By Angela McRobbie
Congratulations to Dr. McRobbie! This e-book has been named to the checklist of books for the 2009 Critics selection ebook Award of the yankee academic reports organization (AESA).
These essays express Angela McRobbie reflecting on a variety of matters that have political outcome for ladies, rather younger women, in a context the place it's usually assumed that growth has been made within the final 30 years, and that with gender concerns now 'mainstreamed' in cultural and social lifestyles, the instant of feminism consistent with se is now handed.
McRobbie trenchantly argues that it really is accurately on those grounds that invidious sorts of gender -re-stabilisation may be able to be re-established. customer tradition, she argues, encroaches at the terrain of so known as girl freedom, seems to be supportive of lady luck merely to tie girls into new post-feminist neurotic dependencies.
These 9 essays span quite a lot of subject matters, together with
- the united kingdom government's 'new sexual agreement' to younger women,
- renowned television makeover programmes,
- feminist theories of backlash and the 'undoing' of sexual politics,
- feminism in an international frame
- the 'illegible rage' underlying modern femininities.
Read or Download The Aftermath of Feminism: Gender, Culture and Social Change (Culture, Representation and Identity series) PDF
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Extra info for The Aftermath of Feminism: Gender, Culture and Social Change (Culture, Representation and Identity series)
They are nervous because they are still unused to power, it ill-befits them, they are inexperienced, they cannot afford for it to be relaxed or casual, they are anxious it will make them unfeminine. It is not so much fear, as recognition that this appropriation of power which they have found themselves assuming, impacts on their nego tiation of heterosexuality and potentially detracts from their desirability. The post-feminist (anti-feminist) masquerade comes to the young women's rescue, a throwback from the past, and she adopts this style (assuming for 66 TOP G I RLS?
The new masquerade draws attention self-consciously to its own C2rafting and performance. The post-feminist masquerade (embodied in the figure of the so-called fashionista) is then a knowing strategy which emphasises its non-coercive status, it is a highly-styled disguise of womanliness which is now adopted as a matter of personal choice. But the theatricality of the masquerade, the silly hat, the too short skirt, the too high heels, are once again means of emphasising, as they did in classic Hollywood comedies, female vulnerability, fragility, uncertainty and deep anxiety, indeed panic, about the possible forfeiting of male desire through coming forward as a woman.
But this model of gender · regime is quite different from what I pose in the pages that follow. This is because Walby implies that institutionalisation and capacity-building and indeed participation as well as the growth of feminist expertise and the presence of women professionals on the world stage, have come about in a progressive way. She does not engage with the wider and punitive condi tions upon which female success is predicated. Nor is she alert to the new constraints which emerge as the cost of participation, and, more generally, the re-shaping of gender inequities which are an integral part of resurgent global neo-liberal economic policies.