postfeminist


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postfeminist

(pəʊstˈfɛmɪnɪst)
adj
1. (Sociology) resulting from or including the beliefs and ideas of feminism
2. (Sociology) differing from or showing moderation of these beliefs and ideas
n
(Sociology) a person who believes in or advocates any of the ideas that have developed from the feminist movement

post•fem•i•nist

(poʊstˈfɛm ə nɪst)

adj.
1. pertaining to or occurring in the period after the feminist movement of the 1970s.
2. reflecting any of the ideologies emerging from this movement.
n.
3. a supporter of a postfeminist ideology.
[1980–85]
post•fem′i•nism, n.
References in periodicals archive ?
Like their Anglo-American peers, Norwegian girls are subject to body-image pressure (Javo 2012, cited in Rysst & Roos 2014), eating disorders, and body-hatred resulting from the increasing focus on the body characteristic of neoliberal postfeminist sensibility (Rysst 2010).
The Gender Politics of Postfeminist Semantics," Journal of Research in Gender Studies 7(1): 255-261.
In the context of tourism consumption, the postfeminist discourse defines the relationships between women and consumption.
Hunter, Heidi Kaye and Imelda Whelehan (1998) and Girlfriends and Postfeminist Sisterhood', written by Alison Winch (2013).
A content analysis of the site indicates that feminism is depicted positively and that it is invoked in ways that enmesh political/activist agendas with commercialised and celebrity postfeminist forms.
In an elucidating analysis, Tse evaluates Wang's claim that the novel is a critique of globalized consumption in post-socialist China, positing instead that it chimes with a Western postfeminist ethos which promotes mass consumption and traditional forms of female sexuality.
The main objective of this paper is to explore and describe the intricate, shifting gender dynamics of the present postfeminist culture, the manners in which distinct consumers handle the matter of postfeminist representations, the importance of the manners in which postfeminism collates and essentializes muliebrity, and postfeminism's predilection for separate agency and its detachment from questions of structure and shared undertaking.
Was this heavy-handed postfeminist artmaking another put-on?
It's therefore significant, and consistent with the ambivalence critics note in the postfeminist girl idea, that the personal quests of these princesses are closely entangled with heterosexual romance that refers the story back to ideals of female beauty and virtue.
It's part of the film's deadpan if not quite satirical vision that they seem to belong to the same tribe of postfeminist Stepford princesses.
Situating problematic gendered relations against the backdrop of "motorcycle culture," SoA emerged at a time when media was replete with postfeminist portrayals (Douglas, 2010; Gill, 2007), anti-feminist feminism (Rodino-Colocino, 2012), and representations of the "new momism" (Douglas & Michaels, 2004).
Shauna Pomerantz and Rebecca Raby's chapter, "Reading Smart Girls: Post-Nerds in PostFeminist Popular Culture," argues that the new "smart girls" in texts such as Gilmore Girls, High School Musical, and Veronica Mars, although "pretty, fashionable, popular, and talented in extracurricular activities, rather than socially awkward and marginalized nerds," represent less of a feminist victory than might be thought.