Feminine Type Research Articles

Angry, Then & Now

Angry, Then & Now Sue J. Kim (bio) If you were blind and there was no braille There are no boundaries on what I can feel. — Bikini Kill It all started with Angry Women. Until asked to reflect on the 25th anniversary of Angry Women, I didn’t realize / had forgotten how much of my personal, artistic, political, and scholarly life owes to this volume. Punk bands in college and grad school, a recent book On Anger, another co-edited book about how empathy can be dangerous, a perverse interest in decolonizing narratology, a life in ethnic studies: my life that has made me very happy has been, in many ways, about embracing and understanding the nuances and valences of anger, of which Angry Women first made me aware. Aware, that is, of understanding the reasons for anger and how it works (for better or for worse); aware of understanding the importance of expressions of anger; aware of understanding the limits of anger. I can’t remember how I got my hands on this volume, sometime in the mid-1990s, on the campus of Dartmouth College. I imagine it had something to do with the great Professor Brenda Silver, my mentor and thesis advisor. She also has had some things to say about anger.1 The collection made an immediate impression on me; my personal favorites were bell hooks, Annie Sprinkle, Diamanda Galás (whom PJ Harvey always reminds me of), and Kathy Acker. I’ve now taught Blood and Guts in High School several times; judging from my students’ reactions, it still has the power to shock and awe. Angry Women provided the theories and language for understanding what I had been experiencing my entire life. And incidentally, it did so in some fun and creative ways. Nowadays, thinking back on my adolescence makes me more sad than mad. It was miserable for no real reason other than sheer ideology: I wasn’t hungry, homeless, or unloved—I just lived in patriarchal, racist, heteronormative, and capitalist systems that taught me that my only worth came through fulfilling certain prescribed roles (which were totally wrong for me). I wrote an article about my experience with eating disorders and depression cycles for the campus feminist newspaper before I had read Kathy Acker’s words in Angry Women, but they rang true with me: “Well, we [women] [End Page 216] were taught to channel anger, rage, feelings of insecurity—to channel what would-be ‘negative’ energy masochistically. We were taught not to do it directly—not to go out and hit someone, for example—but to do it so we’d hurt ourselves. And that’s a typical feminine ploy to deal with power . . . in a way it’s because you don’t have power, but you’re looking for power.”2 But Angry Women wasn’t just about understanding the world and one’s experiences in it and writing about it; in Marx’s words, the point is to change it. Before I read it in Marx, I heard it from bell hooks: “Resisting oppression means more than just reacting against one’s oppressors—it means envisioning new habits of being, different ways to live in the world. And I believe true resistance begins with people confronting their pain—whether it’s theirs or somebody else’s—and wanting to do something to change it.”3 So, inspired by Angry Women and foremothers like Patti Smith, Blondie, X-Ray Spex, Exene Cervenka, I started a punk band with some girlfriends. None of us knew how to play our instruments, but in true punk fashion, that didn’t stop us. The flyer for what I believe was our very first show featured a picture of Kathy Acker (see Figure 1). In good Acker fashion, we quoted from our sources freely. Our band had the distinct and dubious honor of having played Bikini Kill covers in Alpha Delta, the college fraternity made famous by the film Animal House. I don’t remember now how exactly that show came about, but I remember savoring the irony. (We were upstairs and no one but our friends watched us actually play. A few frat boys walked by...

‘I am a mother’: young women’s negotiation of femininity and risk in the transition to adulthood

In studies of sexual risk behaviour among youth, the role of dominant conceptions of masculinity and femininity has received increasing attention. However, where research has sought to explore femininity, it has predominantly focused on adolescent girls. This paper departs from previous research by offering insights into how young women negotiate their femininity as they transition from adolescence to adulthood and encounter changing social contexts. Drawing on data from ethnographic enquiry, it argues that as young women transition out of school and into emerging adulthood, their options for negotiating different types of femininity become constrained, with consequences for engagement in sexual risk behaviours. This may to some extent explain why in some South African contexts older young women are more vulnerable to HIV infection than adolescent girls. The paper offer insights into future prospects for youth development programming seeking to reduce young women’s vulnerability to risk.

Human/Capital

This essay inquires into the vexed place of labor in the work of Cindy Sherman. Noting the curious absence of images of workingwomen among the vast repertoire of feminine types featured in the artist's photographs, it turns to her oft-disparaged film Office Killer (1997) to consider the stakes of representing class and labor within the contemporary regime of neoliberalism. The lead character in this horror film is read as an exemplar of human capital, an “entrepreneur of the self,” and as such, an updated version of the vampire-like tendencies of capital already discussed by Marx a century ago. Moving away from the prevalent psychoanalytic discourse around Sherman's work, the essay attempts to root her production within the larger social relations of present-day labor.

The Metamorphosis of Katniss Everdeen: The Hunger Games, Myth, and Femininity

While Suzanne Collins’s Hunger Games trilogy explicitly includes Greco-Roman references, this essay argues that the trilogy also implicitly invokes the myths of Artemis and of Philomela. In obliquely referencing these mythic women, The Hunger Games provides its protagonist, Katniss Everdeen, with different possible paths of femininity that she can follow. By showing how both of these forms of femininity keep Katniss focused on vengeance, The Hunger Games points to the dangers of reproducing beliefs inherited from the past. Katniss’s ultimate rejection of both of these inherited types of femininity allows her to break free from her past and to change her society.

They Gon’ Think You Loud Regardless: Ratchetness, Reality Television, and Black Womanhood

This article explores the interstitial spaces between positive and negative representations of black womanhood on reality television. It argues that regardless of the presence of supposedly positive images in media, if audiences choose to see black women as “loud,” the symbolic power of representation alone cannot counter that worldview. Thus, instead of disavowing these representations, we should explore how they function as types of black femininity. One of those types is here described as “ratchet.” Ratchetness, a disposition characterized by foolery that is more tacky than ghetto and more world-worn than camp, is a fitting descriptor for many of the women on reality series such as VH1’s Basketball Wives (2010–13) and Love and Hip Hop (2011–) and their respective spinoffs, Basketball Wives LA (2011–) and Love and Hip Hop: Atlanta (2012–). By no means does the article suggest that these black women's behaviors are anything short of performative; neither does it condone their behavior as socially acceptable. However, the analysis rests on an understanding of the liminality of their performance of ratchetness as a means of ensuring a material wage and maintaining visibility in a medium where black women's bodies are often rendered invisible. Through a close examination of these cult-hit cable reality series that centers on a consideration of black women's affect, the article seeks to explore the in-betweenness of black women's performances on reality TV not to celebrate them but as part of a “make-do” identificatory project through which black female audiences can indulge the ostensibly disreputable aspects of themselves within their own communal spaces.

Гендерный аспект корпоративных стандартов организации

Corporate standards of appearance based on the strategy of positioning the organization, implementing a number of aesthetic factors, which include gender characteristics. The style of corporate standards of appearance is determined largely by the severity of the characteristics on a scale of masculinity —femininity. Masculine type of clothing is perceived as a purely functional and business. Key features of normative masculinity in clothes are the elements of status. Today the masculine type of clothing is increasingly in demand in the corporate standards of organizations that impose strict requirements for staff appearance. Standards of feminine type are associated primarily with taboo or propaganda of sex symbols in staff appearance. It can be successfully implemented in those spheres of business where the quality of beauty, strength and youth act as a competitive advantage (firms operating in the market of entertainment and gaming services, the industry of sports, modeling), or where competitive advantages are based on care, empathy, communication skills (organization of welfare service, preschool and school education, and others). Unidentified type embodies the style unisex as a means of "raising" of women to men. That type of gender may be relevant to areas of business where there is an absolute erasure of gender roles, such as sports or IT technology. Androgynous type is a structure that includes elements of traditional male and female clothing. This type is used in the areas of business where competition is based on combining the standards of masculinity and femininity at the same time, for example, service, tourism and other similar activities.

Syndrome de persistance des canaux de Müller de type féminin : un cas de diagnostic tardif dans le cadre d’une infertilité

We report the case of a 35-year-old patient with a syndrome of persistent Müllerian ducts (PMDS) of the female type (group A). The diagnosis was made in adulthood during an infertility workup. Clinical examination revealed an empty scrotum, a normal penis and bilateral inguinal cystic masses. The spermogram found azoospermia. Imaging using MRI and tomotensidometry found the presence of an uterus, two fallopian tubes and two inguinal positions of polycystic testes. A surgical management was performed for surgical testicular biopsy. Histological examination then found a cystic formation of multi-celled mesothelial origin, with atrophic testis Sertoli cell involution and without sperm. PMDS is a rare form of pseudo-internal hermaphroditism characterized by the presence in a man of the uterus, fallopian tubes and upper vagina with external male genitalia and virilized characters. About 200 cases are reported in the literature. The diagnosis is often made in children intraoperatively during a cure of testicular ectopia. The karyotype is 46XY type. The pathogenesis is related to a deficiency of anti-Müllerian hormone (AMH) or tissue resistance to its action by receptor abnormalities. The regression of the Müllerian duct derivatives can give three types of PMDS: masculine type, feminine type and a transverse type. Surgical treatment is difficult but necessary because of the risk of infertility and ectopic testicular degeneration.

Classic and Modern: Colette Criticism in the Interwar

Colette is not generally included in recent narratives of twentieth-century French neoclassicism. However, her contemporaries of various political and aesthetic persuasions considered Colette to be a classique of the first order. This article explores classification as classique by critics sympathetic to Charles Maurras and the aesthetics of the Action française as well as left-leaning critics associated with André Gide and the group surrounding the Nouvelle Revue française. The article shows that it is Colette's strong association with a particular type of femininity that allows her to be thought of as classique by critics of such different political and aesthetic commitments. The article also examines examples of resistance to Colette's categorisation as classique, and attempts to assert the modernity of her work, coining the term classique moderne as a way of bringing together diverse attempts to explain the harmony between classicism and modernity in Colette's work. The article suggests that Colette's incorporation in the canon of the classique is part of a larger solidifying of the role of femininity in French identity at that moment.

Watching Pink Reality TV

In the post-socialist, post-war, neo-liberal, commercial media landscape in the former Yugoslavia, ethno-national, heterosexual femininity continues to be a dominant frame of reference. This article explores how the portrayal of gender is closely connected to ethno-nationalism on one of the most popular reality TV shows, The Palace, produced by the Serbian commercial broadcaster Pink TV. We analyse how female audiences in Bosnia and Herzegovina read and interpret the show and its main celebrity, the Slovene participant Urška. We argue that the different reading positions of audience groups reinforce the hegemony of a specific type of neo-liberal femininity.

Resisting Dominant Discourses of Femininity in a Working-Class Junior School

This paper describes different types of femininity within one working class UK junior school. The fieldwork took place between 1998-99 and the data come from observations and a series of interviews with twelve 10-11-year-old girls. The paper attempts to go beyond using typologies and argues that femininities are more nuanced and malleable, and also temporal and situated. Although all the forms of femininity were constructed through the heterosexual matrix, the findings differ from the work of other researchers in that only two girls attempted to perform Connell’s (1987) ‘emphasised’ form of femininity, and the others were able to resist this dominant discourse.

Description of sex difference as prescription for sex change: on the origins of facial feminization surgery.

This article explores the research project that led to the development of facial feminization surgery, a set of bone and soft tissue reconstructive surgical procedures intended to feminize the faces of male-to-female trans- women. Conducted by a pioneering surgeon in the mid-1980s, this research consisted of three steps: (1) assessments of sexual differences of the skull taken from early 20th-century physical anthropology, (2) the application of statistical analyses taken from late 20th-century orthodontic research, and (3) the vetting of this new morphological and metric knowledge in a dry skull collection. When the 'feminine type' of early 20th-century physical anthropology was made to articulate with the 'female mean' of 1970s' statistical analysis, these two very different epistemological artifacts worked together to produce something new: a singular model of a distinctively female skull. In this article, I show how the development of facial feminization surgery worked across epistemic styles, transforming historically racialized and gendered descriptions of sex difference into contemporary surgical prescriptions for sex change. Fundamental to this transformation was an explicit invocation of the scientific origins of facial sexual dimorphism, a claim that frames surgical sex change of the face as not only possible, but objectively certain.

FENOMENA KEBAHASAAN ALQURAN (Kajian Proses Morfologis dalam Alquran Surah al-Baqarah )

This study aimed to describe morphological aspects of the Arabic language contained in the Qur'an Sura al-Baqarah. They are (1) affixation which includes a prefix, an infix, a suffix, a konfiks, and a transfiks, (2) reduplication, (3) composition, (4) internal modification, (5) shortening, and (6) morphophonemic. This study aims to obtain a clear description of the changes in the shape, type, meaning, and the number of morphologically due process. The study of Arabic morphology in the Qur'an Surah al-Baqarah is the result of a review of the 286 (two hundred and eighty-six verses) which involves several processes language events. First, the process of transformation of the word, i.e, from the base to derivative and the change of word class, i.e, from verb to noun or from noun to verb. For example from morpheme فلح /falah-a/ to morpheme مفلح /mu-flih/. Morpheme فلح /falah-a/ is a verb, while the morpheme مفلح /mu-flih/ is a noun. Then, the change from noun to verb. For example morpheme ورق /waraq-un/ 'leaf' to be morpheme أورق /auraq-un/ 'leaf'. Morpheme ورق /waraq-un/ is a noun, while the morpheme أورق /auraq-un/ is a verb. Second, the process of change from intransitive verbs into transitive verbs, for example, from morphemes خرج /kharaj-a/ 'out' (intransitive verb) to أخرج /a-khraj-a/ 'eject' (transitive verb). Third, the process involves morphological types / gender of the persona/actor in a sentence, eg verbs آتب /katab-a/ 'he (the man, singularis) (has) written' must undergo a morphological process آتبت / katab-at / ' her (female, singularis) (has) written 'for the subject berkongruensi feminine type. Forth, the changes in terms of numbers, for example, from morphemes أمر / amr-un / 'issue' to be أمور /umur-un / 'issues'. Thus, it can be concluded that the Arabic morphological processes involve some processes of change, the change in shape, type, meaning, and the category of number.

Fanny “Bobbie” Rosenfeld: A “Modern Woman” of Sport and Journalism in Twentieth-Century Canada

Jewish-Canadian athlete Fanny “Bobbie” Rosenfeld has been remembered as an exceptional all-around athlete, whose career triumph occurred at the 1928 Olympics where she won a gold medal as the lead-off member of the 4 × 100-meter relay team, a silver medal in the disputed 100-meter race, and placed fifth in the 800-meter race. She was also a hard-hitting sports journalist, in an occupation dominated by men, who championed women’s issues at all levels—local, national, and international—through her daily column for the Toronto Globe and Mail from 1937 to 1958; a coach for the women’s track and field team at the 1934 British Empire Games; and a critic of sport policy, particularly amateur athletics. In 1950 she was named Canada’s woman athlete of the half-century, narrowly edging out figure skater Barbara Ann Scott. The only Jewish athlete ever to win a gold medal in track and field, she was inducted into the International Jewish Sports Hall of Fame in Israel in 1981. The accolades for Rosenfeld continued to mount. In 1991 the city of Toronto established the Bobbie Rosenfeld Park situated between the Sky Dome and the CN Tower. On 9 June 1996, the Canada Post Corporation paid tribute to the 100th anniversary of the Modern Olympic Games by issuing five stamps honoring Canadian Olympians who distinguished themselves at previous Olympics, and included Bobbie Rosenfeld among those recognized.1 Rosenfeld’s athletic career spanned that crucial period in women’s sport history between the two world wars, long recognized by sports historians as “the golden age of women’s sport in Canada.”2 Rosenfeld, with her bobbed hair—the derivation of her nickname “Bobbie”—her lean athletic body, independent career girl persona, and immigrant working-class background, was the embodiment of a new type of femininity that emerged in the interwar years known variously as the Modern Girl and the Modern Woman. As a collective of women’s historians demonstrated recently, the Modern Girl emerged quite literally around the world in the first half of the twentieth century.3 Historian Kathy Peiss writes, “The Modern Girl was variously a symbol of female social freedom, normative Western racial hierarchies, the universality of beauty, standards of hygiene and fashion, and a modernizing economy.”4 Whereas the Modern Girl is usually associated with the representation of the sexualized, commodified flapper in the scholarly literature, another version

Bokanmeldelse: Den kvinnelige industriskole sett innenfra

Boka 'Fra skyggetanter til yrkeskvinner', skrevet av førstelektor Kirsten Røvig Håberg, kom ut i 2012. Den handler om Den kvinnelige industriskole, forløperen til Institutt for estetiske fag ved Høgskolen i Oslo og Akershus, i perioden 1875 til 1950. Her fikk kvinner utdannelse i håndarbeid og tekstilfag, og de typiske kvinnelige fagene gjorde det mulig for kvinner å gå ut i et ellers mannsdominert yrkesliv. I tillegg til å fortelle historier om elever og ansatte ved skolen, gir også boka en mer generell kulturhistorisk fremstilling fra denne perioden med vekt på mote og tekstilhistorie. Bokanmeldelsen tar for seg forbindelsene mellom tekstilfag og kvinnehistorie i tillegg til å reflektere rundt betydningen av bokas grafiske form.

"Per Voi, Signore": Gendered Representations of Fashion, Food, and Fascism in Il Progresso Italo-Americano during the 1930s

IN APRIL OF 1935, Il Progresso Italo-Americano, the largest Italianlanguage newspaper in the United States, ran an advertisement for Florio brand marsala, an Italian fortified wine from Sicily. The advertisement featured an illustration of three incredulous looking men gawking at the body of a fashionable, but scantily clad, thin woman in lingerie. One of the men asked the lady, “At this age how do you conserve the beautiful complexion of a young girl?” The key to her girlish physique, the woman responded, is drinking eggnog every morning made with Florio’s marsala, “which nourishes me, without making me gain weight, and keeps my body slim and my spirit awakened.” This advertisement for an imported Italian food product, appearing in the Italian-language press, promoted a particular type of fashionand weight-conscious femininity valued in the U.S., yet reviled by fascists in Italy during the 1930s. These contradictory messages about womanhood and the consumption of food and fashion reveal how habits and identities changed as people and products moved back and forth across the ocean. That a figure no less than Benito Mussolini provided monetary support to immigrant papers like Il Progresso Italo-Americano, which included images of slender, consumerist women, while at the same time rejecting this American model for Italian women in Italy, demonstrates that Italian nationalists valued, yet sent mixed-messages to, Italian women consumers both at home and abroad. The disconnect between images of femininity and consumption in the Italian American commercial press and those in fascist Italy illustrates the peculiar position women held as symbols through which immigrants in the U.S. formed national and consumer identities during the 1930s. This article compares literature about, and advertisements for, fashionable clothing and food products—the most visible commodities represented and discussed in Il Progresso Italo-Americano’s women’s pages—to elucidate the paradoxical representations of women’s consumer and national identities in Italian American newspapers during the 1930s. By juxtaposing this

Особенности личностной и невербальной креативности у гендерно типизированных и гендерно нетипизированных руководителей

The article deals with correlation between gender characteristics of executives and their personal and nonverbal creativity. Also results of comparative analysis of creativity expressiveness of executives with masculine, feminine and androgenous gender type are introduced in the article.

Social roles of farmwomen: The case of Croatia

The article is based on a field research on family farms in Croatia. On a sample of 350 farmwomen their social roles were analysed. The keys of the gender division of typical feminine tasks such as household tasks, family care tasks and the position in the family and on farm was analysed. Through statistical data processing in multivariate matrixes the latent matrix of independent variables: family, progessional position and farm economic status showed significant effects on matrix of dependent variables traditional feminine work, family care tasks and expectations of women hindering farmwoman's possibilities for off farm employment.

“I Don’t Know Anything About Soccer”

A great deal of research has been dedicated to the difficulties women face in business management domains because they lack the required “masculinity” in terms of masculine skills and traits. Previous work has shown that when males are judged, failures in typical feminine tasks can signal high masculinity and can therefore become an asset in terms of attributed occupational success in a typical masculine job (i.e., manager position). However, jobs at lower levels of organizational hierarchies differ in their trait requirements, with some jobs requiring mostly typical feminine traits and others mostly typical masculine traits. The present study therefore tested and found support for the hypothesis that personal weaknesses and strengths in a feminine or masculine domain guide recruiters’ inferences about a candidate’s gender prototypicality. These inferences, in turn, predict job-suitability ratings for sex-typed jobs. It is shown that for women, too, stating weaknesses can sometimes be more advantageous than stating strengths.

Sculpting the Sanatorium: Nervous Bodies and Femmes Fragiles in Vienna 1900

In 1904, the Austrian sculptor Richard Luksch (1872–1936) produced two over-life-size ceramic figures of the female body for Josef Hoffmann’s famous Kurhaus at the Purkersdorf Sanatorium located on the outskirts of Vienna. Despite Luksch’s affiliation with one of central Europe’s most progressive buildings of the time and his early involvement with the Viennese Workshops, these ceramics have been virtually written out of the history of Viennese modernism. This essay strives to reinsert Luksch’s figures into this history by offering a new interpretation that contextualizes them as powerful articulations of a new type of femininity anchored in contemporary discourses on nerves and gender, namely, that of the femme fragile.

From Ribbon to Wrist Shot: An Autoenthnography of (A)Typical Feminine Sport Development

This paper uses autoethnography to analyze theories and issues pertaining to gender and sport in an attempt to understand the first author’s experiences in both a conventionally feminine sport (rhythmic gymnastics) as well as a conventionally masculine sport (ice hockey). This analysis highlights the dissonance between her personal experiences and what theory says she should have experienced. In particular, Foucault’s concept of constraints as both inhibiting and enabling is applied to analyze the higher value that is apparently placed on masculine skills and the assumption of a standard male-sport experience.