traditional femininity
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2021 ◽  
Author(s):  
◽  
Sophie Cossens

<p>Depictions of girls and young women as powerful, unconstrained and outshining boys and men characterise the modern postfeminist cultural climate and imbue femininity with wide reaching success. However, research into postfeminist discourse reveals a far more complicated picture than this straightforward ode to success. Previously the focus has been on successful femininity within education or employment, or on the future aspirations of girls and young women. Yet considering the grandiose postfeminist claims of successful femininity it is important to examine specifically what success means to those who are expected to hold it. The current research has done so from the perspective of ethnically diverse pre-adolescent girls, addressing the lack of research with this age group and with girls from minority ethnic backgrounds. Incorporating the latter enabled the thesis to examine how ethnic identities may intersect with understandings of successful femininity. Focus groups and photo-narrative books were used to explore the ways 32 girls between 11- and 13-years old made sense of successful girl/womanhood, including media representations of successful femininity. Participants were recruited from two urban schools within New Zealand. The study used a feminist poststructuralist framework and employed thematic and Foucauldian discourse analysis to analyse the data. Two overarching themes were identified: ‘Success as Individual Qualities’ and ‘Spheres of Success.’ Across these themes the girls’ drew heavily on postfeminist and neoliberal discourses and constructed success through the competing and contradictory discourses of girl power and traditional femininity. Successful femininity was constructed as a highly individualised endeavour, predicated on the individual qualities of hard work, constant striving towards goals and overcoming adversity. These qualities were required to accomplishing success within three mandatory spheres of success; education, employment and motherhood. The successful female subject was expected to move linearly through these three spheres, engaging in higher education to earn a successful career in order to financially sustain motherhood. Discussions of employment success oscillated between constructions of unbounded possibility for young women in the workforce and recognition of the barriers facing young women and especially Māori women who work. Motherhood, described as the apex of successful femininity, was also shot through with complexity. The girls constructed a narrow scope for success through motherhood: those who had children without planning, had many children or who gave birth while young or single were positioned outside of this successfulness. The ultimate form of successful femininity required a delicate balancing of the three spheres of success in order for women to achieve the contradictory and unobtainable task of ‘having it all.’ Findings demonstrate girls’ lack of access to a language with which to articulate oppression and inequality and emphasise the problematic entanglement of ‘new’ discourses of equality, empowerment and success with the enduring presence of powerful and regulatory traditional discourses of femininity.</p>


2021 ◽  
Author(s):  
◽  
Sophie Cossens

<p>Depictions of girls and young women as powerful, unconstrained and outshining boys and men characterise the modern postfeminist cultural climate and imbue femininity with wide reaching success. However, research into postfeminist discourse reveals a far more complicated picture than this straightforward ode to success. Previously the focus has been on successful femininity within education or employment, or on the future aspirations of girls and young women. Yet considering the grandiose postfeminist claims of successful femininity it is important to examine specifically what success means to those who are expected to hold it. The current research has done so from the perspective of ethnically diverse pre-adolescent girls, addressing the lack of research with this age group and with girls from minority ethnic backgrounds. Incorporating the latter enabled the thesis to examine how ethnic identities may intersect with understandings of successful femininity. Focus groups and photo-narrative books were used to explore the ways 32 girls between 11- and 13-years old made sense of successful girl/womanhood, including media representations of successful femininity. Participants were recruited from two urban schools within New Zealand. The study used a feminist poststructuralist framework and employed thematic and Foucauldian discourse analysis to analyse the data. Two overarching themes were identified: ‘Success as Individual Qualities’ and ‘Spheres of Success.’ Across these themes the girls’ drew heavily on postfeminist and neoliberal discourses and constructed success through the competing and contradictory discourses of girl power and traditional femininity. Successful femininity was constructed as a highly individualised endeavour, predicated on the individual qualities of hard work, constant striving towards goals and overcoming adversity. These qualities were required to accomplishing success within three mandatory spheres of success; education, employment and motherhood. The successful female subject was expected to move linearly through these three spheres, engaging in higher education to earn a successful career in order to financially sustain motherhood. Discussions of employment success oscillated between constructions of unbounded possibility for young women in the workforce and recognition of the barriers facing young women and especially Māori women who work. Motherhood, described as the apex of successful femininity, was also shot through with complexity. The girls constructed a narrow scope for success through motherhood: those who had children without planning, had many children or who gave birth while young or single were positioned outside of this successfulness. The ultimate form of successful femininity required a delicate balancing of the three spheres of success in order for women to achieve the contradictory and unobtainable task of ‘having it all.’ Findings demonstrate girls’ lack of access to a language with which to articulate oppression and inequality and emphasise the problematic entanglement of ‘new’ discourses of equality, empowerment and success with the enduring presence of powerful and regulatory traditional discourses of femininity.</p>


2021 ◽  
Author(s):  
◽  
Lisbet Rosa Dam

<p>Fairy tales are enduring cultural texts that have enjoyed wide appeal and the continuing popularity of the fairy tale can be seen in the recent proliferation of media employing fairy tale narratives. Fairy tales provide a site of meaning about femininity and masculinity and examining them over time identifies versions of gender that are prized or denigrated within specific social, historical moments. This project was interested in the continuities and divergences in these gendered discourses across time. Although there has been considerable academic interest in fairy tales and gender, few studies have approached the topic from a genealogical perspective. This research extends the current literature through a genealogical analysis of five Snow White films from 1916 to 2012 in addition to incorporating an analysis in relation to a contemporary postfeminist, neoliberal social climate. The research employed a feminist poststructuralist framework and utilised thematic and genealogical Foucauldian discourse analysis to analyse the data. Discursive analyses found enduring discourses of traditional femininity across the films which centrally organised around a binary construction of femininity as ‘good’ or ‘bad.’ A moral discourse worked to construct ‘good’ femininity as prized and bad femininity as punished. Alongside persistent discourses of femininity, however, a newer postfeminist femininity was evident in recent versions of the fairy tale. Consistent with a postfeminist, neoliberal discourse that highlights the importance of the body, analyses found an increased emphasis on beauty and the vast effort required to maintain it. Another postfeminist shift in the tale was the invoking of a girl power discourse to construct Snow as a competent fighter and leader. However, the complex entanglement of discourses of femininity in contemporary society is highlighted by the co-existence of these newer versions of femininity with traditional goals such as achieving a ‘happily ever after.’ From the perspective of possibilities for subjectivity, these shifts in representation appear to offer a young female audience more empowered possibilities of femininity but such power is simultaneously constrained by a complex amalgamation with traditional ‘niceness’ and beauty.</p>


2021 ◽  
Author(s):  
◽  
Lisbet Rosa Dam

<p>Fairy tales are enduring cultural texts that have enjoyed wide appeal and the continuing popularity of the fairy tale can be seen in the recent proliferation of media employing fairy tale narratives. Fairy tales provide a site of meaning about femininity and masculinity and examining them over time identifies versions of gender that are prized or denigrated within specific social, historical moments. This project was interested in the continuities and divergences in these gendered discourses across time. Although there has been considerable academic interest in fairy tales and gender, few studies have approached the topic from a genealogical perspective. This research extends the current literature through a genealogical analysis of five Snow White films from 1916 to 2012 in addition to incorporating an analysis in relation to a contemporary postfeminist, neoliberal social climate. The research employed a feminist poststructuralist framework and utilised thematic and genealogical Foucauldian discourse analysis to analyse the data. Discursive analyses found enduring discourses of traditional femininity across the films which centrally organised around a binary construction of femininity as ‘good’ or ‘bad.’ A moral discourse worked to construct ‘good’ femininity as prized and bad femininity as punished. Alongside persistent discourses of femininity, however, a newer postfeminist femininity was evident in recent versions of the fairy tale. Consistent with a postfeminist, neoliberal discourse that highlights the importance of the body, analyses found an increased emphasis on beauty and the vast effort required to maintain it. Another postfeminist shift in the tale was the invoking of a girl power discourse to construct Snow as a competent fighter and leader. However, the complex entanglement of discourses of femininity in contemporary society is highlighted by the co-existence of these newer versions of femininity with traditional goals such as achieving a ‘happily ever after.’ From the perspective of possibilities for subjectivity, these shifts in representation appear to offer a young female audience more empowered possibilities of femininity but such power is simultaneously constrained by a complex amalgamation with traditional ‘niceness’ and beauty.</p>


2021 ◽  
Vol 66 ◽  
Author(s):  
Lauren Czaplicki ◽  
Kevin Welding ◽  
Joanna E. Cohen ◽  
Katherine Clegg Smith

Objective: Limited research has examined feminine marketing appeals on cigarette packs in low-and middle-income countries (LMICs). We reviewed a systematically collected sample of cigarette packs sold across 14 LMICs in 2013 (Wave 1) and 2015–2017 (Wave 2).Methods: Packs in Wave 1 (n = 3,240) and Wave 2 (n = 2,336) were coded for feminine imagery and descriptors (flowers, fashion, women/girls, color “pink”). We examined trends in feminine appeals over time, including co-occurrence with other pack features (slim or lipstick shape, flavor, reduced harm, and reduced odor claims).Results: The proportion of unique feminine cigarette packs significantly decreased from 8.6% (n = 278) in Wave 1 to 5.9% (n = 137) in Wave 2 (p &lt; 0.001). Among all feminine packs, flower-and fashion-related features were most common; a substantial proportion also used flavor and reduced odor appeals.Conclusion: While there was a notable presence of feminine packs, the decline observed may reflect global trends toward marketing gender-neutral cigarettes to women and a general contempt for using traditional femininity to market products directly to women. Plain packaging standards may reduce the influence of branding on smoking among women.


2021 ◽  
Author(s):  
Johanna Rose Peacock

Introduction Rarely in our world, in what we believe to be “modern,” “civilized” society, is chaos considered desirable. Order is what we strive for instead: it gives us our government, the social systems upon which we rely, and shapes the structure of our daily lives. While in the abstract, chaos can seem like an exciting, even desirable departure from the status quo, in the context of a global pandemic (like the one through which we are currently living), disorder and uncertainty often prove more terrifying than the virus itself. Which stores will close, and for how long? Who exactly is at risk of infection? When will we be allowed to see our friends again? Chaos, in this context, becomes the enemy of societal survival, threatening humanity’s civilized self-image and testing communal ideals. Colson Whitehead’s Zone One and M.R. Carey’s The Girl with All the Gifts both use the pandemic setting to investigate ideas about chaos and its relationship to civilization, but their pathogen of choice is no ordinary infective. In both books, a zombie crisis is responsible for the destruction of humanity as we know it, making tangible anxieties about how we define ourselves in opposition to one another, and what it really means to be “civilized.”


2020 ◽  
Vol 4 (Supplement_1) ◽  
pp. 860-860
Author(s):  
Jes Matsick ◽  
Mary Kruk ◽  
Britney Wardecker

Abstract Women differ in how they psychologically respond to the end of menstruation and onset of menopause (Lorber & Moore, 2002); however, little empirical evidence exists for understanding how sexual orientation and gendered dynamics contribute to menopausal experiences. Do women’s attitudes toward the cessation of menstruation vary by sexual orientation? Using data from the Midlife in the U.S. Study (MIDUS, Wave 2; N=2,951), we test how sexual orientation relates to attitudes toward menstruation cessation through norms and values surrounding womanhood (i.e., “traditional femininity concerns,” such as worries about fertility and attractiveness). Cisgender heterosexual women, compared to sexual minority women, expressed greater regret of menstrual periods ending, and heterosexual women’s heightened concerns about traditional femininity mediated the association between sexual orientation and regret, b=-.09, 95%CI [-.176,-.008]. This research yields implications for understanding aging stigma and women’s health, and we discuss how menopause may be differently experienced by women based on sexual orientation.


2020 ◽  
Vol 9 (2) ◽  
pp. 157-175 ◽  
Author(s):  
Radhika Raghav

The career of 1930s film star Devika Rani (1908–94), often described as ‘the first lady of Indian cinema’, both confirms and challenges the received view that the nationalists’ rewritings of traditional femininity constituted the most significant force in the formation of the continent’s New Woman. Rani’s star persona demonstrates how both modernity and consumer culture, while subjected to nationalist ideology, exercised a degree of influence over the tastes and lifestyles of women living in urban centres such as Bombay and Delhi. As a member of the prominent Tagore family, which included a Nobel Prize-winning poet, and of the kulin caste, Rani enjoyed a privileged status that allowed her to embody a self-defining individual who was specifically ‘feminine and modern’ while also ‘Indian’. Drawing on the wealth of photographic material that this actress left behind, this article teases out the complexities of her trajectory as an emblematic icon of twentieth-century Indian femininity. In particular her use of costuming in her starring roles, in films such as Karma, Achhut Kanya and Nirmala, illustrates how she promoted new modes of autonomy and agency for the female subject.


2020 ◽  
Vol 41 (11) ◽  
pp. 1956-1978
Author(s):  
Tianhan Gui

In today’s Chinese society, we see more and more well-educated, well-paid, and independent career women. However, as traditional femininity has been associated with subordination and sacrifice, well-educated career women are perceived as less feminine and less like proper “women” or prospective wives. Career women who remain single until their late twenties have been referred to within Chinese popular culture as “leftover women.” The current research explores the negative discourses that single career-oriented women encounter in their lives, as well as their own perceptions on work, marriage, and gender roles. Through in-depth interviews with 30 single, professional women, I examined whether these women are really “leftover” on the marriage market and how they perceive their independent, single life. The study aims to explore how these career-oriented women live within conflicting social expectations and value systems, as well as how they perceive gender roles, marriage, and career.


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