During the Second World War, legions of Soviet women behind the lines participated in war-time production in both industry and agriculture. Soviet propaganda, despite the overwhelming numbers, contributions and sacrifices of women, graphically portrayed them in ways that both re-established the pre-war patriarchal gender relations of the Stalinist era and circumscribed women’s wartime experiences. This article examines how, during the initial and la er years of the conflict, and in the important and under- studied source of Soviet poster propaganda, the symbolic configuration and recon- figuration of femininity and the female image was transmitted through shifting official policies and attitudes on the role of women. While early posters portrayed women’s wartime participation as atypical, temporary and unwomanly, propaganda by the end of the war featured hyper-feminised representations of women while the Soviet state moved to reassert political controls and institutionalise conservative gender policies to serve the needs of war and reconstruction.
Female Images in Soviet Wartime Poster Propaganda, 1941–1945
Deevia Bhana and Emmanuel Mayeza
In this article we focus on sixty South African primary schoolgirls’ experiences of male violence and bullying. Rejecting outmoded constructions of schoolgirls as passive, we examine how girls draw on different forms of femininity to manage and address violence at school. These femininities are non-normative in their advancing of violence to stop violence but are also imbued with culturally relevant meanings about care, forgiveness, and humanity based on the African principle of ubuntu. Moving away from the discursive production of girls’ victimhood, we show how girls construct their own agency as they actively participate in multiple forms of femininity advocating both violence and forgiveness. Given the absence of teacher and parental support for girls’ safety, we conclude with a call to address interventions contextually, from schoolgirls’ own perspectives.
Women Performers of Ethnic Music in Contemporary Istanbul
This article investigates the strategies women performers of ethnic music in contemporary Istanbul employ to escape the common associations of women of 'loose morals' and to craft alternative femininities on the public stage. How have women playing this music genre been able to do so while, at the same time, gaining and maintaining social respectability? Drawing on fieldwork in Istanbul, the article argues that ethnic music provides better opportunities for women to build their musical careers and to be perceived seriously for their artistic talents. Ethnic music's specific audience, locus of performance, repertoire, flexibility in dress codes and its performers' frequent associations with feminist organisations are all factors helping women to shape their own interpretation of what a woman musician in the twenty-first century could be.
Alice A. Jardine
“What Feminism?” is an extended reflection upon several generations of readers of Simone de Beauvoir, including those readers the author herself has been, from the early 1960s to the present. Of particular interest are the serious readers of Beauvoir since her death in 1986, as opposed to the many detractors who have worked hard to tarnish Beauvoir's productive influence. Among the many groups of such serious readers there are, for example, the social theorist feminists such as Susan Buck Morss; the postcolonial/transnational feminist philosophers such as Chandra Mohanty; the poststructuralist-inspired feminist writers such as Teresa Brennan; and the queer/trans readers such as Judith Butler. What we learn from them is that, going forward, the important thing is to keep excavating the deep structures of Beauvoir's thought so as to forge new pathways for new generations to address the obviously gendered and more than sobering global crises of the twenty-first century.
Mary Jane Kehily
New femininities suggest that young women, no longer content with subordinate status in the bedroom or on the periphery of youth cultures, appear to have found their voice as the 'can do' girls of neo-liberalism. Familiar tropes of new femininities position young women as agentic, goal-oriented, pleasure seeking individuals adept at reading the new world order and finding their place within it. Has femininity finally found a skin that fits or are there cracks in this unparalleled success story? The article examines this question intergenerationally by looking at young women's experience across time, specifically, as documented by feminist scholarship from the 1960s to the present and contrasting this with the experience of being a girl as articulated by three women in the same family—grandmother, mother, daughter. Analyses of these accounts provide an insightful commentary on social change and feminine subjectivity, highlighting continuity and change while pointing to the ever present contradictions of femininity that may be reshaped and reconfigured over generations.
In this article, I analyze Koroleva Balu, hereafter referred to in English as The Queen of the Ball, a Ukrainian makeover TV show for schoolgirls that showcases girls' competition for the title of Queen during the preparation for their high school prom. A crew of professional stylists assists the participants, creating their personal styles. My focus is on an analysis of the concepts of girls' empowerment through feminine beauty and “femme-ing the normative.” I investigate how gender is constructed by the show as a performative act and how this process corresponds to post-socialist views of beauty and femininity.
This article looks at girlhood in an historical and culturally specific context, through close textual analysis of a central narrative from a key British girls' comic of the 1950s. Girl, published by Hulton Press, predominantly addressed issues around femininity, girlhood and class in that period, often linking reading with other activities considered “appropriate” for girls. I will explore how Girl articulates gender and class and also how it encouraged the mainly middle-class readership to make ballet an important aspect of their cultural practice, popularising ballet classes across Britain. In doing so, I shall focus on the narrative, “Belle of the Ballet.” I will also look at other texts of the period, including Bunty, launched in 1958 by DC Thomson, and show how the representation of ballet changed in later comics for girls, relating this to shifting constructions of girlhood.
Re-reading the Feminine in Gertrude Bell's Early Travel Writing
In May 1892, Gertrude Bell embarked on her first major non-European voyage to Persia, a journey that not only inspired her first published piece of travel writing, Persian Pictures (1894) and her translation of a selection of poems by the medieval Sufi poet, Hafiz (1897), but which also informed Bell's lesser-known, fictional writing. This article reads Bell's Persian Pictures alongside her unpublished short story, “The Talisman, or, the Wiles of Women” (c. 1892–1893) in order to consider the ways in which the feminine functions in her representations of the areas to which she traveled. Through this comparative reading, this article demonstrates how—through her use of the feminine—Bell subverts the “constitutive tropes of Orientalist discourse” of the East as sexualized, seductive, and dangerous (Yegğenogğlu 1998: 73), and instead positions it as an active and informed agent that knowingly challenges and resists Western colonial attempts at penetration and/or domination.
A Critical Analysis of Media Representations of Gender, Youth, and MySpace.com in International News Discourses
This article raises issues related to the gendered representation in the print media, particularly English-language newspapers, of girls who use MySpace as foolish innocents who invite sexual predation. It examines the ways in which the stereotyped representation of girls and boys promotes the hegemonic discourses that construct girlhood as a time of helplessness and lack of control, and that blame the technology itself, in this case MySpace, for a multitude of cultural problems. Ultimately, these discourses portray MySpace as a dangerous place where adolescent girls flaunt sexuality, where sexual predators lurk, and where boys commit violence, thus creating and reinforcing a moral panic and extending stereotypes about girls and boys, and about technology.
The role of women in making art and the agency of the overly-represented female body in artistic practices have been crucial debates in twentieth-century Western feminism and beyond. In particular, it was in the wake of the second wave of feminism, with the emergence of poststructuralism and deconstruction, and the postmodern turn that critical assessments of the arts started claiming back female spaces and voices in the midst of a still largely patriarchal artistic scene.