pursuing a career away from home. Literature scholar Toril Moi is credited with using the term postfeminism in the 1985 feminist literary primer Sexual/Textual Politics . The term has since been defined in many ways from simply indicating a time after
Postfeminist Rhetoric in Christian At-Home Daughterhood Texts
Girls and the State of Feminism in Popular Culture
Deirdre M. Kelly and Shauna Pomerantz
The article explores representations of "realistic" teen girlhood in popular culture in order to examine the current constructions of power made available to girls. Specifically, it focuses on three recent popular and critically acclaimed films: Mean Girls, Thirteen and Ghost World. The dominant discourses put forward in these films—girls as mean, as wild, and as alienated—naturalize negative behavior as a normal part of girlhood. In the terrain where these distinct, yet overlapping and reinforcing discourses on girlhood operate, postfeminism is taken for granted. Girls are portrayed as facing only individual concerns rather than any group-based injustices and, therefore, as not needing collective deliberation, evaluation, or action to solve their problems. The resulting discursive formation works to limit access to feminist and other oppositional discourses that name girls' experiences and link their feelings to the ongoing quest for gender justice.
-Weiser 2012 ; Gill 2007 ; Harris 2004 ; Keller 2015 ; McRobbie 2004 , 2007 , 2009 ; Shields Dobson 2015 ; Tasker and Negra 2007 ). I use the term postfeminism in line with Angela McRobbie (2009) and Rosalind Gill (2007) , who theorize postfeminism
women living in a world that tells them that they must look and act a certain way, and punishes them for any deviation from this path, while simultaneously insisting that they are free and equal—the discourse of postfeminism—Boleyn's plight seems
Exploding Schoolgirl Fictions
identity, and McRobbie’s (2009) heteroglossic compression of post-feminism into hyperfeminized top girl, isolated, diminished, and simultaneously enabled, and we have the theoretical components of a glitterbomb, an intervention into conventional
Sarah E. Whitney
: 321 – 331 . Harzewski , Stephanie . 2011 . Chick Lit and Postfeminism . Charlottesville : University of Virginia Press . Hatch , Kristen . 2011 . “Little Butches: Tomboys in Hollywood Film.” In Mediated Girlhoods: New Explorations of Girls
Bringing rape stories into popular discussion was a crucial success of the Second Wave Women’s Liberation movement. Popular culture is now inundated with rape stories. However, the repetitive scripts and schemas that dominate these are often informed by neoliberal individualism that is antithetical to feminism. The contradictions that characterize the tensions between feminism and neoliberalism in these texts are typically postfeminist, combining often inconsistent feminist rhetoric with neoliberal ideology. By examining the use of the silent victim script in young adult rape fiction, in this article I argue that most young adult rape fiction presents rape as an individual, pathological defect and a precondition to be managed by girls on an individual basis, rather than an act of violence committed against them.
The Psychic Economy of Class in the Discourse of Girlhood Studies
This article questions Angela McRobbie's recent text The Aftermath of Feminism: Gender, Culture and Social Change because it creates some interesting new vocabulary for understanding late modernity's revised sexual and cultural politics. Whilst acknowledging the sophistication of its cultural studies-inspired argument, I consider some consequences of this reading. If theory also performs as a politics of representation, I ask what happens if, in accounting for post-feminism, the theoretical status of class as an antagonistic relation is diminished. I suggest what gender and education discourses can add to a reading of 'new times'.
The Unfulfilled Possibilities of a Difficult Relationship
Recent pronouncements of the swift and painful death of Marxism, and repeated debates over the demise of feminism, or the meaning of neo-feminism or post-feminism, make the discussion of the relationship between communism and feminism an important one. Given the events of 1989 and the twists and turns of more recent global politics, understanding the history of the past relationships between these two ideologies and movements might help us to determine whether there is still life in these two movements, and whether they can overcome their differences to create a synthesis that is more than the sum of its parts. As an historian I would like to consider these issues by looking at the past and listening to what others have had to say about them. As a feminist I will occasionally insert some of my own ideas and judgements into the discussion.
Grace Helbig’s Affective Aesthetics
instruct their audience not simply about what to wear, eat, or how to apply eyeliner perfectly, but also how to both be and become a girl. Postfeminist Impasse The often-cited complex history of postfeminism in academic discourse has given way largely to an