scholarly journals CAN EROTIC CAPITAL SUBVERT MASCULINE ECONOMY? AESTHETIC WORK AND THE POST-FEMINIST APPROACH TO ECONOMICS

2019 ◽  
Author(s):  
Nur Tsalits Fahman Mughni

Capitalism is transforming the women’s liberation movement. Theories such as erotic capital are a clear example of how such a transformation takes place by undermining feminism and converting women’s liberation into a product through the aestheticization and fetishization of women. How does this transformation affect the way in which we think about women, female bodies and female sexuality? The erotic capital theory offers a new paradigm to feed the ever-growing need of capitalism for consumption by transforming human bodies and relationships into exchangeable commodities in order to improve women’s socio-economic status instead of questioning the reality behind gendered inequalities.

1973 ◽  
Vol 5 (1) ◽  
pp. 123-136 ◽  
Author(s):  
Juliet Mitchell

When I was first invited to give this year's Marie Stopes Memorial Lecture I had to express my reservations, as my ignorance of Marie Stopes' work was, I'm afraid, profound. I was assured that the talk could simply be on any area relevant or only indirectly related to Marie Stopes' work. I assumed from this that the reason for my invitation was to associate Marie Stopes' achievements with the contemporary Women's Liberation Movement. Since those days of pristine ignorance two things have happened to me. First, I have now read a certain amount on and by Marie Stopes, and second, I have read the lecture that Laurie Taylor gave here last year entitled ‘Marie Stopes—The Unfinished Sexual Revolution—but also extremely annoying. Here was a man extraordinarily sensitive to the facile male chauvinism of his predecessors: those biographers who had let a stuffy nervousness about Marie Stopes' stress on her own life-long sexual needs mar their tale, often turning an adventurous and unconventional woman into a disturbed and frustrated eccentric: someone who was not a ‘fuffilled’ woman. In his talk Laurie Taylor more than righted the balance for he not only corrected the priggish sexism of others, and was himself unusually free from it, but, moreover, he managed to place Stopes' work in a context of serious theories of sexual revolution. In other words, on reading last year's lecture I found my task already done. It is a rare and pleasant occasion when one can defer to the anti-male chauvinism of a male critic, and I do so with great satisfaction. In fact I wish to do more than to defer to it; I wish to take advantage of it. For I want today to use Marie Stopes merely as a jumping-off point, only vaguely relating her preoccupations to those of the contemporary Women's Liberation Movement. I am afraid I even want to be critical of aspects of her great achievement in spreading birth control and gynaecological health in a way for which, goodness knows, we are all most grateful today. For an active member of the Women's Liberation Movement to come and speak in honour of one of the women who in this century has done so much for women and ignore that honour or even turn it to criticism, is, I'm afraid, a dishonourable act. I feel I've been asked here in double trust and I am, in a way, going to abuse both.


2020 ◽  
Vol 14 (3) ◽  
pp. 321-330 ◽  
Author(s):  
Samantha Lampe

As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.


Soundings ◽  
2021 ◽  
Vol 77 (77) ◽  
pp. 37-54
Author(s):  
Sheila Rowbotham ◽  
Jo Littler

In this interview Sheila Rowbotham talks to Jo Littler about her involvement in feminism and politics over several decades. This ranges across her role in the Women's Liberation Movement, left activism, historical scholarship, work with in the Greater London Council (GLC), involvement in the international homeworking movement and her secret life as a poet.


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