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From Mean Girl to BFF, Girlfriends and Postfeminist Sisterhood explores female sociality in postfeminist popular culture. Focusing on a range of media forms, Alison Winch reveals how women are increasingly encouraged to strategically bond by controlling each other's body image through 'the girlfriend gaze'.
This book interrogates the significance of the revival and reformulation of the romance genre in the postmillennial period. Emma Roche examines how six popular novels, published between 2005 and 2015 (Twilight, Fifty Shades of Grey, Gone Girl, Sharp Objects and The Girl on the Train), reanimate and modify recognisable tropes from the romance genre to reflect a neoliberal and postfeminist cultural climate. As such, Roche argues, these novels function as crucial spaces for interrogating and challenging those contemporary gender ideologies. Throughout the book, Roche addresses and critiques several key attributes of neoliberal postfeminism, including a pervasive emphasis on individualism and personal responsibility; an insistent requirement for self-monitoring, self-surveillance, and bodywork; the celebration of consumerism and its associated pleasures; the prescription of mandatory optimism and suppressing one’s ‘negative’ emotions; and the endorsement of choice as a primary marker of women’s empowerment. While much critical attention has been devoted to those attributes and their pernicious effects, Roche argues that one crucial repercussion has been largely overlooked in contemporary cultural criticism: how these ideologies function together to effectively sanction gender-based violence. Thus, Roche exploits textual analysis to demonstrate the subtle ways in which neoliberal postfeminism can augment women’s vulnerability to male violence.
In all periods of time, there is a perceived shortage of qualified, credible, and robust leadership skills. At the same time, what is regarded as skilled leadership is contingent on economic, political, institutional, and cultural conditions specific for a period of time or a local setting. Leadership in the era of managerial capitalism was focused on planning and administration, and was seated in large-scale, divisionalized corporations. In the 1970s, this economic model started to wane and leadership was advanced as the solution to a series of economic and social concerns, now being a matter of meaning-making in the face of uncertainty and ambiguity. With the expansion of the finance industry and the deregulation of finance markets in the 1990s and in the new millennium, yet another leadership model increasingly prioritized economic value creation. In parallel to the economic, political and institutional changes, the idea of leadership has been strongly informed by new ideas about individualism and masculinity, adding to the understanding of leadership as what is anchored in widespread social beliefs about for example healthy life styles, the virtues of physical exercise, and novel gender relations. Aimed at scholars, researchers, students and policy makers in the fields of Leadership, Management History and Organizational Theory; Leadership Varieties examines predominant ideas about the qualities and virtues of leadership in a historical and cultural perspective.
This volume is intended for all readers with an interest in film, media, and gender studies.
Intersectional Humanism and Star Trek: Discovery focuses on the shift from the liberal humanism of the Star Trek franchise to the intersectional humanism of Star Trek: Discovery. Featuring a great deal of diversity both in front of and behind the camera, Discovery affirms the guiding principle of the franchise: infinite diversity in infinite combinations. Arguing that the focus of Discovery is a connection between a variety of beings and ways of being in the world, the author analyzes the relationships among humanoids and machines, animals, and between each other as well as the representation of trauma in the series. The author finds that, while there are reversions to some of the more problematic elements of liberal humanism over the course of the series, ultimately it forms connections that will progress humanity and deepen our relationship to each other and the world around us.
With the chick flick arguably in decline, film scholars may well ask: what has become of the woman’s film? Little attention has been paid to the proliferation of films, often from the independent sector, that do not sit comfortably in either the category of popular culture or that of high art––films that are perhaps the corollary of the middle-brow novel, or "smart-chick flicks". This book seeks to fill this void by focusing on the steady stream of films about and for women that emerge out of independent American and European cinema, and that are designed to address an international female audience. The new woman's film as a genre includes narratives with strong ties to the woman’s film of classical Hollywood while constituting a new distinctive cycle of female-centered films that in many ways continue the project of second-wave feminism, albeit in a modified form. Topics addressed include: The Bridges of Madison County (Clint Eastwood, 1995); the feature-length films of Nicole Holofcener, 1996-2013; the film roles of Tilda Swinton; Rachel Getting Married (Jonathan Demme, 2008); Blue Jasmine (Woody Allen, 2013); Frances Ha (Noah Baumbach, 2012), Belle (Amma Asante, 2013), Fifty Shades of Grey (Sam Taylor-Johnson, 2015) and Jane Campion’s Top of the Lake (Sundance Channel, 2013-).
Popular culture is awash with discussions about the difficulties associated with being a man. Television talk shows, media articles and government press releases discuss not simply the problem of men, but have more recently focused on the problems of being a man. The Conundrum of Masculinity challenges highly advertised beliefs that men are in crisis and struggling to hold onto traditional masculine habits whilst the world around them changes. Indeed, whilst there is a range of valuable contributions to the field that examine how men live out their lives in different contexts, there are few accounts that examine in detail the building blocks of masculinity or how men are really ‘put together’. Thus, this innovative and timely volume seeks to provide a systematic exploration of the different aspects of masculinity – in particular hegemony, homosociality, homophobia and heteronormativity. An original approach to the field of masculinity studies, this book ultimately presents a critical synthesis that brings together disparate approaches to provide a clear and concise discussion to address the true nature of masculinity. The Conundrum of Masculinity will appeal to undergraduate and postgraduate students interested in fields such as Gender Studies, Masculinity Studies and Sociology.
The Routledge International Handbook of Masculinity Studies provides a contemporary critical and scholarly overview of theorizing and research on masculinities as well as emerging ideas and areas of study that are likely to shape research and understanding of gender and men in the future. The forty-eight chapters of the handbook take an interdisciplinary approach to a range of topics on men and masculinities related to identity, sex, sexuality, culture, aesthetics, technology and pressing social issues. The handbook’s transnational lens acknowledges both the localities and global character of masculinity. A clear message in the book is the need for intersectional theorizing in dialogue with feminist, queer and sexuality studies in making sense of men and masculinities. Written in a clear and direct style, the handbook will appeal to students, teachers and researchers in the social sciences and humanities, as well as professionals, practitioners and activists.
This volume addresses the growing obsolescence of traditional constructions of masculine identity in popular romantic comedies by proposing an approach that combines gender and genre theory to examine the ongoing radical reconstruction of gender roles in these films. Alberti creates a unified theory of gender role change in the movies that combines the insights of both poststructuralist gender and narrative genre theory, avoiding binary approaches to the study of gender representation. He establishes the current "crises" in both gender representation and genre development within romantic comedies as examples of experimentation and change towards narratives that feature more egalitarian and less essentialist constructions of gender.