By Diane Negra
From family goddess to determined housewife, What a lady wishes explores the significance and centrality of postfeminism in modern pop culture. advent -- Postfeminism, relatives values, and the social myth of the native land -- Time difficulty and the recent postfeminist lifecycle -- Postfeminist operating ladies : new archetypes of the feminine hard work industry -- Hyperdomesticity, self-care, and the well-lived lifestyles in postfeminism
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Additional resources for What a Girl Wants?: Fantasizing the Reclamation of Self in Postfeminism
They are, I would contend, deeply invested in mapping the struggles of women to cope with a radically revised set of social/economic conditions even if those conditions are seldom named outright. Their postfeminism is in part attributable to a rather regular tendency to scapegoat feminism for changes much more directly attributable to the power of new economies to chip away at social health and family life. ”41 28 Postfeminism, family values, and the social fantasy of the hometown Cindi Katz has pointed out that “A hallmark of the globalization of capitalist production has been a retreat by capital from its prior commitments to place.
There are other aspects of this case that inform on the habits of a postfeminist culture when it acts to discipline subversive femininity. For instance, the fervent denunciations of Jennifer Wilbanks rang oddly in the context of the story’s seemingly lighthearted Runaway Bride promotional tag. The phrase itself is doubly associative, calling to mind both the classical screwball comedies of the 1930s as well as the 1999 Julia Roberts romance. Scholarship on screwball consistently reads the runaway bride as a liberating, empowered image.
1 In the late 1990s, American television debuted a set of primetime dramas in which a professional woman returned to her hometown. (TV Guide, October 14–20, 2000) the general rule is that no important changes have taken place in the time since the protagonist’s departure except for those that help underscore the appropriateness of their return. 25 We might speculate that such series differentiated themselves by providing a Postfeminism, family values, and the social fantasy of the hometown 23 counterpoint realism to the fantasy of such female-centered 1990s franchises as Buffy the Vampire Slayer, Xena: Warrior Princess, and even the semi-fantastical Ally McBeal.
What a Girl Wants?: Fantasizing the Reclamation of Self in Postfeminism by Diane Negra