Alternative Femininities: Body, Age and Identity (Dress, by Samantha Holland

By Samantha Holland

Think an international the place oppressive, over-feminized media pictures of ladies have re-armed themselves with military boots, physique variations, 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 genuine ladies outline and perform "femininity." How does getting older have an effect on notions of femininity? What do girls 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 supplies voice to a formerly silent crew of girls who fight to withstand sexist gender stereotypes, but age with sort, individuality and creativity. via how actual girls negotiate self-perception in an more and more image-conscious society, Holland presents a corrective to different debts of gender and femininity missing in genuine data.

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

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In contrast, Whelehan discusses other meanings of girl. In AfricanAmerican and African-Caribbean culture, ‘girl’ has been used in a ‘positive, sisterly fashion’ (2000: 37), as in the cry common on American talk shows 37 02 Alt. ’ Following Madonna’s ‘Girlie Tour’ in 1994, Channel Four’s ‘The Girlie Show’ in 1995 marked a media harnessing of the term, using the double meaning to attract both sexes. ’ claimed to celebrate all that was positive, modern, sassy and independent about being a ‘girl’. But could their ‘manifesto’ (if it could be called that) be taken seriously?

34 02 Alt. Femininities 30/4/04 3:16 pm Page 35 3 Negotiating Fluffy Femininities What is Femininity? This, the first empirical chapter, examines how the participants talked about traditional femininity and their relationships to it, and the many contradictions highlighted by their discussion. This is established by asking: how the women in this study defined femininity; whom they named as being traditionally feminine; what they used which they considered to be typically feminine; and how they felt this ‘placed’ them within a continuum of femininity.

Neither does the increased demand for tattooing mean that it ‘has become an accepted aspect of Western culture; it is still seen as “other” despite its increasing popularity’ (Hardin, 1999: 82), although Mifflin counters that tattoos ‘defy conventional standards of feminine beauty and force the recognition of new, largely self-certified ones’ (2001: 117). Mifflin examines the history of tattooing, focusing on how women have historically been closely associated with tattooing, despite historical and current disapproval, and mainly in association with freak shows and circuses.

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