Roaming the City: Proper Women in Improper Places

Radner, Hilary

doi:10.4135/9781446218723.n5

Cited by 2 publications

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“…As Hilary Radner (1999) suggests, the greater erotic capacity of diverse bodies, less stereotyped by class and age, has been reconfigured. Imaginary bodies have been replaced by a greater need for real bodies in the pandemic.…”

Section: Towards a New Sexual Citizenship (Post-gay Stage)mentioning

confidence: 99%

Trans-Visibilities and Sexual Politics: Temporary Passages in Spanish Popular Cultures

Cantó

2022

TAHRJ

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This article aims to review the models that historically have shaped technologies of gender through popular representations in Spanish culture. First, an anthropological view will be cast on the naturalised Catholic-Francoist models that exalted heterosexual dichotomies and reproductive marriage. This includes an analysis of how, although the criminalization of transsexuals aggravated their situation, resistance movements generated a wide range of cultural references and possibilities for inclusion. Second, the article will review the models associated with Spain’s transition to democracy and their evolution moving on to the beginning of the 21st century. Finally, it will draw an outline of the trans models produced during the past two decades and their popular expressions.

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Section: Towards a New Sexual Citizenship (Post-gay Stage)mentioning

confidence: 99%

Trans-Visibilities and Sexual Politics: Temporary Passages in Spanish Popular Cultures

Cantó

2022

TAHRJ

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“…Thorstein Veblen may have criticized the “conspicuous consumption” of the fashionable woman, but as Hawes and others have argued, fashion can be a powerful way to establish and confirm identity. Hillary Radner goes one step further, arguing that fashion is itself a form of authority, a way for a woman to “establish and maintain her position within the social hierarchy” (93). In other words, it is through fashion, specifically clothing that is well made and well designed, that women can express power.…”

Section: Fashionably Sophisticatedmentioning

confidence: 99%

Uniform Matters: Fashion Design in World War II Women's Recruitment

Ryan¹

2014

J of American Culture

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They were showing the audience that we had gotten together. They were showing how the women in the Navy were still women. And ladies. The whole thing was to let society know that our girls were their girls. . . They were daughters and sisters. Dorothy Turnbull (Stewart), World War II WAVERecruiter 1 Tailor-made. Ladylike. Gorgeous. These terms echo through the oral histories of women who served in the Navy and Coast Guard during World War II. The women are talking about the uniform they wore while in the service. It was couture-designed, in contrast to uniforms for the other women's service branches.Fashion theorists note that uniforms are classic examples of authority in clothing, with connotations of power conferred upon the wearer (Vining and Hacker; Fussell). Couture style, far from frivolous, gives women substance, allowing them to construct a uniform identity while at the same time expressing their difference from other women. Even before the first training class for women began during World War II, military brass in the Navy and Coast Guard were discussing the uniform the women would eventually wear. There were high expectations. The uniform would, after all, become the public face of the WAVES (Women Accepted for Volunteer Emergency Service) and SPARs (from the Coast Guard motto Semper Paratus, Always Ready), communi-cating both the image and the identity of the female volunteers. It would also become the focal point of the Navy's public relations campaigns, seen in posters, photographs, and film. To understand the meaning of military service for the more than 100,000 women enlistees in the two service branches, it is necessary to understand the powerful image presented by the uniform, and what that uniform meant to volunteers.The Navy and Coast Guard 2 could not draft women during wartime; they were forced to rely on the willingness of women to volunteer for the service branches, which were separate units within each branch of the military. By looking at how the military used the uniform as part of a larger identity campaign to entice women, one can also explore how-or if-the recruits embraced that same identity during their military careers. Through oral history interviews and textual analysis of the uniform itself, I explore how Navy and Coast Guard recruits remember the uniform and use it within their storytelling to reinforce their wartime identities. Fifty-two women from across the United States were interviewed for this project; the interviews were supplemented with archival oral history interviews of officers with the WAVES and SPARs. Multiple uniforms were also examined, held in both archival (Naval Aviation Museum in Pensacola, Kathleen M. Ryan, Ph.D., is an associate professor in the College of Media, Communication, and Information at the University of Colorado Boulder. She is an active documentary filmmaker and her research interests include visual communication, oral history, and how cultural practices inform identity.

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Roaming the City: Proper Women in Improper Places

Cited by 2 publications

References 0 publications

Trans-Visibilities and Sexual Politics: Temporary Passages in Spanish Popular Cultures

Trans-Visibilities and Sexual Politics: Temporary Passages in Spanish Popular Cultures

Uniform Matters: Fashion Design in World War II Women's Recruitment

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