“Come on, […] let’s go find your inner princess”: (post-)feminist generationalism in tween fairy tales

This article draws attention to the expansion of tween popular culture at the beginning of the twenty-first century, and in particular tween fairy tale films. It has two aims: first, to demonstrate how tween popular culture mediates feminism’s history; and second, to highlight the continued relevance of the terms “post-feminism” and “neoliberalism” at a time when confidence in their use is waning in feminist media studies. Importantly, it looks carefully at the relationship between these two discourses, and reveals that the figure of the tween princess emerges at the intersections of the two. By interrogating the dialogue between the onscreen maternal generations of feminism, represented in the female characters of teen princess, mother, step-mother, and grandmother/fairy godmother, this article reveals that the fairy tale narrative and the figure of the princess are employed to straightforwardly present feminism’s complicated history, and to put forward a post-feminist identity as the only “authentic” choice in this reflexive construction of a feminine self. The princesses are presented as neoliberal icons of post-feminist culture, representing the self as project.     

家庭变迁、家庭政策演进与中国家庭政策构建

从中国家庭变迁和中国家庭政策演进两个方面,以西方发达国家和中国为视角,对中国自20世纪80年代起至今30多年来家庭政策研究进行梳理、总结和分析,提出构建中国家庭政策的建议。中国家庭呈现出核心、主干、联合家庭此消彼长、波动往复的变迁特点,“家本位”价值观占主导地位;同时中国现有家庭政策体现出概念范围宽泛、目标指向含蓄、补救型模式的三大主要特征,也表现出“家庭主义”、“去家庭化”和两者平衡的三阶段演进历程。未来中国家庭政策的构建要围绕中国家庭的两大特点———稳健的“主干家庭”和绵延的“家本位”价值观念,以平衡的发展型家庭政策为取向,向政策概念范围精准、目标指向明确、系统普惠型模式的方向发展。     

Fat Monica,Fat Suits,and Friends

This paper examines narratives about fatness that are represented and reproduced by the character of “Fat Monica” played by Courteney Cox in a fat suit on the sitcom Friends. By drawing on David T. Mitchell's framework for analyzing “narrative prosthesis,” I examine how Fat Monica's narratives on Friends represent complex intersections of identities. I argue that fat suits often evoke fatness to support limited and clichéd narratives; however, fat suits may also enable new means of representing and understanding fatness. Through an analysis of the ways in which Fat Monica is represented in the episodes she appears in, three key uses of Fat Monica's fatness are discussed. Firstly, I examine the comic uses of Fat Monica and their relationship between fatness and humour. Next, I examine how Fat Monica storylines represent interlocking narratives of fatness, femininity, and sexual desire. Lastly, I consider how Fat Monica represents the construction of the normative body and claims about fatness and authenticity. Ultimately, Fat Monica illustrates how fatness relates to understandings of humour, gender, social class, and heterosexuality.     

The Shape of South African Society and its Challenges

South Africa's negotiated settlement and its transition to democracy reads like a modern fairy tale. A brief review of South Africa's social indicators serves to temper some of optimism about the country's future. The indicators reflect the society's quality of life which has been shaped by its turbulent history. Political “caste formation”, changing political alliances, the reforms intended to forestall the demise of apartheid, and the race for global competitiveness have left indelible marks on the society's social indicators. A comparison of living conditions in South Africa with those of roughly comparable economies indicates that the country lags behind in securing overall and widespread socio-economic upgrading of the population at large. A review of a cross-section of South African indicators and their trends over time shows that South Africa is still a very deeply divided society with a very large backlog in socio-economic development. There is evidence of breakdown in the society's social cohesion. Popular expectations of future quality of life indicate that the euphoria following on the first democratic elections has been replaced by a sense of realism among all sectors of the population. It is concluded that quality of life as reflected in South Africa's social indicators may get worse before it improves. The challenge will be to avoid new forms of economic “apartheid” which would depress the quality of life of marginal sectors of the population at the expense of the economically privileged.     

Lesbians Bait the Military

This article analyzes the racial and sexual politics of the “don't ask, don't tell” storyline on Showtime's series The L Word. It situates The L Word within a political economy of media industry and policy advocacy organizations to argue that the show participated in a form of “policy-tainment” by producing critique of both existing government policies and the role of racial representations in oppositional political strategies, and finally exercising influence in policy networks.     

Pop,Porn, and Rebellious Speech

In Excitable Speech, Judith Butler contends that rebellious speech constitutes a “risk taken in response to being put at risk, a repetition in language that forces change.” With this in mind, this article examines the politics of employing and altering the language and imagery of “porn” in texts and multi-media performances of (post-)feminist (pop-)artists. The discussions about Elfriede Jelinek's novel Lust in the early 1990s exemplify the difficulties associated with transforming the language of pornography into rebellious feminist speech. The text received extensive media attention, but most critics felt ambivalent about Jelinek's attempt to create artificial, repetitious, pornographic speech and questioned the text's ability to foster any kind of “change.” At the beginning of the twenty-first century, the multi-media performances of Charlotte Roche and Reyhan Sahin aka Lady Bitch Ray again triggered discussions about feminism, pornography, body politics, and sexual expression. Their provocative pop-performances use multiple media outlets, TV, music, and electronic media. They are commercially successful and mainstream media understand them as challenging social conventions. This essay critically examines the politics of Jelinek's, Roche's, and Sahin's texts and performances and contextualizes the politics of their rebellious speech within discussions about social roles, gender, and sexuality.     

Television And The Domestication Of Cosmetic Surgery

An exploration of the discursive production of cosmetic surgery on the television shows Extreme Makeover and Nip/Tuck illustrates that these programmes contribute to and reflect the processes through which cosmetic surgery has become domesticated within increasingly globalised contexts. I demonstrate that across a range of cultural sites, including some feminist scholarship, the press, and surgical television, post-feminist frames have displaced feminist frames for comprehending cosmetic surgery, enabling the culture's surgical turn. Feminist attention to risk, oppressive standards for appearance, and the cultural and discursive location of suffering around the deviant body is displaced by the post-feminist celebration of physical transformation as the route to happiness and personal empowerment. It is this logic that is played out through Extreme Makeover's rendering of surgery as the solution for personal suffering and a meting out of justice to the “moral” individual. Extreme Makeover explicitly domesticates cosmetic surgery by publicising its benefits and undoing the former imperative to hide surgery rather than be viewed as “inauthentic.” As a corollary, the show promotes a system of visual eugenics where “unaesthetic” raced and gendered facial and bodily features are erased. Nip/Tuck gestures toward feminist responses to surgical culture through making its violent interventions into the body explicit, by including a feminist character, and through incorporating plot lines which critique the narcissism and gendered cruelty of surgical appearance work. However, these gestures serve as dramatic devices, the political potential of which is curtailed by the requirements of the melodrama to favour sensational story arcs and to retain a degree of sympathy for the surgeon leads. Thus, both shows contribute to a post-feminist mediascape which renders the inevitability of the culture's surgical turn, providing limited frames for viewers negotiating their own responses to the meanings of cosmetic surgery.     

John Weyland on Encouragements to Population Increase

Modern worries about the economic and social consequences of low fertility and eventual population decline have led to numerous proposals for subsidy arrangements aimed in effect at “buying” healthy and potentially productive children. The most innocuous of such schemes, typically with welfare rather than population goals in mind, is the institution of the family wage—paying labor based on family size. The passage reproduced below, from John Weyland's Principles of Population and Production (1816), offers an early instance of such a scheme being argued for on demographic grounds. Weyland's account of the “artificial” encouragement of population increase begins with an artless analogy to managing a stud‐farm, but the stance is mercantilist rather than totalitarian and is leavened by a strong concern for the health and morals of the future citizens. That the state might wish to raise its population growth was of course contrary to Malthusian doctrine. The long and contentious debates on Britain's Poor Laws gave more prominence to the opposite goal: that of preventing births that threatened to become a charge on the community. Weyland, however, asserted that the tendency of population was to “keep within the powers of the soil to afford it subsistence.” A prior population increase (to a level “just beyond the plentiful supply of the people's want”) was a necessary stimulant to productivity—indeed, was “the cause of all public happiness, industry, and prosperity.” (Modern versions of this view are found in the writings of Ester Boserup and Julian Simon.) Moreover, he argued, with urbanization came an inevitable fall‐off in population growth—reaching “a point of non‐reproduction” when around a third of the population lived in towns. Malthus responded to Weyland in an appendix to the fifth (1817) edition of the Essay: Weyland's premise, he wrote, is “just as rational as to infer that every man has a natural tendency to remain in prison who is necessarily confined to it by four strong walls.” Weyland's book as a whole he dismissed in unusually intemperate terms: “It is quite inconceivable how a man of sense could bewilder himself in such a maze of futile calculations, and come to conclusions so diametrically opposite to experience.” More concisely, and specifically on the subject of the extract below, an entry in the Essay's highly distinctive index reads “Encouragements, direct, to population, futile and absurd.” John Weyland (1774–1854) was an English rural magistrate of independent means. He took an active part in the Poor Law debates of the early nineteenth century, arguing for payments under them to include child allowances. The full title of his major work is: The Principles of Population and Production as they are affected by the Progress of Society with a View to Moral and Political Consequences (London, 1816). There are modern reprints by A. M. Kelley and Routledge/Thoemmes Press. The excerpt is from pp. 167–175.     

Chicks,Dicks, and Contradictions

This essay examines Playgirl as a rich, yet overlooked, archive in the history of American pornography. Although the magazine often is dismissed as the token attempt of a masculinist industry to equalize its representational politics, I argue instead that a significant synergy exists between Playgirl and entwined debates over pornography, gender, and commercialized sexuality in 1970s America. Employing established conventions of the women's magazine, Playgirl utilized that form toward granting women access to explicit images. Yet given its “better lifestyling” advice on how the sexually liberated woman might find empowerment by viewing male nudes, Playgirl's reluctance to display full-frontal nudity until the midpoint of its first year fashioned an initially compromised aesthetic. Not only were women interpolated as untutored viewers within this regime of genital obstruction, but models also were all but emasculated. Consequently, the degree of male exposure that could be handled by both viewers and models was questioned, critiqued, and debated across Playgirl's letters to the editor section, aptly entitled “In-ter-course.” As an artifact of sexual media history, Playgirl is invaluable because readers are able to trace throughout its pages the ways in which changing tides of gendered power began to problematize pornography's routine dichotomy between masculine subjectivity and female objectification.     

Television crime series,women police,and fuddy-duddy feminism

This essay argues that Prime Suspect has become a canonical text for feminist television studies and that Helen Mirren's performance of Lynda La Plante's creation has provided an influential template for television, and the broader culture, to imagine what a senior female police officer is like. So Jane Tennison is important not only within the depicted world of the “canteen culture” of the police in Prime Suspect, but also within the broader context of television production where she has demonstrated that crime shows with female leads can be extremely successful. Juxtaposing Prime Suspect with two later “girly” British TV police series, I ask how we might approach the “daughters of Jane Tennison” found in series such as Ghost Squad (2005) and Murder in Suburbia (2004–2006). Are these “postfeminist” shows? I argue that attention to these programmes can productively inform our understanding of what is entailed for women in not being “fuddy-duddy,” and my comments thus engage, in the continuing debate about the utility and periodisation of the notion of “postfeminism.”     

Preposterous Histories

This article explores maternal desire, loss, and control by reading Carolee Schneemann's performance Interior Scroll (1975) through Tracey Emin's photographic print I've Got It All (2000). More specifically, I consider Schneemann's work on the energy of female sexuality and maternal desire through Emin's recurrent visualizations of sexuality and maternal loss. The artists' refusal to disengage with the commodified (dis)pleasures of femininity leads me to consider the differently contextualized handling of these issues in each artwork. I explore the mediation of the body of each artist by positioning Emin's work as a “source” for my reading of Schneemann's performance. Invoking the notion of “preposterous history” (Bal 1999), I argue that the concepts of the “live” and the “mediated” are differently intensified by operating outside of the constraints of chronology. Hence the inter-generational dialogue between these particular female artists, whose work has been produced at different historical moments, is itself generative of thoughts and ideas that are irreducible to the individual works.     

Patterns of residential segregation within a metropolitan ghetto

The residential segregation of families by income and by stage of the family life cycle within Milwaukee’s black community resembles in both pattern and degree that in the white community. The greater the difference in income, the more dissimilar are the distributions by census tract. Dissimilarity is greater between younger couples without children and older couples with children than between any other pair of family types defined by husband’s age and presence of children. However, segregation by income was substantially greater than by family type in 1960. The bases of selectivity of blacks in“changing” areas of the city, where the proportion black is still relatively low, and of whites in the“suburban” areas adjoining the city are similar. Families in the higher income groups and couples with children are over-represented in these areas. It would appear that given the pressures of limited housing space in the inner core of the black community, given the fact that certain amenities are not available in that area, and given the economic and social barriers which restrict the movement of blacks into the suburbs, the changing areas must function as“suburbs” for the black community.     

“Your a Ugly,Whorish, Slut”

In recent years, the mainstream media has identified on-line vitriol as a worsening problem which is silencing women in public discourse, and is having a deleterious effect on the civility of the public cybersphere. This article examines the disconnect between representations of “e-bile” in media texts, and representations of e-bile in academic literature. An exhaustive review of thirty years of academic work on “flaming” shows that many theorists have routinely trivialized the experiences of flame targets, while downplaying, defending, and/or celebrating the discourse circulated by flame producers. Much contemporary scholarship, meanwhile, ignores e-bile completely. My argument is that this constitutes a form of chauvinism (in that it disregards women's experiences in on-line environments) and represents a failure of both theoretical acuity and nerve (given that it evades such a pervasive aspect of contemporary culture). The aim of this paper is not only to help establish the importance of on-line vitriol as a topic for interdisciplinary scholarly research, but to assist in establishing a theoretical problematic where what is seen is barely regarded as a problem. Overall, my argument is that—far from being a technology-related moral panic—e-bile constitutes a field of inquiry with a pressing need for recalibrated scholarly intervention.     

Recycling Judy and Corliss

This article analyzes the racial and sexual politics of the domestic sitcom Gimme a Break (NBC, 1981–1987). Gimme a Break starred black actress and singer Nell Carter as “Nell,” a former nightclub singer who was now the lascivious caretaker of a white family. As a single woman living with a single (widowed) white man and his children, the show's use of sexual humor clashed with its refusal to breach the interracial sex taboo. This article argues that Gimme a Break relied upon the delightful difference signified by Nell's black sass and sexuality, but labored to contain it. Part of this strategy was imbedded in Carter's grotesque body; its fat blackness was accorded hypersexuality through its link to the black blues tradition and aberrant black sexuality, but was also deemed unappealing, and therefore “safe,” within a white context. Another important strategy was to repeatedly deny that Nell and the white father were attracted to each other. However, the gags and storylines meant to disavow this attraction also had to first invoke it. The result of these contradictions and negotiations was that as long as the white father was present on the show, Nell's sexuality was potentially disruptive.     

J. R. Hicks on the Economics of Population

Sir John Hicks (1904–89), professor of political economy at Oxford University from 1952 to 1965, was one of the foremost economists of his time, making notable contributions to the theory of wages, general equilibrium theory, and welfare economics. He received (jointly with Kenneth Arrow) the 1972 Nobel prize in economics. Value and Capital (1939), his best-known book, is held as a classic; his 1937 exegesis of Keynes's General Theory has long been a staple of undergraduate economics. Population does not figure appreciably in his writings, although an almost offhand footnote attached to the concluding paragraph of Value and Capital suggests that it could have: “[0]ne cannot repress the thought that perhaps the whole Industrial Revolution of the last two hundred years has been nothing else but a vast secular boom, largely induced by the unparalleled rise in population.” (He added: “If this is so, it would help to explain why, as the wisest hold, it has been such a disappointing episode in human history.”) In his late work, A Theory of Economic History (1969), however, the principal driving force in economic development is depicted as the expansion of markets. A sustained discussion of the topic of population by Hicks is contained in one of his earlier books. The Social Framework: An Introduction to Economics (Oxford University Press, 1942). Chapters 4 and 5 of this book treat “Population and Its History” and “The Economics of Population”; one of the appendixes is “On the Idea of an Optimum Population.” Chapter 5 and this appendix are reprinted below. The Social Framework was written as an introductory text, although its lucid style characterized all of Hicks's work. It covered both theory and applications with particular attention to the then novel subject of national accounting. Hicks described the book as “economic anatomy” in contrast to the “economic physiology” of how the economy works. Chapter 5 gives equal attention to under- and overpopulation, both seen as posing dangers. The Preface to the 1971 (fourth) edition of The Social Framework notes that the population and labor force chapters “have been rather substantially altered—to take account of the curious things that have happened in these fields (which one might have expected to be slow moving).” In 1971 he is more cautious than in 1942 about suggesting that slowing population growth might have been a factor in the 1930s depression, and readier to admit of countries where “a continuing rise in population, even while there is some continuing agricultural improvement, is likely to lead in the end to unemployment and destitution.” The appendix on optimum population was retained through all editions.     

25 Years On: The State and Continuing Development of LGBTQ Studies Programs

ABSTRACT

This article serves as the introduction to “25 Years On: The State and Continuing Development of LGBTQ Studies Programs.” It begins by placing the current issue in a commemorative context: marking the anniversary of a 1993 special issue of the Journal of Homosexuality dedicated to the emergence of “Gay and Lesbian Studies” and edited by Howard L. Minton. The introduction continues by providing an overview of early phases of academic transformations, primarily in the United States, with notes on particular legacies. This is followed by a brief survey of scholarship published since 1993 that pays particular attention to curricular and pedagogical concerns. It concludes by identifying themes articulated by the essays selected for this issue as well as commentary on their individual, yet richly interrelated, contributions.     

Indigenizing girl power

This article considers the intersection of girlhood, agency, and indigenousness through a reading of the internationally renowned film Whale Rider. I suggest that Whale Rider presents a double project that resymbolizes girlhood as it also produces a “decolonizing of the screen.” On the one hand the film resonates with what emerged in the 1990s as the assertion of “girl power” and the notion of a new, active, powerful and agentic femininity. On the other hand, the film mobilizes a re-articulation of these discourses of “new femininities” by “indigenizing the image” of the empowered girl.     

Charles Henry Pearson on the Decline of the Family

A common observation and frequent lament about family change in contemporary societies is of the shift of childraising responsibilities from parents to the state. This shift (and what might be done to reverse it) was a theme, for example, of James S. Coleman's 1992 presidential address to the American Sociological Association. In the new circumstances, said Coleman, “carrying the family's honor into the future is less important”; in many families adolescent children “are abandoned psychologically and socially.” The state, however, still has “strong interests in maximizing a child's value to society, or minimizing its cost.” A century before Coleman, Charles Henry Pearson, in the passage reproduced below from his book National Life and Character: A Forecast (1893), wrote of the decline of the family in quite similar terms. He argued that state intervention was undertaken only reluctantly, a byproduct of changes in conjugal relations from arranged marriages to “marriages of inclination,” along with easier divorce, and consequent lessening of parental interest in the family line. The state, almost by default, needed to assert the public interest in the raising of children, even though its measures, notably compulsory education, further eroded parents' rights over their children and children's sense of duty and obligation to their parents. While Pearson mostly welcomed the gender equity and individualism he saw emerging, he regretted their effect on the family—on what he termed (metaphorically) “the religion of household life.” His prescient forecast was of “a state of things in which marriages will be contracted without reflection, and broken up without scruple, in which children will be cared for when they are young with, it may be, even more tenderness than of old, but with incomparably less anxiety to fit them for the moral obligations of life, and in which the claim of parents to be obeyed will cease with the children's need of support.” His conclusion: “Family life will be a gracious and decorative incident in the system of such a society; but the family, as a constituent part of the State, as the matrix in which character is moulded, will lose its importance as the clan and the city have done.” Charles Henry Pearson (1830–94) was a British historian who had a second career as an educationist and politician in the colony of Victoria in pre‐Federation Australia. Educated in London and Oxford, he was appointed professor of modern history at King's College, London. His early work included travel writings and a well‐received History of England during the Early and Middle Ages (1867). When his academic career stalled (partly because of very poor eyesight) he emigrated to Australia, where he became closely involved with educational issues. He was elected to the Victorian legislature and was for a time minister of education, able to put into practice his firm views favoring secular education. (See his remark below that Church‐run schools “have generally been strong enough to exclude competition, [but] not rich or enlightened enough to use their monopoly well.”) In 1892 he returned to England, and the following year published National Life and Character. This work, widely read and praised at the time, went through several editions over the next two decades. It essayed forecasts in various domains of society and politics, including a prediction (couched in elitist language) of the passing of the ascendancy of European peoples as other nations grew in numbers and strength (“We shall awake to find ourselves elbowed and hustled, and perhaps even thrust aside,…”). The excerpt is from pages 261–270 of Chapter 5, “The Decline of the Family,” in National Life and Character: A Forecast (London: Macmillan and Co., 1893).     

The precision of population projections studied by multiple prediction methods

A population projection is a prediction of a random vector variable X _T . which represents the size and age/sex distribution of the population in year T. The population is assumed to be closed and to develop according to fixed and known schedules of birth and death probabilities as a multitype branching process. The precision of the usual projection e _T (= EX _T) is studied by a family of prediction intervals of linear functions of the vector of deviations X _T — e _T , which has a preassigned probability level. This family is obtained by a multi-normal approximation and an argument similar to the one leading to Scheffé's method of multiple comparison. From the family of prediction intervals, an upper limit of the total absolute deviation Σ |X _iT ? e _it | is obtained, and the ratio of this limit to the projected total population is proposed as a measure of the relative precision of the projection. For a numerical study, Norwegian population data is used.