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| The term '''Post-feminism''', or '''postfeminism''', first entered into American usage in the early 1980s, initially signifying backlash over ]. The term now denotes a wide range of theories, all of which argue that feminism is no longer relevant to today's society. (Tania Modleski, Feminism without Women: Culture and Criticism in a “Postfeminist” Age, (New York: Routledge, 1991), 3.) | |||
| {{Unreferenced}} | |||
| '''Post-feminism''', or '''postfeminism''', is an anti-] ] that opposes simplistic ] constructs of ] (i.e., ] and ]) in order to explore and identify conceptions of women outside of the ]. Post-feminist ] examines the gradual elimination of another form of binary opposition as well: "feminists" versus "non-feminists". The defactionalization of these once clearly-delineated groups is a result of the success of feminist ] and ] in making ] a concern of ] culture, in ] and in other sociocultural ]s. | |||
| One of the earliest uses of the tem was in ]'s 1982 1982 article "Voices of the Post-Feminist Generation," published in ]. This article was based on a number of interviews with women who largely agreed with the goals of feminism, but did not identify as feminists. (Rosen, Ruth. The World Split Open: How the Modern Women's Movement Changed America. New York: Viking, 2000, 275, 337.) | |||
| The term ''post-feminism'' does not imply that the era of ] and activism have concluded (victoriously or otherwise). Rather, ''post-feminism'' acknowledges that the fractured ] of the individual has changed in the ], informed by ] predicated in part by feminist influence; it is a tangential evolution of feminist thought. | |||
| The post-feminist texts which emerged in the 1980s and '90s portrayed feminism as a monolithic entity, thereby allowing the author to criticize the very generalizations he or she had created. (Amelia Jones, “Postfeminism, Feminist Pleasures, and Embodied Theories of Art,” New Feminist Criticism: Art, Identity, Action, Eds. Joana Frueh, Cassandra L. Langer and Arlene Raven, (New York: HarperCollins, 1994), 16-41, 20.) Some claimed that feminism forced women to view themselves as victims, while others posited that women had grown dienchanted with feminism and now wished to return to domesticity. | |||
| The work of ] (especially her ] book '']'') and various "gender-bending" authors—such as ], ], and ]—exhibit nuances of post-feminist thought. | |||
| ==Post-Feminist Texts== | |||
| ] is often cited as the first post-feminist ], since it breaks the mother/whore ], and ] gender and ]. Since many people decry pornography as inherently ], some may confuse post-feminist politics with ]. | |||
| * Rene Denfeld, The New Victorians: A Young Woman’s Challenge to the Old Feminist Order, (New York: Warner Books, 1995) | |||
| * Katie Roiphe’s The Morning After: Fear, Sex and Feminism on Campus (1993) | |||
| ==See also== | ==See also== | ||
| * ] | * ] | ||
| * ] | |||
| {{fem-stub}} | {{fem-stub}} | ||
| ] | ] | ||
Revision as of 17:49, 2 May 2006
The term Post-feminism, or postfeminism, first entered into American usage in the early 1980s, initially signifying backlash over second-wave feminism. The term now denotes a wide range of theories, all of which argue that feminism is no longer relevant to today's society. (Tania Modleski, Feminism without Women: Culture and Criticism in a “Postfeminist” Age, (New York: Routledge, 1991), 3.)
One of the earliest uses of the tem was in Susan Bolotin's 1982 1982 article "Voices of the Post-Feminist Generation," published in ''New York Times Magazine''. This article was based on a number of interviews with women who largely agreed with the goals of feminism, but did not identify as feminists. (Rosen, Ruth. The World Split Open: How the Modern Women's Movement Changed America. New York: Viking, 2000, 275, 337.)
The post-feminist texts which emerged in the 1980s and '90s portrayed feminism as a monolithic entity, thereby allowing the author to criticize the very generalizations he or she had created. (Amelia Jones, “Postfeminism, Feminist Pleasures, and Embodied Theories of Art,” New Feminist Criticism: Art, Identity, Action, Eds. Joana Frueh, Cassandra L. Langer and Arlene Raven, (New York: HarperCollins, 1994), 16-41, 20.) Some claimed that feminism forced women to view themselves as victims, while others posited that women had grown dienchanted with feminism and now wished to return to domesticity.
Post-Feminist Texts
- Rene Denfeld, The New Victorians: A Young Woman’s Challenge to the Old Feminist Order, (New York: Warner Books, 1995)
- Katie Roiphe’s The Morning After: Fear, Sex and Feminism on Campus (1993)
See also
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