gendered discipline in globalising India

Discrimination and violence against women in India often tend to be discussed, framed and explained in cultural terms alone. It is a commonplace assumption that Indian cultural norms are responsible for women’s oppression in India and that India’s moves to open up the economy to globalisation will usher in modernity and empower women. Another similar assumption is that gendered violence and patriarchal oppression are produced and located primarily in the (Indian traditional) family and community, and that women’s entry into the globalised workforce will empower and help them confront and overcome such violence and oppression. This paper attempts to challenge this false binary between ‘family/community/tradition/culture’ and ‘modern political economy’. It looks at the methods used across various sites—household/family, college/university and factory—to subject women’s labour and sexuality to a regime of surveillance and gendered discipline. It also looks at the ways in which this regime is disrupted and challenged repeatedly by women’s protests.     

Gender models: changing representations and intersecting roles in Dutch and Italian fashion magazines, 1982–2011

This article presents a comparative content analysis of gender representation in fashion magazines in Italy and the Netherlands. Updating Goffman’s classic study of Gender Advertisements, we study the intersections of gender, professional role, country and time in media representation. Thus, we combine and confront quantitative content analysis with insights from critical gender studies on polysemy and intersectionality. Analyzing a sample of 5840 images from mainstream, commercial and high fashion magazines published in 1982, 1996 and 2011, we find that gender representation strongly intersects with time, place, and notably: professional role. Models, who represent the specific ‘aesthetic capital’ of the fashion field, are portrayed in highly specific ways. Over time, gender differences in representation become stronger in Italy, while in the Netherlands male and female representation converges towards conventionally ‘feminine’ styles. In both countries, we find increasing prominence of (North-American) Goffmanian gender conventions and a new ‘withdrawn’ gendered style emerging in the early 2000s. This new style employs new signs and conventions to denote gender and professional status: it separates men from women, and models from non-models. Our analysis shows, first, that gender representation does not directly reflect gender inequality. Second, it demonstrates the impact of globalization on gender representation. Third, it highlights the polysemy and cultural specificity of visual signs: gender difference can be ‘ritualized’ and ‘stylized’ in various ways. These diverse gendered conventions intersect with other characteristics, and may convey diverse, and changing messages about the relation between gender and sexuality, power, aesthetics and (visual) pleasure.     

Performative Rhetorics in Invisibility: Phoebe Philo's Undone Authorship

ABSTRACT

This inquiry analyses the rhetoric of intentionally unfinished fashion contained in the collections from Céline as designed by Phoebe Philo and explicates the implications of this approach to fashion as a feminist text. Shoshana Felman’s seductive promise of speech, modified with insights from Paul de Man’s theory of autobiography as both giving face and defacement, is applied to Philo’s ‘new minimalism’ in order to highlight its appeal to modern female audiences. Using insights from the philosophy of Jacques Derrida, I examine ways in which wearers may seek to create a signature citationality via clothing that produces its own ‘unwriting’ therefore allowing the wearer to believe she inscribes her own iteration while maintaining control. Wearers are offered the chance to identify with a designer who is enlightened beyond fast and flashy fashion while hinting at the notion of the clothing having the substantialising effect that language has (instead of representational). Through this examination, clothing is shown to be a decision, and clothing is also shown to be a fiction. These decisions and fictions are open to failure; yet Felman offers that this failure acts as an opening remaining inadvertent or unacknowledged. Philo's designs invite an exploration of clothing as performative rhetoric.     

Visualising the ‘real’ and the ‘fake’: emotion work and the representation of orgasm in pornography and everyday sexual interactions

Visual representations of orgasm – whether in the flesh or mediated through a screen – are produced in a context of intense uncertainty about whether what is being seen represents an authentically experienced bodily event. Despite detailed scientific scrutiny and close attention to bodily signs, the authenticity of women's orgasm remains a site of cultural anxiety and contested gender politics. This uncertainty is exacerbated by the construction of female orgasm as inherently invisible or un-see-able, and ‘faking’ orgasm as a prevalent social practice. Drawing on existing literature from psychology, sociology and porn studies, this theoretical paper explores the problem of visually representing orgasm in the context of these uncertainties, and examines how the distinction between the ‘real’ and the ‘fake’ is structured by discourses of authenticity. Pornography and everyday sexual interactions provide ideal contexts for exploring the practices of producing and consuming visual representations of embodied experience because both necessitate a see-able orgasm which consumers/lovers can read as ‘real’. This paper demonstrates that considerable interpretative work is necessary to read the female body as authentically orgasmic in the context of cultural uncertainty, and that distinctions between the ‘real’ and the ‘fake’ are continually reworked. Drawing on the contrast between ‘surface’ and ‘deep’ acting (Hochschild, 1983), I argue that the distinction between the ‘real’ and the ‘fake’ cannot be established by recourse to unmediated bodily experience, and instead, researchers should consider how and when this distinction has traction in the world and the implications of this for gendered power relations, subjectivities and practices.     

Gendered discourses of facilitation in a probation learning environment: challenging the heteronormative ideal

This article focuses on the cognitive behavioural rehabilitation programmes run by the probation service in the UK. Drawing on Judith Butler's assertion that both sex and gender are discursively produced and Becky Francis' notion of gender monoglossia and heteroglossia, the article seeks to analyse and problematise the gendered discourses of facilitation that were mobilised by policy-makers and practitioners in this setting. The dominant institutional model of heteronormative facilitation promoted the ideal of each programme being delivered by one female and one male facilitator in order to provide a gender ‘balance’. But underpinning this ideal lay the binarised and essentialist notion that ‘masculinity’ arose naturally from the male body and ‘femininity’ from the female body. Female facilitators were positioned as bringing a calming and non-threatening atmosphere to the group and as naturally possessing skills of ‘empathy’ and ‘warmth’. Male facilitators were highly valued by managers, but were also under pressure to perform masculinity in very specific ways that were linked to notions of intellectual, rational, ‘middle-class’ masculinity. Through an analysis of interviews with probation practitioners and session observations, the article highlights that despite these dominant institutional constructions, a variety of complex and contradictory performances of ‘masculinity’ and ‘femininity’ were mobilised in this environment.     

Working Girls: Femininity and Entrapment in Peyton Place and Valley of the Dolls

Jacqueline Susann's Valley of the Dolls (1966) and Grace Metalious's Peyton Place (1956) are novels that have long exerted a powerful hold on the popular imagination. The bestselling Peyton Place was adapted into a successful film in 1957 before becoming an iconic television series, running from 1964 to 1969. Valley of the Dolls was similarly re-imagined in two films, Valley of the Dolls (1967) and Beyond the Valley of the Dolls (1970), which, even today, retain a cult following. These books are typically remembered for their scandalous bringing to light of such ‘taboo’ issues as adultery, abortion, female sexuality and sexual abuse. But this article suggests that Peyton Place and Valley of the Dolls are equally preoccupied with a sympathetic examination of the role of women in the post-war workplace. In both of these novels, the process of female self-fashioning is integrally related to a woman's entry into the workforce, and to the making and controlling of her own money. But this entry into the male-dominated workforce is inherently fraught with danger, and Metalious and Susann expose some of the myriad ways in which the so-called ‘American Dream’ is contingent on the entrapment, suppression and regulation of various forms of female desire and agency.     

‘Porn Trouble’

In this article, I explore the emergent relationship between feminist media studies/cultural studies and the field of Evolutionary Psychology (EP). EP scholars increasingly conduct research on media and popular culture. At the same time, media/ted texts are increasingly marked by EP discourses. I take as my focus commercial women's online magazines produced in the UK and in Spain and accessed globally. Specifically, I explore a recurrent thread in their discussion forums: women expressing confusion, concern, disappointment, hurt and/or self-doubt, and asking for advice on discovering that their male partners consume various pornographies. A feminist poststructuralist discursive analysis is developed to explore both peer-to-peer and editorial advice on such ‘porn trouble’. I show how pseudo-scientific discourses give support to a narrative of male immutability and female adaptation in heterosexual relationships, and examine how these constructions are informed by EP accounts of sexual difference. The article offers empirical insights into the penetration of EP logics and narratives into popular culture transnationally. Advancing the notion of ‘postfeminist biologism’, my analysis contributes to feminist interrogations of EP's ongoing popularity in the face of sound, longstanding and widespread criticism of it as scientifically flawed and culturally pernicious.     

The impact of the 1970s’ oil boom on Iranian agriculture

This article challenges the dominant strand of thinking on Iranian agriculture, which has hitherto stressed the depressing effects of the 1970s’ oil boom on the rural economy. In highlighting the nature of the economic boom both in the rural and urban areas, it delineates new constraints imposed on agriculture and offers a new explanation as to its outcome. The precipitated outflow of agricultural workforce in this period is thus shown to have been a common source of difficulty to the sector, and not a mere manifestation of its demise. The reasons for this process are located in new developments in the rural non‐farm and urban construction sectors, rather than in the ‘decay’ and ‘disintegration’ of agriculture.     

dystopia as liberation: disturbing femininities in contemporary Thailand

Despite the stereotypical, outsider view of Thailand as a thriving hub of international sex tourism, traditional and local constructions of Thainess instead privilege the position of the ‘good’ Thai woman—a model of sexual propriety, demure physicality and aesthetic perfection. This is the image of femininity that is heralded by Thailand’s Tourist Authority and by government agencies alike as a marketable symbol of cultural refinement and national pride. But this disturbing ‘utopian’ construction of femininity might for some be considered a dystopia shaped by forms of power centred on elite urban rule. In mainstream definitions of Thainess, the monstrous and grotesque inverses of ‘good’ womanhood are located in the ‘dystopian’ visions of rural-based folk traditions that abound with malevolent female spirits and demons, and in the contemporary Thai horror films that draw on these tropes. Adopted by Thai feminists and by street protestors in Bangkok at times of recent political unrest, portrayals of a ‘monstrous-feminine’ have been adopted as central to a carnivalesque strategy of response and resistance to elite discourses of control. Such forces serve to symbolically disturb and destabilise middle-class constructions of a utopian vision of Thainess with Bangkok as its cultural core. This paper examines instances of how and why the counter-strategy of primitivism and monstrosity has developed, and the extent to which it translates ‘dystopian’ expressions of female sexuality in new imaginaries of ‘dystopia’ as a space of liberation from stultifying cultural and political norms.     

The Feminist Art of Self-Education

Abstract

Sociologist Elizabeth Long has charted the emergence of women’s reading groups in nineteenth-century America. ‘The women who founded literary clubs’, Long (2004, 337) tells us, ‘were aflame with the then revolutionary desire for education and self-development, which they called “self-culture”.’ Comparable aspirations continued to fuel a drive amongst women to organize together within reading and publishing groups, usually outside of official institutions, well into the twentieth century. This ‘revolutionary desire’ for self-education has also been evident in the UK women’s art and art history movement, although it has not been addressed in thorough detail. This article therefore seeks to situate an overlooked history of artistic reading and publishing communities in relation to an established body of theory in literary and cultural studies. These theoretical materials will illuminate the importance that reading and self-education (either in person or as part of a periodical network) had in establishing solidarity, and generating debate, within a flourishing art and art history movement. The second half of this article focuses on a specific case study. FAN: Feminist Art News (1980–1993) was an independent, grassroots publication that grew out of the Women Artists’ Newsletter in London. Temporary editorial collectives published themed issues on a quarterly basis. This article contends that it is no coincidence the subject of art education formed the focus of the periodical’s first issue, as well as a subsequent issue four years later. This indicates the significance of a reflexive auto-didacticism to second-wave feminism, as well as gesturing towards the long history of ‘education and self-improvement’ that has fuelled women’s reading and study groups since the nineteenth century.     

Cindy Sherman in a New Millennium: Fashion,Feminism, Art and Ageing

ABSTRACT

If feminism and the fashion industry were once seen as adversaries, given how the strictures of Simone de Beauvoir in The Second Sex (1949) permeated so much of second wave feminism, a consideration of ‘fashion’ is now central to contemporary feminist scholarship. But just as the earlier critique of fashion seemed finally to have been supplanted, certain basic arguments around dress and makeup nevertheless resurfaced within contemporary feminism. The current neoliberal climate has led to the ever-increasing consumption of ‘fashionable’ goods, provoking unease and encouraging the contested ‘protectionist discourse’ within feminism to shield young women from just such excesses. Meanwhile, the fashion world itself, arguably more powerful than ever, has across the last twenty years continued a process of legitimising itself through its various modes of alliance with the art world; it has even hijacked elements of feminist practice in the pursuit of publicity. This article suggests that the fashion industry and contemporary feminism are nonetheless alike in one significant respect: neither have properly engaged with the needs of an ageing population. It is an omission that this article will seek to examine through a discussion of the recent ‘portraits‘ of Cindy Sherman, an artist of great interest to feminist scholars, in whose earlier work there was a discernible ‘anti-fashion’ element. Now ‘fashionable’ herself, a leading figure in the global art world, she has collaborated with the fashion industry in rather different ways. Her ‘portraits’ of 2012, in which she reconfigured herself as imaginary Manhattan socialites in or beyond middle age, and a later series, exhibited in 2016, where she appears as a series of ageing, anonymous ‘movie stars’, reveal more general ideological tensions surrounding the representation of women, the ageing process and the fashionable ideal. It is the dissection of these tensions that underpin this article, for while Sherman’s work has been the subject of academic debate across a forty year period, her use and critique of the ‘fashionable ‘ image has not been examined alongside an exploration of the expanding activities of the fashion industry itself; nor have her recent images of ageing women been examined within this more general context.     

American Labor in 1980s Soviet Historiography

There is a significant literature around the idea that American multi-national corporations (MNCs) diffuse a ‘country of origin’ effect which claims the export from America of an individualistic ideology comprising distinctive employment practices based on the national business system. This literature usually conflates the sector of the firms, but recently several critiques have emerged which limit the discussion to discrete sectors (generically in the engineering industries) and which digress from the previous literature's dichotomous nature, where home versus host country influences are evaluated. This article adds to that recent literature by offering evidence of structural factors within the MNCs, as well as of institutional norms and societal influences. This evidence is taken from extensive longitudinal data on American MNCs in two sectors of the UK oil industry. These comprise the exploration and production activities on the UK continental shelf (part of the North Sea), known as the ‘upstream’ sector, and the related activities of refining of oil and manufacturing chemicals, known as the ‘downstream’ sector. The findings provide a theoretical addendum to the literature: in this study we are able, unlike other studies, to explain the adaptation of the industry to local institutional, cultural and labor market contexts through the different structures of the industry's two sectors. Even within the same MNC, the divisions prove to be differentially adapted to the UK context. Such evidence casts doubt on the broad conclusions drawn from a large part of the existing literature. We therefore show that structure and sector are far stronger forces explaining MNC actions than the diffusion of a country of origin effect.     

Women Activists: rewriting Greenham's history

The Greenham Common Women's Peace Camp protest of the 1980s and 1990s has become synonymous with radical feminism. Given that many of the challenges raised and discourses employed were similar, it might appear as a relatively uncomplicated progression from Women's Liberation. From this perspective, the threat of nuclear war could be viewed as a stark indication of the persistence of male violence enabled by an unremittingly patriarchal world. The women's protest was therefore often described by those who took part as a direct challenge to the status quo, intended to bring about the cultural revolution required to overthrow it. This article examines two histories of the event published in the ‘post-feminist’ era of the mid 2000s. It will demonstrate how a shift in discourses since the end of the protest has enabled these emergent texts to challenge the previously dominant version of the Greenham peace camp. It will go on to suggest that this shift was necessary in order to communicate a new contemporary political message: a message that gains its authority by drawing on other ‘silent’ discourses from Greenham. It will compare this development to the post-suffrage period as observed by other historians. In so doing, it will once again reveal how closely the ‘present’ influences the reflections of the ‘past’, and how this affects the performances of participants in their autobiographical accounts.     

class and feminine excess: the strange case of Anna Nicole Smith

Cultural concerns about race, class and beauty often intersect with mass-mediated depictions of the female body. Drawing on Foucault's theories about disciplining the public body, this article examines the changing public perception of Anna Nicole Smith from an ideal beauty to a white trash stereotype. This analysis argues that Smith's very public weight gains, her outrageous behaviour and her legal battle for her late husband's fortune is presented in the media as an example of inappropriate conduct for a white beauty ideal and thus is repositioned as white trash culture. Central to this repositioning is the constant tabloid depiction of Smith as an ‘out of control’ grotesque. This article argues that contrary to the optimistic understanding of female grotesques as effective agents of cultural criticism and social change, Smith represents the female grotesque as an agent of cultural control that instructs middle-class women on how to avoid committing classed, racial and gendered transgressions. The article concludes that the case of Anna Nicole Smith functions as a cautionary tale that reinforces cultural standards of normalization.     

theorizing ‘African’ female genital cutting and ‘Western’ body modifications: a critique of the continuum and analogue approaches

Making links between different embodied cultural practices has become increasingly common within the feminist literature on multiculturalism and cultural difference as a means to counter racism and cultural essentialism. The cross-cultural comparison most commonly made in this context is that between ‘African’ practices of female genital cutting (FGC) and ‘western’ body modifications. In this article, I analyse some of the ways in which FGC and other body-altering procedures (such as cosmetic surgery, intersex operations and 19th century American clitoridectomies) are compared within this feminist literature. I identify two main strategies of linking such practices, which I have termed the ‘continuum’ and ‘analogue’ approaches. The continuum approach is employed to imagine FGC alongside other body-altering procedures within a single ‘continuum’, ‘spectrum’ or ‘range’ of cross-cultural body modifications. The analogue approach is used to set up FGC and other body-altering practices as analogous through highlighting cross-cultural similarities, but does not explicitly conceive of them as forming a single continuum. Two key critiques of the continuum and analogue approaches are presented. First, because these models privilege gender and sexuality, they tend to efface the operation of other axes of embodied differentiation, namely race, cultural difference and nation. As such, the continuum and analogue approaches often reproduce problematic relationships between race and gender while failing to address the implicit and problematic role which race, cultural difference and nation continue to play in such models. This erasure of these axes, I contend, is linked to the construction of a ‘western’ empathetic gaze, which is my second key critique. The desire on the part of theorists working in the West to establish cross-cultural ‘empathy’ through models that stress similarity and solidarity conceals the continuing operation of geo-political relations of power and privilege.     

In the pursuit of a gender-equal society: do Japanese EFL textbooks play a role?

‘Womenomics’, a signature programme promoted by the Japanese Prime Minister Shinzo Abe, aims to boost the country’s economy by attracting women, an under-utilized resource, to join the workforce. To achieve this aim, the Japanese Government has been promoting a gender-equal society in various areas, including education. This paper seeks to investigate whether the government’s endeavour to promote a gender-equal society is reflected in contemporary Japanese EFL textbooks. Three recently published popular textbooks were examined. The findings revealed evidence of the authors’ gender awareness, including common use of gender-neutral vocabulary and a neutral term of address, Ms, for women. Two textbooks also displayed a balanced distribution of male and female speakers and their amount of talk. However, underrepresentation of women and their achievements is still prevalent in contemporary Japanese textbooks. Other observations include the portrayal of men in a wider range of social roles than women, and the depiction of men using material and cognitive processes and women using relational processes, suggesting that men are more physically and cognitively active than women. A gender dichotomy was also noted in mixed-sex dialogues, with a tendency for men to provide information and for women to seek information.     

Gender and Modernity in Post‐War British Cinema; a case study of Young Wives’ Tale (1951)

This article explores the interrelationship between gender and modernity within the context of post‐war Britain, focusing upon the representation of women in the popular film genre of the ‘marriage comedy’. It uses a case study of the 1951 film Young Wives’ Tale to explore post‐war ideas about the ‘companionate marriage’ and the emergence of a ‘modern’ British society. Critical examination of female performance style and the gendered negotiation of domestic space within the film suggests the ways in which anxieties about the ‘new’ and the ‘modern’ are displaced onto the female protagonists. The article explores the ways in which ‘tradition’ is usurped in the film and concludes that it was a box office failure because it was out of step with the cultural consciousness of post‐war cinema audiences. The film’s lack of success demonstrates the extent and manner to which gender relations could be challenged in the early 1950s.     

Doris Arnold: the making of a radio star, 1926–1939

ABSTRACT

Doris Arnold (1904–1967) was a BBC radio personality and the UK’s first female ‘Disc Jockey’. She produced and presented the gramophone record programme These you have Loved from 1938. Despite her fame, Arnold is oddly absent from broadcasting histories and little is known about her today. Hers was one of the best known ‘rags to riches’ narratives of the early BBC: a typist whose musical talent propelled her to stardom. This article explores Arnold’s rise to fame through a detailed evaluation of her personal staff files which expose a complexity of gendered issues including status, clothing and pay.