Search

Many researchers have approached Nawal El Saadawi's Woman at Point Zero from different perspectives; however, little has been done to show the complexity of the main character, Firdaus, and her transformation through the story. The present study focuses on the process of character transformation from what may seem to be a state of misery to that of disobedience and heroic resistance. Foucault's theory of power, as followed by the third-wave feminists, can shed further light on the dynamic change in the personality of the central character. The study reveals that the laws in a patriarchal society, the protagonist's lack of awareness, and her irresistible fears are the main reasons for her predicaments. The study also shows that the main character, Firdaus, as a free subject, is not always a passive recipient of power but from time to time, she also makes her presence felt. By telling her story, she tries to share her idiosyncratic form of power with other women and inspire them in their struggles against social inequality and male chauvinism. [ABSTRACT FROM AUTHOR]

In this article, the use of autoethnography and third-wave feminism allows for an exciting, creative, and unruly method to emerge. The author knits together their theoretical location with an autoethnographic methodology, uniquely coining this approach to autoethnography as Third-Wave Dervish. By doing so, the creation of many micro- and macro-reflective spins—the act of whirling—holds space for an ever-evolving process of gaining knowledge from multiple sources such as somatic sensations, understanding through already published scholarship, learning through resistance, revisiting child- and youth-hood journals, and the triggering of lived experiences. This process allows the author to deepen the understanding of living in the in-between of social spaces as an Ismaili Muslim woman in Canada. [ABSTRACT FROM AUTHOR]

Throughout the history, males have held positions of power in Western society, with women relegated to the home and private spheres. Women in Medieval Europe had no legal protections that would allow them to be business owners, students, or political leaders. While several provinces in the US allowed women's right to vote well before national government did so, it was not until the early 20th century that women were able to vote or occupy political office throughout much of the country or in Europe. Traditionally, women were not authorised to represent themselves in legal or business proceedings without a male partner present. Women who were married were not allowed to make decisions about their own offspring without their spouses' permission. Women were also not permitted to work in most professions and had extremely limited options for education. Such sex discrimination against women persists to this day in various regions of the globe. Novels by Rebecca Walker shed light on these issues and hold strong feminist perspectives, allowing the readers to get a deeper understanding of women and their issues in the male-centric society. [ABSTRACT FROM AUTHOR]

Copyright of Kadın/Woman 2000 is the property of Kadin/Woman 2000 and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Women face numerous political, economic, cultural, and religious barriers in the world. To remove the barriers, fight for survival, and pave their way for development, women show resistance in politics, legislation, literature, theatre, songs, marches, art, sports, movies, and seminars. The previous studies have explored patriarchy as the best reason for women's resistance to fight against male-domination, ideological divisions, policies, traditions and cultures, and religion to claim their individual identity and equality. The present study demonstrates the role of literature in awakening society and explores how writing helps in resistance and maintains the struggle of liberation for the vulnerable section of the society. It uses textual analysis to explore resistance in the writing of women from Pakistan, England, and Ireland - namely Bernardine Evaristo, Marian Keyes, and Uzma Aslam Khan. It considers English language fiction narratives as a writing tool and a 'paradigm of resistance' to society, religion, politics, patriarchy, and class. The study contributes to the emancipation of women in patriarchal societies by resisting the forces, which work to suppress women. Women's writings are strong tools of survival and resistance in male-dominant societies. Women must write in different languages to voice against injustice, inequality, and violence in the world. [ABSTRACT FROM AUTHOR]

Copyright of Pakistan Journal of Gender Studies is the property of University of Karachi, Centre of Excellence for Women's Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

US novelist and journalist Helen Benedict's 2011 fictional work Sand Queen , the first novel about the Iraq War (2003–11) written by a woman, has great potential for feminist approaches, especially regarding its use of gender-identity models. Through her positioning of the narrators, her multiple narratives, and the linguistic elements in this work, Benedict has created a unique artistic structure that has broad implications for the study of narrative, the themes of war, displacement, and trauma, and cross-cultural understanding. The current study examines Benedict's work to demonstrate her gender-conscious view of war in her depiction of US soldier Kate Brady and Iraqi medical student and interpreter Naema Jassim as the central consciousnesses through which the narrative is told. Taking advantage of third-wave feminist approaches to gender, the study discovers diverse perspectives and distinctive viewpoints on the concept of gender identity. Offered by the novel's first-person character-narrators, these viewpoints explore the fictional universe mapped out by Benedict in the text. In the context of the Iraq War, based on models of gender identity interspersed throughout the narrative, the study reveals how the challenges and/or reaffirmations of normative gender ideologies dominated patriarchal systems of military institutions. [ABSTRACT FROM AUTHOR]

Girlhood (It's complicated) is an exhibition at the National Museum of American History (NMAH), part of the Smithsonian Institution, which opened in October of 2020. Created with federal funding as part of the American Women's History Initiative (AWHI), the exhibition commemorates the centennial of women's suffrage. To put a fresh spin on this anniversary and draw attention to larger, intertwining issues of gender and politics in the United States, the exhibition team chose to explore the history of girlhood and girls as political actors as the focus of the show. Drawing on the rich, interdisciplinary literature of girlhood studies and inspired by zines as a form of identity creation and political self-expression, the show aims to create a public history of girlhood that unveils the public lives of girls in the past and showcases the many ways in which they, even without the vote or formal political power, have had a political voice in American history. The exhibition is open at the NMAH from October 2020 to January 2023, and will travel with the Smithsonian Institution Traveling Exhibition Service through 2026. [ABSTRACT FROM AUTHOR]

The #MeToo movement resurfaced tensions between second- and third-wave feminists, who are often framed in media narratives using a paradigm approach that defines them as separate, competing social movements. Using a historical analysis, this study builds upon evidence supporting a continuity approach to social movement scholarship that instead emphasizes ideological connections and spillover effects. An examination of the archives of Journalism and Women Symposium (JAWS) members in the 1980s and 1990s illustrates that second-wave feminists played a discursive role in helping shape the priorities of the third wave, creating a continuum of the movement to help ensure its future. This study argues that embracing this theoretical perspective and approach to media framing better serves the feminist social movement by providing a more historically accurate portrayal of the transition between waves and by creating a structure of collaboration rather than competition. [ABSTRACT FROM AUTHOR]

Using a feminist hermeneutic, Autumn Reinhardt-Simpson attempts to set out in this article how a third- or fourth-wave intersectional reading of the stories of Hagar and Sarah and Leah, Rachel, and their maids can become a source of both truth and healing within feminist activist communities today, particularly those working for reproductive justice. Reinhardt-Simpson identifies several issues within the stories such as societal acceptance of women who seek power only within patriarchal constructs or to benefit the aims of patriarchy, as well as issues that divide women both then and today such as class, race, and status and the way that women relate to each other within a patriarchal structure. Reinhardt-Simpson concludes that a liberatory reading of these stories can point us toward reconciliation with our sisters. [ABSTRACT FROM AUTHOR]

This article is concerned with the current developments in planning theory literature, with regard to its extensive focus on flexibility and process. When emphasizing the open-endedness and procedural validity of planning, planning theorists do not seem to consider ethical considerations about the results of planning outcomes. This is understandable given that postmodernism and its ardent defense of "open-endedness" is often considered to contradict any prescriptive nuances. However, I argue that normativity of planning is possible within the postmodern paradigm and that postmodern concepts and theoretical standpoints can propose a basis for normativity. To demonstrate this, I adopt the works of political theorists who have addressed normativity and political solidarity within the postmodern paradigm (anti-essentialist, anti-Cartesian), most of whom are inspired by the future paths of feminism. To be clear, what I refer as "feminism" is about not only defending the status of women as a legal category, but also how to construct political solidarity against inequalities—without essentialist categorizations or a priori conceptualizations. Using the ideas of Young (second-/third-wave feminism), Laclau and Mouffe (post-Marxism), Mouffe (post-Marxism/third-wave feminism), and Butler (third-wave feminism/body politics), I outline what could be considered "anti-essentialist norms." Based on these norms, a planner can judge which people and whose voices—which social groups or "serial collectives"—should be prioritized and heard first, in order to promote a more inclusive and just urban space. The three anti-essentialist norms that I propose are (1) taking into account the historicity of social relations, (2) having a modest attitude toward what we claim as the representation of "the public," and (3) recognizing a human interdependency that leads to pursuing future-orientedness in a political project. [ABSTRACT FROM AUTHOR]

Although an increasing number of people are identifying as single in western society, gendered ideologies continue to influence women's lives, emphasising the importance of heterosexual couplehood, marriage, family, and biological parenthood. Utilising third wave feminism as our theoretical framework, this paper explores how gendered ideologies can work together to influence adult women's experiences with singlehood. Findings from qualitative interviews with 12 single, adult women, conducted in Ontario, Canada, reveal the ways women can face marginalisation and stigmatisation in certain leisure contexts because of their single status and how the ideology of couplehood can reinforce expectations related to familism and pronatalism for single women. Yet, the findings also illustrate the ways single women can resist these expectations through their leisure. This paper provides an important contribution to the literature, bringing attention to the complex ties between gendered ideologies and leisure for adult women. [ABSTRACT FROM AUTHOR]

Copyright of Knjiženstvo is the property of University of Belgrade, Faculty of Philology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article studies the character of Dr Dana Scully from television series "The X Files," as an feminist embodiment of particularly 1990s version of third-wave feminism and examines the significance of the relationship between Scully and her colleague Fox Mulder.

Prior to the 2016 Olympic Games, Australia’s Chef de Mission Kitty Chiller predicted that the Australian team could win as many as 16 Olympic gold medals. Australia’s Olympic team won a total of eight gold medals and the sports media reacted by suggesting the team had ‘failed’. At the 2016 Olympic Games, three high-profile Australian female athletes apologised to the Australian public for their performances. This study examines these three interconnecting cases and how such behaviour is linked to research that examines sports media and gender (including female agency), ‘image restoration’ and third-wave feminism. Additionally, this work identifies how the culture of third-wave feminism is conceptually troubled by the notion of the ‘female apologetic’ and calls for a re-examination and modification of such a notion. [ABSTRACT FROM AUTHOR]

The 2016 American presidential election proved to be monumental for feminism, for it not only stood as an historic moment for women in politics but it also displayed how gaps within feminist approaches can be leveraged to advance the presidential candidate's agendas. This article analyzes how the three leading presidential candidates provided the nation with political platforms from which themes from varying waves of feminism emerged and prospered. While Sanders embraced third-wave feminism, Clinton's campaign exemplified a second and third-wave feminist hybrid approach and Trump's campaign incorporated some second-wave feminist perspectives. These arguments are supported by drawing parallels between each candidate's platforms, newspaper articles about the candidates, and feminist wave(s) they exemplified. This article then explores how feminist perspectives may manifest in current and future national discourses. [ABSTRACT FROM AUTHOR]

This study engages in current scholarly debates regarding third-wave versus postfeminist media icons through an analysis of Tina Belcher, the eldest daughter in the animated series Bob’s Burgers and a paragon of what I coin “millennial feminism.” In it, I argue that Tina rejects popular postfeminist discourses and experiences a politicized feminist awakening. While Tina is significant in her own right, most remarkable is the way millennial audiences have utilized the internet to position Tina as a feminist folk hero. Ultimately, I trace how popular critics use Tina to theorize a millennial feminism that reflects the values and characteristics of the millennial generation. Revisiting Sarah Banet-Weiser’s (2004. “Girls rule! Gender, feminism, and Nickelodeon.” Critical Studies in Media Communication, 21, pp. 119-139) argument that Nickelodeon’s girl power programming demonstrated third-wave feminist politics for its audiences, I argue that adult-oriented animated sitcoms lend themselves to an absurdity and disregard for hegemonic gender ideologies which have the potential to unsettle dominant ideologies of gender and sexuality and can define contemporary feminist politics for viewers. [ABSTRACT FROM AUTHOR]

Recent developments in superhero comics have seen positive changes to the representation of characters and storylines. In this article, we use examples of the increase in female characters and female-led titles, the swapping of gender from a male character to a female one, and the increase in female writers and artists to investigate how the representation of female characters has evolved. We argue that these changes mark an intervention on behalf of female creators in keeping with the theory and practice of third-wave feminism. We also argue that this evolution provides a good example of how third-wave feminism remains indebted to and continues the important work of second-wave feminism. The article explores the important role of intersectionality alongside themes relating to the body and sexuality, violence, solidarity and equality, and girlhood in comics such as Birds of Prey, Harley Quinn, Ms. Marvel, Captain Marvel, and A-Force. [ABSTRACT FROM AUTHOR]

This article discusses the rise of popular women characters on television during the 1990s, with a particular focus on "Xena: Warrior Princess." The author comments on the ineffectual efforts to re-boot the series, citing the limits of the ideals of 1990s (third-wave) feminism. The exclusion of older female actresses from media is also examined.

This article discusses the feminist icon and 1990s rock musician Courtney Love. The author comments on the representation of feminism by the media, which rejected Love as inauthentic. She also considers the popularity of certain women musicians in the 1990s, representing a new wave of feminism, which also rejected Love due to her volatile persona.

Copyright of Teorija in Praksa is the property of Teorija in Praksa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Everyday feminist practices are located in the personal lives of feminists, therefore, third wave feminists frequently use the slogan the personal is political to emphasise the political value of such practices. Often, second wave feminists do not agree with this interpretation of the famous feminist catchphrase, which initially meant to call for collective political responses to personal experiences of gender inequalities. This article investigates this dispute that is symbolic of the broader relationship between second and third wave feminism. It compares both perspectives on everyday feminism by relating arguments for and against the political value of everyday feminism to empirical findings of a qualitative study. Based on 40 interviews with second and third wave feminists in New Zealand, I argue that the dispute is based on a number of misunderstandings between the opposing perspectives. Disentangling those misunderstandings, I conclude that although everyday feminism as a manifestation of ‘the personal’ works towards ‘small’ political aims, it is a political practice. [ABSTRACT FROM PUBLISHER]

In this article, we take seriously the challenges of making sense of a sporting (and media) context that increasingly engages female athletes as active, visible, and autonomous, while inequalities pertaining to gender, sexuality, race, and class remain stubbornly persistent across sport institutions and practices. We do so by engaging with three recent feminist critiques that have sought to respond to the changing operations of gender relations and the articulation of gendered subjectivities, namely, third-wave feminism, postfeminism, and neoliberal feminism, and applying each to the same concrete setting—the social media self-representation of Hawaiian professional surfer Alana Blanchard. In aiming to conceptually illustrate the utility of these three feminist critiques, we are not advocating for any single approach. Rather, we critically demonstrate what each offers for explaining how current discourses are being internalized, embodied, and practiced by young (sports)women, as they make meaning of, and respond to, the conditions of their lives. [ABSTRACT FROM AUTHOR]

Rio de Janeiro’s favela funk is one of Brazil’s most important contemporary cultural and musical expressions. Women in favela funk play with contradictory and excessive performances of femininity that tend to complicate binary understandings of gender. By examining thefunkeiras’ staged performances of femininity through the lenses of female unruliness and transgression, I attend to howfunkeirastransgress heterofemininity. I conclude thatfunkeiras’ performances foster solidarity with and echo the stories of other women. Through these performances, these women navigate, resist, and fight oppressive structures. Ultimately, this article highlights the importance of embodied politics for marginalized women as a point of entry to instigate structural changes. [ABSTRACT FROM AUTHOR]

This rhetorical analysis examines the production script of Beautiful: The Carole King Musical through the lenses of second-wave feminism, third-wave feminism, and post-feminism. Based on the life of American singer/songwriter Carole King, Beautiful focuses on the triumphs and tribulations of King's career as a songwriter in the 1960s New York Brill Building, as well as King's personal life, including her relationship with her spouse/lyricist Gerry Goffin. Through this analysis, we explore how Beautiful's characters Carole King and Cynthia Weil embody elements of second and third-wave feminism, and suggest that Beautiful: The Carole King Musical conveys an overall empowerment message that is written for a post-feminist audience, given King's and Weil's empowerment through individual choices rather than through feminist activism. We conclude that this utopian post-feminist message may be problematic for a twenty-first-century audience in that it fails to acknowledge women's current career struggles. [ABSTRACT FROM AUTHOR]

Copyright of Comunicação, Mídia e Consumo is the property of Escola Superior de Propaganda e Marketing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia Contemporanea is the property of Historia Contemporania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper troubles dominant understandings of North American feminist history as a series of successive, ideologically opposed, generational "waves." While several scholars have critiqued this metaphor, few have grounded their critiques in the lives, perspectives, and organizing strategies of women involved in feminist activism. This paper draws on research with older Canadian women activists involved in the Grandmothers Advocacy Network (GRAN) to call into question three existing critiques of the waves metaphor: its implicit ageism, its simplistic categorizations, and its assumed generational discord. In so doing, it illustrates how women's lives and mobilizations are far too intricate for this framework. This paper thus contributes to understanding the complexities of contemporary feminist activism, particularly as these complexities relate to the contributions of older activists. [ABSTRACT FROM AUTHOR]

This paper discusses Virginia Woolf's two novels To the Lighthouse and Mrs. Dalloway in the light of a third-wave feminism, namely from a Kristevan perspective. It argues that the existence of the law of the father and the symbolic is extremely important for Woolf as a writer and for the characters of the two novels who are artists. The absence of Woolf's real father does not cancel his symbolic authority. On the contrary, it creates a stronger presence of his power in the life of Woolf, the person and the writer. The artists in the novels also cannot create without a patriarchal structure. Lily Briscoe and Clarissa could rescue their art by clinging to the father while Septimus couldn't save his art or life as he relinquishes the symbolic. This does not mean that the father cannot be challenged, but it means that the semiotic that erupts in the novels should parallel the symbolic or should be within its context. [ABSTRACT FROM AUTHOR]

The wave narrative has come to frame academic and popular discussions of western feminist activism. Yet there are overlapping and contradictory ways of interpreting “third-wave feminism,” which has resulted in much confusion surrounding its use and relevancy within western feminist praxis. Hence the need for a greater understanding of the term “third-wave feminism.” This article sets out a framework for understanding third-wave feminism, highlighting the importance of political context. The article, drawing upon interview data generated with activists in the USA and the UK, argues that while chronology is the most prevalent way in which feminist activists interpret third-wave feminism, many also cite age and intersectionality as indicators of third-wave feminism. Moreover, differing interpretations influence the extent to which it is seen as a positive development. While third-wave feminism is more developed in the USA, many within the UK recognize and use the term. [ABSTRACT FROM AUTHOR]

2014 saw a surge in discussions in the media and in feminist circles around who is a feminist and what it takes to be one: critics proclaimed that pop singer Beyoncé is not a feminist; Katy Perry and Lady Gaga reject the label; and Roxane Gay published a collection of essays, Bad Feminist (2014), on the topic. This paper works from and against the claim that third-wave feminism is rife with 'undutiful daughters' and reads many of today's feminists as 'bad psychoanalysts' whose investment in reading desire often leads to a misreading. In positioning American pop sensation Lana Del Rey vis-à-vis Sophocles' Antigone, I argue that these undutiful daughters ask us to interrogate what it means to make one's desire ambiguously legible, and how that might work with, from, or against third-wave feminism. This paper contends that Del Rey and Antigone's childlike attitudes, and their decision to remain undutiful daughters, offer a new model of willfulness that is integral to feminism today. [ABSTRACT FROM AUTHOR]

The article focuses on feminist theory and mentions poetry collection "Fond" by Kate Eichhorn. Topics discussed include archives, archiving and second-wave and third-wave feminism. Other topics which includes feminists, philosophers Jacques Derrida and Michel Foucault and zine making are also discussed.

This article examines the feminist response to a 2013 online “feud” between singers Miley Cyrus and Sinéad O’Connor that began when Cyrus connected the video for her single “Wrecking Ball” to O’Connor’s video for “Nothing Compares 2 U.” O’Connor’s response criticised Cyrus’ sexualised image, and the exchanges that followed sparked debate among feminists over the limits of sexual “agency,” and the sexual politics of feminism. This took place within a wider media context that has seen an apparent increase in female celebrities explicitly identifying themselves as feminist. Critics of this “celebrity feminism” argue that the sexualised star systems of its proponents are at odds with the aims of feminist politics. This article draws on post-structuralist feminist theory to question the positioning of celebrity feminism as exterior to an imagined “feminist movement.” Using the Cyrus/O’Connor feud, I argue that such a binary potentially reaffirms the structures of power that feminism seeks to oppose, and ignores the ways celebrity culture and contemporary media practice might combine to produce new understandings of the field of feminism. [ABSTRACT FROM PUBLISHER]