narratives of
contemporary popular culture (such in the film Bridget Jones Diary)
“Choice is surely, within lifestyle culture, a modality of constraint”.
13. McRobbie argues that young women’s increasing participation in the
labor market is accompanied by a cultural politics of what Stuart Hall has
called disarticulation.
For her purposes, McRobbie defines disarticulation as that force which
undermines potential inter-generational solidarities between and
among women through the widespread dissemination of values which
posit feminism as embittered and passé, the territory of ancient, furry,
man-hating lesbians. Moreover, disarticulation works to foreclose
potential cross-cultural ties by imagining non-Western women as
sexually constrained and victimized, in (false) contrast to “sexually free”
young women in theWest.The post-feminist celebration of the fashion-
conscious ‘thong-wearing’Western girls” (McRobbie, p. 27) works to
recreate and reinforce notions of Western superiority while
disarticulating possible affiliations based on feminist post-colonialist
critique.
Angela McRobbie,TheAftermath of Feminism: Gender, Culture and Social Change, Sage
Publications, 2009, 192pp.
14. According to Angela McRobbie, disarticulation works to foreclose potential cross-cultural
ties by imagining non-Western women as sexually constrained and victimized, in (false)
contrast to “sexually free” young women in theWest.
16. Post-feminism draws on a neo-liberal vocabulary of “empowerment”
and “choice,” offering these to young women as substitutes for more
radical feminist political activity.
Post-feminist femininity, with its “capacity, freedom, change and
gender equality” reinstates gender hierarchies and breeds new forms of
patriarchal power.
Popular culture ensures young women that the traditional feminism is
something they can happily live without, and young women are
encouraged to adopt a “post-feminist” ideology.
For Professor McRobbie, this is a paradox (paradox: a statement or
proposition which, despite sound reasoning from acceptable premises,
leads to a conclusion that seems logically unacceptable or self-
contradictory.)
17. McRobbie sets out to explain apparent paradoxes:
How is it that “women are currently being
disempowered through the very discourses of
empowerment they are being offered as
substitutes for feminism?”
How does it happen that “this new feminism
looks so much like the old, conventional
femininity?”
18. ReadAngela McRobbie’s “Post-feminism and
popular culture” extract.
Identify the main concepts and argumentation.
Create a glossary of terminology with those
words which meaning you don’t know and
search for those words using both the Oxford
dictionary and the internet.
19. Look at the different examples of historical
representations of femininity in the following
slides.
Choose three examples from different eras and
analyse them:
1. What idea of femininity is being represented?
2. How is it being represented?
3. In what way are the representations in these
examples similar or different?
20.
21. Venus of Willendorf. Estimated to have been made between 28,000 and 25,000 BCE.
(Naturhistorisches Museum inVienna, Austria)
22. Venus of Laussel
Gravettian Upper
Paleolithic culture
(approximately 25,000
years old)
Musée d'Aquitaine
(Bordeaux, France)
23. The Venus of
Lespugue is aVenus
figurine, a statuette of a
nude female figure of
the Gravettian, dated to
between 26,000 and
24,000 years
ago.discovered in 1922
in the Rideaux cave
of Lespugue (Haute-
Garonne) in the foothills
of the Pyrenees by René
de Saint-Périer (1877-
1950).
The origins of the
Gravettian people are
not clear, but as their
Aurignacian
predecessors, they are
known for theirVenus
figurines.
24. Aphrodite is the ancient Greek
goddess of love, beauty, pleasure, and procreation.
Venus is the Roman goddess of love, beauty, desire, sex,
fertility, prosperity and victory. In Roman mythology, she
was the mother of the Roman people through her
son, Aeneas, who survived the fall ofTroy and fled to Italy.
The Romans adapted the myths and iconography of
her Greek counterpart Aphrodite for Roman art and Latin
literature. In the later classical tradition of theWest,Venus
becomes one of the most widely referenced deities
of Greco-Roman mythology as the embodiment of love
and sexuality.
25. The Birth of Venus. Sandro Botticelli (most probably made in the mid 1480s).
26. In Greek mythology, a Charis (/ˈkeɪrɪs/; Greek: Χάρις, pronounced [kʰáris]) is one
of three or more minor goddesses of charm, beauty, nature, human creativity,
and fertility, together known as the Charites /ˈkærɪtiːz/ (Χάριτες [kʰáritɛːs])
or Graces.
According to Greek poet Hesiod’s Theogony, there were three charites: Aglaia (or
Aglaea), which means radiance (or elegance); Euphrosine (or Euphrosyne), which
means joy (or mirth); andThalia, which means flowering (beauty associated with
youth). Born of one of Zeus’s affairs, the three Graces were pure virgins who lived
with the gods, served at the banquets and fostered joie de vivre.They served
Aphrodite, the goddess of love, and were never bored.
In Roman mythology they were known as the Gratiae, the "Graces". In some
variants, Charis was one of the Graces and was not the singular form of their name.
TheThree Graces is a representation of the mythological three charites, daughters
of Zeus, Euphrosyne, Aglaea andThalia - who were said to represent youth/beauty
(Thalia), mirth (Euphrosyne), and elegance (Aglaea).
31. Boudica or Boudicca (Latinised as
Boadicea or Boudicea, and known
inWelsh as Buddug) was a queen of
the British Celtic Iceni tribe who led
an uprising against the occupying
forces of the Roman Empire in AD 60
or 61, and died shortly after its
failure.
John Opie (1761-1807)
Boadicea Haranguing the Britons
39. "We Can Do It!" is an American wartime propaganda
poster produced by J. Howard Miller in 1943 for
Westinghouse Electric as an inspirational image to boost
worker morale.The poster is generally thought to be
based on a black-and-white wire service photograph taken
of a Michigan factory worker named Geraldine Hoff.
The poster was seen very little duringWorld War II. It was
rediscovered in the early 1980s and widely reproduced in
many forms, often called "We Can Do It!" but also called
"Rosie the Riveter" after the iconic figure of a strong
female war production worker.The "We Can Do It!" image
was used to promote feminism and other political issues
beginning in the 1980s.
40.
41. Women’s roles were greatly changed in the 1950s, with the men coming back from war
and taking their jobs back.
DuringWorldWar II, women had taken men’s jobs while they had been away. After the
war, and although many women wanted to keep their jobs, an estimated 1,000,000
women (in America only) were made redundant, so men could occupy their former
jobs. Many of them became wives and mothers as the men came back from the war.
In 1957, 70% of working women held clerical positions, assembly lines or service jobs.
12 % held a profession and 6% held management positions.Those that held
professional jobs worked as nurses and teachers.They found themselves taking care of
the house and of their children.
42.
43. • Emmeline Pankhurst (1858 –1928) was a British political activist and leader of
the British suffragette movement who helped women win the right to vote.
• Is she an archetypal representation of femininity ?
• Why?
44. AngelaYvonne Davis (born January 26, 1944)
is an American political activist, academic, and
author. She emerged as a
prominent counterculture activist and radical
in the 1960s as a leader of the Communist
Party USA, and had close relations with
the Black Panther Party through her
involvement in the Civil Rights Movement. As
a result of purchasing firearms used in
the 1970 armed take-over of a Marin County,
California courtroom, in which four persons
were killed, she was prosecuted for
conspiracy. She was later acquitted of this
charge. She was a professor (now retired) at
the University of California, Santa Cruz, in
its History of Consciousness Department and a
former director of the university's Feminist
Studies department.
• Is this an archetypal representation of femininity ?
• Why?
45. • Is this an archetypal representation of femininity ?
• Is this a stereotype?
• Why?
46. • Is this an archetypal representation of femininity ?
• Is this a stereotype?
• Why?
47. • Is this an archetypal representation of femininity ?
• Is this a stereotype?
• Why?
48. • Is this an archetypal representation of femininity ?
• Is this a stereotype?
• Why?
49. • Is this an archetypal representation of femininity ?
• Why?
50. • Is this an archetypal representation of femininity ?
• Why?
51. • Is this an archetypal representation of femininity ?
• Why?