By Samantha Holland
Think an international the place oppressive, over-feminized media photos of ladies have re-armed themselves with military boots, physique adjustments, and flamboyant hair. is that this simply one other fairy story, and if that is so, why can't or not it's a truth? Holland unpacks the parable of version womanhood and considers how a gaggle of actual ladies outline and perform "femininity." How does getting older impact notions of femininity? What do girls take into consideration type, 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 staff of ladies who fight to withstand sexist gender stereotypes, but age with sort, individuality and creativity. by means of how genuine girls negotiate self-perception in an more and more image-conscious society, Holland offers a corrective to different bills of gender and femininity missing in genuine data.
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Additional resources for Alternative Femininities: Body, Age and Identity (Dress, Body, Culture)
Femininities 30/4/04 3:16 pm Page 37 Negotiating Fluffy Femininities querade are a form of disguise. The difference in the use of ‘mask’ and masquerade indicates different levels of control of our social roles. ‘I Am Not a Bit Fluffy’ There were a variety of terms used by participants to describe themselves; for example, the terms ‘townie’ and ‘freak’ are discussed in Chapter 2. Three more terms were used consistently by most of the participants when referring to traditional femininities. These were ‘fluffy’, ‘girly’ and ‘frothy’, used to denote a particular type of femininity to which participants placed themselves in opposition.
She cites two examples of these changes. One is that, due to the ‘intensity of the subcultural activity’, its effects now also reach and influence popular culture, meaning that subcultures ‘no longer occupy ... only a “folk devil” position in society’ (1994b: 161) – hence the acceptability of Pink’s tattoos and bright pink hair. Generally they are more visible and, to a certain fluctuating extent, more accepted. The second reason that a new approach to subcultures was needed was that feminism had had an impact at all levels of society, including girls’ magazines and television dramas, allowing space for more positive and varied portrayals of girls and women.
Ussher notes that ‘there appears to be a contempt for femininity’ from women who resist ‘girly’ femininity (1997: 452) and this was a sentiment echoed by the participants who said they had little or no interest in feminism. So Claudia, Miss Pink, Flong, Gwendolin and Eloise in particular displayed hostility both towards ‘girly’ femininity but almost equally towards feminist women. Others – such as Vash, Zeb, Sparkle, Louise and Bee, all feminists – also saw themselves as different from traditional femininity but expressed no hostility towards traditionally feminine women.