Alternative Femininities: Body, Age and Identity (Dress, by Samantha Holland

By Samantha Holland

Think a global the place oppressive, over-feminized media pictures of ladies have re-armed themselves with military boots, physique alterations, and flamboyant hair. is that this simply one other fairy story, and if this is the case, why can't it's a fact? Holland unpacks the parable of version womanhood and considers how a bunch of genuine ladies outline and perform "femininity." How does getting older impact notions of femininity? What do girls take into consideration style, gender, and visual appeal as they get older and no more seen in our media ruled society? Do they decide to tone down or remain "out there," and what motivates their selection? replacement Femininities provides voice to a formerly silent team of girls who fight to withstand sexist gender stereotypes, but age with sort, individuality and creativity. by means of taking a look at how genuine ladies negotiate self-perception in an more and more image-conscious society, Holland presents a corrective to different bills of gender and femininity missing in genuine data.

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Extra info for Alternative Femininities: Body, Age and Identity (Dress, Body, Culture)

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The new discourses about self were informed by an awareness of the issue of ‘difference’ (for example, see Woodward, 1997) and diverged along two paths, which can be described, for the sake of definition, as a ‘social theory’ approach (for example, Giddens, 1991; Jenkins, 1994; Kellner, 1995) and a ‘cultural theory approach’ (for example, Butler, 1990, 1993; Hall and du Gay, 1996). The two differ in the following ways. The ‘cultural theory’ approach is more concerned with the problematic and fragmented aspects of identity, with a focus on power and opposition (for example, woman versus man, black versus white).

There has been some debate over the usefulness of the term resistance. For example, ‘some feminist researchers have also argued that the concept of cultural resistance is too narrow and gender specific, since young women might adopt less “visible” forms of resistance or negotiation such as silence or giggling’ (Griffin, 1993: 210). However, for this research, resistance serves as an adequate term not least because many of my participants identified themselves as resisting some aspects of traditional femininity.

Gottlieb and Wald (1994) argue that whilst the emergence of all-female pop and rock bands is in many ways a positive progression, there are also more negative considerations, such as the continued sexism of the music industry. This presents women with the problem of how they are treated by men in other bands, fans and men in the music industry. If women are ‘scared off’, it then creates the problem of setting no ‘tradition’ which other women can follow and inherit. Gottlieb and Wald also point out that girls and women are less able to participate in youth cultures (so, by extension, in band rehearsals or performances), since their lives are more strictly monitored and they are kept closer to the home than their male counterparts, and that new ways have been found to participate in subcultures, which are not as visible because they are conducted in the private sphere (1994: 252) – echoing McRobbie and Garber twenty years previously.

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