Despite a growth in single women in UK society over the past two decades, single femininity continues to be highly stigmatised. Drawing on Judith Butler’s theory of the heterosexual matrix and applying this to qualitative interview data with 25 single women, I argue that single femininity is produced as abject through processes of silencing which render the single female a ‘failed’ subject and reinscribe heteronormative coupled femininity. Yet while deeply painful, such ‘failures’ may also be productive, offering moments where the boundaries of heteronormative feminine subjectivity and hierarchies of intimate life are troubled and transformed. This article complicates understandings of stigma and resistance through a nuanced analysis of processes of abjectification and ambivalence.
Scholarship on AirBnB has often brought critical focus to the advancement of rentier capitalism and gentrification through the sharing economy. In this article we draw upon in‐depth interviews with women in London who host their shared living space on AirBnB, to present meaningful empirical examples of women utilizing the platform as a way of surviving. Often, women in our research turned to AirBnB after facing exclusion from traditional labor markets, based on gender, age and/or disability. Others relied on AirBnB to meet their own housing needs, for instance: subletting their own bed to meet rent payments. Rather than departing from a critical class analysis, we instead hope to nuance understandings of rentierism on AirBnB by focusing on these women as complex intersectional subjects of capitalism. While many hosts fall clearly into the category of rentier capitalists, making money through property ownership, the lived realities of hosting were often more complex. We therefore use these women's lived experiences to complicate understandings of class subjectivity in the “sharing economy”, drawing upon an intersectional perspective to showcase women who are hosting in order to subsist.
As the number of single women has grown within Anglo-American society, there has been a proliferation of discourses around single women within popular culture. At the same time, there has been a resurgence in female-centered media representations of detectives. This article asks what cultural work the convergence of the single woman with the unconventional figure of the detective performs, and what this means for contemporary feminine subjectivities, exploring how she is constructed in three primetime TV crime dramas: The Bridge, The Good Wife and Fargo. I argue that while the single female detective foregrounds discourses of professionalism, rationality, and sexual autonomy, she simultaneously reinscribes patriarchal discourses of heteronormative coupledom and normative femininity through her social dysfunction, vulnerability and deviance, rendering the single woman a threat to femininity. Yet, at times, her liminal positioning allows her to occupy a more transgressive feminine subjectivity and subversively trouble the gender binary.
Drawing on analysis of media representations and interviews with 25 single women, this article argues that the single woman is abjectified in US–UK popular culture through processes of instability and incoherence, which construct her as a threat to heteronormative femininity and recentres the coupled norm. Yet there are moments of contestation within media portrayals, where her ‘illegibility’ allows for a troubling of the gender binary and opens up spaces for working with and against such oppressive structures. Drawing on Butler’s heterosexual matrix, I show that singledom is produced here as a non-normative heterosexual practice, which radically destabilises femininity and heteronormativity. This article examines not only how single femininity is being culturally delegitimised, but also how single women in the United Kingdom experience such delegitimisation. Through complex processes of what José Esteban Muñoz calls ‘(dis)identification’, the women work with, alongside and against representations of normative coupled femininity. They also tactically work with portrayals of the single woman to self-reflexively construct alternative single feminine subjectivities. Yet more troublingly, even in moments of resistance, the single women make painful identifications with their abject positioning.
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