Postfeminism

Genz, Stéphanie; Brabon, Benjamin A.

doi:10.1515/9781474411240

Cited by 10 publications

(11 citation statements)

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“…Importantly, this is a complex configuration, as we also found tensions, ambivalences, and contradictions in the way caring masculinities are negotiated within organizations, which resonate with a postfeminist subjectivity (Genz & Brabon, 2009 ;Rumens, 2017). Reinforcing non-stereotypical work practices for men, such as reducing work hours, taking time for care obligations, or engaging in events encouraging non-traditional fatherhood practices, alternates with reiterating qualities that typify hegemonic masculinities.…”

Section: Discussionmentioning

confidence: 79%

“…In this understanding, men can “do gender” through both agency and care, a co‐existence of masculinity and femininity (Lewis, Benschop et al., 2018; Rumens, 2017). The postfeminist man is then contradictory and hybrid, encapsulating inclusive, caring, and emotional behaviors alongside more traditional forms of masculinity in a fluid way (Genz & Brabon, 2009; Rumens, 2017). In the empirical part of the study, we examine how this positive postfeminist masculinity relates to the figure of the involved father and answer the first sub‐question of the article: what new configurations of masculinity do promoters construct when they advance father‐friendliness in organizations?…”

Section: Changing Masculinities Postfeminism and Gender Change In Org...mentioning

confidence: 99%

“…The usefulness of postfeminism for studying men and contemporary configurations of masculinity in the workplace was emphasized in recent work (Pecis & Priola, 2019; Rumens, 2017). Studies show how contemporary postfeminist discourses of female empowerment and autonomy (Gill, Kelan et al., 2017) and of the “new man”, “new father”, or “new lad” (Genz & Brabon, 2009, p. 135) do reconfigure feminine and masculine subjectivities but still re‐stabilize traditional gender norms (Lewis, Benschop et al., 2018; Rumens, 2017). But as Rumens (2017) notes, the critical understanding of how more caring masculinities are enabled or hindered by postfeminism within organizations needs further development.…”

Section: Introductionmentioning

confidence: 99%

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New fathers, ideal workers? New players in the field of father‐friendly work organizations

Balan

Brink

2022

Gender Work & Organization

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This article explores novel forms of proactive support for fathers in organizations and analyzes how newly instituted organizational promoters of father-friendliness in Germany (organizational consultants, fathers' representatives, and fathers' networks) legitimize and strengthen organizational acceptance of fathers' use of family-friendly workplace arrangements. Bringing together the notions of organizational masculinity, the ideal worker norm, and postfeminism, the paper focuses on caring formations of postfeminist masculinity at work and how they contribute to gender change in organizations. The analysis shows that organizational promoters construct father-friendliness in three ways (I) by constructing a new, "caring" organizational masculinity, (II) by creating organizational value for care-related practices, (III) by framing father-friendliness as a prerequisite for gender equality. Our theoretical argument is that configurations of positive masculinities are possible within a postfeminist culture, and they produce incremental yet limited gender change through a reshaped organizational masculinity and a reframed "ideal worker" within organizations. The study of a rather unique group of change agents in organizations shows how additional offerings for fathers might contribute to changing gendered assumptions about care in organizations.

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Section: Discussionmentioning

confidence: 79%

Section: Changing Masculinities Postfeminism and Gender Change In Org...mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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New fathers, ideal workers? New players in the field of father‐friendly work organizations

Balan

Brink

2022

Gender Work & Organization

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“…Modern feminists critics, in particular, sought to establish strategies, frameworks, and models to understand, read, and analyze the role of media in propagating sex and gender inequalities by looking at specific representations and misrepresentations of women (Watkins & Emerson, 2000). Whether these cultural productions were accurate ways of seeing women or unrealistic meanings and messages presented by mass media, critics were concerned about how girls and women internalize and apply them in their actual lives (Genz & Brabon, 2009). This is known as the "images of women" debate, where "media socialize women/girls into consuming and accepting false images of femininity and traditional sex roles" (Genz & Brabon, 2009, p. 21).…”

Section: Hooks' Cultural Criticismmentioning

confidence: 99%

“…Rather than domesticity, the beauty myth has taken control of women. Freidan and Wolf believed that traditional feminine roles and conceptions of beauty contribute to women's oppression (Genz & Brabon, 2009). Women hate themselves, become obsessed with beauty, and are terrorized by these impossible notions of beauty.…”

Section: Hooks' Cultural Criticismmentioning

confidence: 99%

Organizing bell hooks’ Frameworks for Interrogating Representations

Biana¹

2021

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The feminist bell hooks is a staunch critic of sexist, racist, and classist media representations. Despite this, hooks has been called out for being unscholarly and disorganized in her cultural criticism. Through a close reading of hooks’ works, this paper attempts to make sense of and organize her cultural criticism frameworks toward a possible system for a critical discourse analysis. Hooks’ works are taken apart to examine how the parts fit together to understand the order, interventions, and intellectual motivations of her methods. Certain processes by which these frameworks may be used by scholars and critics for interrogating sex, race, class, and other intersectional representations are also discussed.

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Is She a Feminist Icon Now? Barbie 2023 Movie and a Critique of Postfeminism

Yakali

2023

SMC

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This study seeks to analyse Greta Gerwig’s Barbie 2023 movie, exploring how it playfully interacts with academic criticisms by incorporating them into its narrative in a humorous way. This article intends to investigate how the movie serves as a critique of postfeminist media texts by highlighting how it affects women's psychological well-being, illustrating the ways in which it can be debilitating. The movie also highlights the unfulfilled psychological aspects of feminism, rendering it a feminist text in that regard. A thematic analysis of the movie prompts a discussion on how a character who has been a postfeminist icon transforms into a feminist narrative identity.In the beginning of the film, Barbie resides within a paradisiacal realm characterized by unwavering agency and authority. She lives in Barbieland where “every day is a great day”. This mirrors the way in which both girls and boys immerse themselves in their imaginative play, constructing their microcosms replete with agency and the role of the protagonist (Yakali Camoglu, 2020). However, as individuals mature into adulthood, the shift is palpable and the world they encounter demands a relinquishment of some of that power, leading them to transition from active agents to potentially objectified subjects in certain contexts. This is symbolised in Barbie’s own transition from Barbieland (imaginations of childhood) to the Real World (adulthood) in the end of the movie.The movie engages in the critique that Barbie encounters, as her portrayal symbolizes the unrealistic standards imposed on women, portraying them as unattainable ideals. Although her initial intent -supposedly- is to empower girls by rescuing them from the confines of stereotypical maternal roles and introducing them to diverse occupations, her portrayal inadvertently immerses them in a realm where not only physical perfection but also success in careers and relationships is expected—a realm where limitless possibilities coexist with a profound burden. This postfeminist portrayal offers a vision of boundless potential achievable through belief in self, but concurrently fosters a burdensome mental strain and self-objectification among women, entangling them in a constant cycle of self-critique.This predicament forms the crux of Barbie's critical error, leading her to relinquish her paradisiacal abode, Barbieland, and embrace the realm of real-world womanhood. By assuming the complex roles women navigate, Barbie forfeits her idyllic sanctuary and immerses herself in a world where the concept of "perfection" is inherently absent, as authenticity takes precedence over plastic constructs.After identifying the existing literature on Barbie, the article proceeds to present the theoretical framework, which is postfeminism, and outlines the research methodology. The results of the thematic analysis reveal Barbie's active engagement in critiquing the postfeminist media culture in which she was a prominent figure. This pivotal process underscores Barbie's latest contribution to the realm of media studies, transforming from a text entrenched in postfeminist ideals to embodying a feminist narrative.

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Postfeminism

Cited by 10 publications

References 0 publications

New fathers, ideal workers? New players in the field of father‐friendly work organizations

New fathers, ideal workers? New players in the field of father‐friendly work organizations

Organizing bell hooks’ Frameworks for Interrogating Representations

Is She a Feminist Icon Now? Barbie 2023 Movie and a Critique of Postfeminism

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