Brown's essay "From Aggressive Wolf to Heteronormative Zombie: Performing Monstrosity and Masculinity in the Narrative Picturebook," to the present postfeminist
era discussed in Janani Subramanian and Jorie Lagerwey's "Teen Terrors: Race, Gender, and Horrifying Girlhood in The Vampire Diaries," each of these essays offers thoughtful ways to consider how children's literature is both shaped by and informs the culture in which it is produced.
This concept of comforting sisterhood has both feminist and postfeminist
Wood argue against the "postfeminist
" discourse where women's self-representation is reduced to a sign of empowerment.
Drawing on Sara Ahmed's study of emotions not as psychological states but as social and cultural practices (2004, 9), I will first analyze the affect of shame that fuels desire for assimilation into the postfeminist
postscript dominant in North America that both Cynthia and Kathleen share, then address the turn in their affective politics towards appreciation of the (diasporic) community and their participation in it.
Perhaps because she uses soft colors and materials often marketed to women, Black's work is frequently read in terms of a postfeminist
exploration of the constructions of commodified femininity.
Using a similar comparative approach, Vivien Jones (2010) examines claims that Jane Austen's novels act as postfeminist
precursors to chick lit.
This book examines popular television, film, and literature, as well as mass-market news, womenAEs magazines, new media, and advice culture to understand developments in marriage for women in the US, showing that wifedom and marriage are the main modalities for postfeminist
media to represent female life cycles and negotiate norms of femininity.
Yet for various reasons analyzed in this essay, her characters are modeled according to the rules constructing postfeminist
women who want visibility at the cost of other values considered integral to friendship in traditional terms (Schweitzer) and feminist norms (Toffoletti and McRobbie).
The challenge is manifest, for example, in how the (thoroughly heterosexual) postfeminist
culture has used the female body to articulate its resistance to patriarchal control.
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).
A secao tematica "Genero, cinema e audiovisual", organizada por Ana Maria Veiga e Rosana Cassia Kamita, comeca pela discussao sobre nichos audiovisuais (vlogs) difundidos pelo site YouTube e sobre a evasao de privacidade e o compartilhamento da intimidade de algumas vlogueiras que utilizam esse canal de comunicacao, com a analise instigante de Ligia Lana, em seu artigo "Postfeminist
heroines: contradictions of female audiovisual production on YouTube".