By Samantha Holland

ISBN-10: 1859738087

ISBN-13: 9781859738085

Think a global the place oppressive, over-feminized media photographs of girls have re-armed themselves with military boots, physique differences, 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 gaggle of genuine ladies outline and perform "femininity." How does getting older impact notions of femininity? What do ladies take into consideration style, gender, and visual appeal as they get older and no more obvious in our media ruled society? Do they decide to tone down or remain "out there," and what motivates their selection? substitute Femininities provides voice to a formerly silent crew of girls who fight to withstand sexist gender stereotypes, but age with variety, individuality and creativity. via taking a look at how actual girls negotiate self-perception in an more and more image-conscious society, Holland offers a corrective to different debts of gender and femininity missing in actual data.

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

Sample text

These exaggerated traits serve to highlight the elements of masquerade present in ‘femininity’, the constructed nature of gender and the ways in which cultural products and behaviours form a ‘false identity on the surface’ (Wilson, 1992: 8). Masquerade illuminates the ways that ‘natural’ femininity is constructed via a series of acts and items to create this surface effect. In masquerade, ‘instead of stripping away layers to reveal an authentic self, it plays with cultural representations of femininity … Masquerade becomes a way of provoking and confounding the male gaze.

Femininities 30/4/04 3:16 pm Page 34 Alternative Femininities She knew that as a tattooed contestant she didn’t stand a chance of winning, but gladly reaped the free publicity. (Mifflin, 2001: 30). Mifflin also examines how women who have undergone mastectomies have tattoos to both cover and celebrate their scars. One of her interviewees said that ‘her decision was not ony aesthetic but also political: “This is an invisible epidemic: everybody looks ‘normal’ cause they’re wearing prostheses” ’ (2001: 152).

Although the work of feminist writers, such as McRobbie (1991, 1994a), Sharpe (1994), McRobbie and Nava (1989), Lees (1993) and Thornton (1995), has to some extent redressed the balance by focusing on the participation of girls in subcultures, there still remains a lack of work regarding the continuing participation of adult women. Several studies have successfully highlighted how women continue to participate via music (for example, see Ross and Rose, 1994, on youth music and youth culture; Raphael, 1995, with interviews with female music artists of the 1990s; Reynolds and Press, 1995, on gender, rebellion and rock ‘n’ roll; Whiteley, 1997, on gender and pop music); although there remains a reliance on a handful of out-dated ‘staples’, such as Kate Bush, other acts are increasingly being included.

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