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Journal articles on the topic 'Femininity'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Chertian, Vivian Graciela. "Villainess Protagonists’ Performative Acts as the Representation of Modern Femininity." Lingua Cultura 16, no. 2 (May 10, 2023): 133–40. http://dx.doi.org/10.21512/lc.v16i2.8375.

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The research discussed a different representations of femininity through the villainesses and heroines in two Korean webtoons (web cartoons). Traditionally, villainesses were depicted as undesirable antagonists as they did not fit into the frame of traditional femininity or were merely viewed as sexually attractive. However, the traditional aspects of femininity were now contested by the villainess protagonists. Utilizing Butler’s theory of gender performativity along with Kress and van Leeuwen’s visual analysis, the protagonists’ and antagonists’ thoughts, actions, and appearance were analyzed. A descriptive qualitative analysis was conducted on two webtoons, The Villainess Reverses the Hourglass, and It Looks Like I’ve Fallen into the World of a Reverse Harem Game. The studied data are selected from chapters 1-45 in each webtoon. The results show that the villainess protagonists are depicted as more independent, have more power, and occasionally dress in a masculine way, while the heroines-turned-antagonists are illustrated as a dependent, lack power, and always dressed femininely. In this case, the heroines-turned-antagonists’ traits represent Korea’s traditional notion of femininity. Meanwhile, the villainess protagonists possess traits opposing the heroines’ traits. Positioning the villainesses as protagonists and heroines as antagonists show a clash of modern vs. traditional notion of femininity, and putting the ‘villainesses’ as the desirable protagonists imply how their representation of femininity is considered more favorable in the modern context.

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2

Bergeron, Danielle. "Femininity." American Journal of Semiotics 8, no. 4 (1991): 5–15. http://dx.doi.org/10.5840/ajs1991842.

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3

Richardson, Laurel, and Susan Brownmiller. "Femininity." Contemporary Sociology 14, no. 1 (January 1985): 80. http://dx.doi.org/10.2307/2070451.

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4

Musser, Amber Jamilla. "Femininity." differences 34, no. 1 (May 1, 2023): 113–18. http://dx.doi.org/10.1215/10407391-10435632.

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Written in 1987 in response to the aids emergency unfolding in the United States, Leo Bersani’s “Is the Rectum a Grave?” is often described as an early entry into the strain of queer theory that offers queerness as tarrying in abjection, failure, and antisociality. This essay, however, is much more interested in thinking about the ways Bersani mobilizes connections to femininity in “Is the Rectum a Grave?” As Bersani moves from “women and gay men” to “average, law-abiding family” to “being a woman,” femininity haunts, each of these individual nodes further illuminating an insight about femininity with and without women.

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5

Hvenegård-Lassen, Kirsten. "Disturbing Femininity." Culture Unbound 5, no. 2 (June 12, 2013): 153–73. http://dx.doi.org/10.3384/cu.2000.1525.135153.

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When Helle Thorning-Schmidt in 2011 became the first female Prime Minister in Denmark, this “victory for the women” was praised in highly celebratory tones in Danish newspapers. The celebration involved a paradoxical representation of gender as simultaneously irrelevant to politics and – when it comes to femininity – in need of management. Based on an analysis of the newspaper coverage of the election, I argue that highlighting gender (in)equality as either an important political issue or as something that conditions the possibilities of taking up a position as politician was evaluated as a performative speech act, i.e. an act that creates the trouble it names. Ruling out gender equality as relevant was, however, continually interrupted by comments on how Thorning-Schmidt and other female politicians perform gender in ways that fit or do not fit with “doing politician”. These com-ments tended to concern the styling of bodies and behaviour and followed well known – or sticky – gendered scripts.

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6

CURRIE, DAWN H. "DECODING FEMININITY." Gender & Society 11, no. 4 (August 1997): 453–77. http://dx.doi.org/10.1177/089124397011004005.

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7

BOSWORTH, MARY. "Confining Femininity:." Theoretical Criminology 4, no. 3 (August 2000): 265–84. http://dx.doi.org/10.1177/1362480600004003002.

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8

Bear, Julia B., and Linda Babcock. "Negotiating Femininity." Psychology of Women Quarterly 41, no. 2 (December 21, 2016): 163–74. http://dx.doi.org/10.1177/0361684316679652.

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According to gender role congruity theory, women, compared to men, underperform in masculine negotiations because these negotiations are incongruent with women’s gender role. Based on this framework, we developed two gender-relevant primes—a masculine-supplement prime and a feminine-complement prime—that address role incongruity and should improve women’s economic performance by either supplementing masculinity or complementing femininity. In Study 1, physicians ( N = 78; 50% women) in an executive education program engaged in a masculine-supplement prime, which involved recalling agentic behavior; in Study 2, undergraduate students ( N = 112; 50% women) completed a feminine-complement prime, which involved imagining negotiating for a friend. In Study 3, a community sample ( N = 996; 46% women) completed an online experiment with the primes. Results from the three studies showed that these primes improved women’s economic performance and eliminated the gender gap in negotiation. Perception of fit partially explained the efficacy of the masculine-supplement prime for women, though not the feminine-complement prime. We build on past research concerning situational moderators by investigating gender role congruity from an intrapsychic perspective. We also make a practical contribution; these primes can be used by women to improve economic performance in gender role incongruent negotiations. Online slides for instructors who want to use this article for teaching are available on PWQ's website at http://journals.sagepub.com/page/pwq/suppl/index .

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9

Giles, Judy. "Radical femininity." Women's History Review 8, no. 4 (December 1, 1999): 737–62. http://dx.doi.org/10.1080/09612029900200457.

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10

Gray, Ann. "Enterprising Femininity." European Journal of Cultural Studies 6, no. 4 (November 2003): 489–506. http://dx.doi.org/10.1177/13675494030064003.

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11

Velding, Victoria. "Depicting Femininity." Youth & Society 49, no. 4 (August 1, 2016): 505–27. http://dx.doi.org/10.1177/0044118x14542575.

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Femininity is learned from a myriad of social agents and institutions. An avid consumer of media, today’s pre-adolescent girl, or “tween,” is inundated with messages about how to be a socially acceptable female. What is the nature of these messages tweens are receiving about femininity? Are tween girls in today’s society encouraged to adhere to traditional notions of femininity or are they encouraged to resist these norms? To answer these questions, I performed a content analysis of all advertisements found in Girls’ Life, a magazine whose target audience is the tween girl. Textual and pictorial coding took place for all advertisements in all issues for the years 2007 and 2008. Results revealed the presence of conflicting messages about femininity through the emergence of four themes: female togetherness, focus on appearance, independence, and control. The magazine presents a contradictory version of femininity, one that encourages the adherence to normative prescriptions of femininity while simultaneously encouraging resistance to these norms.

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12

Moi, Toril. "Femininity revisited." Journal of Gender Studies 1, no. 3 (May 1992): 324–34. http://dx.doi.org/10.1080/09589236.1992.9960503.

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13

Calafell, Bernadette Marie. "Monstrous Femininity." Journal of Communication Inquiry 36, no. 2 (April 2012): 111–30. http://dx.doi.org/10.1177/0196859912443382.

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14

Soley-Beltran, Patrícia. "Modelling Femininity." European Journal of Women's Studies 11, no. 3 (August 2004): 309–26. http://dx.doi.org/10.1177/1350506804044465.

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15

Siddique, Md Hasinur. "Docile Femininity:." Crossings: A Journal of English Studies 12 (September 1, 2021): 161–73. http://dx.doi.org/10.59817/cjes.v12i.35.

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Construction of fat bodies in young adult (YA) literature comes up with the interception of cultural negotiation and empowerment of fat female identity. This paper studies the apparatuses that subdue fat bodies in YA novels, examining the fictions published between 2007 and 2019 where fat teens are the protagonists. The study offers a critical reading on eight such novels – Holding up the Universe; The Upside of Unrequited; Puddin’; Skinny; If a Tree Falls at Lunch Period; By The Time You Read This, I’ll Be Dead; There’s Something about Sweetie; Fat Angie – and examines individual and social treatments of fat female bodies in association with sexuality, food, and body surveillance. The analysis highlights normative filters that allocate a separate set of ideas regarding the personal relationships of the large physiques. While their eating habits pass through abusive stereotyped filters, the protagonists fall victims to frequent scrutiny from others and surrender to self-surveillance. The paper reveals that even a surge of fat positive fictions could strengthen weight bias if the texts continue to fill up stories with mere descriptions of the characters’ struggle against existing cultural frameworks.

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16

Zulkarnain, Jaka Ahmad, and Wiyatmi. "Dekonstruksi Femininitas dalam Novel-novel Karya Eka Kurniawan: Dari Pekerjaan Sampai Kecantikan." Poetika 6, no. 2 (December 31, 2018): 109. http://dx.doi.org/10.22146/poetika.v6i2.40188.

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One of the stereotypes of gender is femininity in which it is closely related to women. Femininity with passive characteristic is constructed to limit their moves. In Eka Kurniawan’s novels, the femininity is unstable. It brings an assumption that he is conducting the femininity deconstruction. This research is aimed to find out and to explain the femininity deconstruction in Eka Kurniawan’s novels. Three Eka Kurniawan’s novels were chosen as the data source of this research, they were Cantik Itu Luka, Lelaki Harimau, and Seperti Dendam, Rindu Harus Dibayar Tuntas. This research used critical discourse analysis method with post-modern feminism approach. There are seven forms of femininity deconstructions in Eka Kurniawan’s novels such as feminine jobs, feminine images, feminine habits, feminine symbols, feminine principles, feminine desire, and beauty. Femininity deconstruction shows that femininity has strengths and weaknesses. Femininity is conveyed and practiced either by men and women characters in his novels. Through femininity deconstruction, Eka Kurniawan draws images of how femininity is being deconstructed and how the characters in his novels questioning, rejecting, and or making use of femininity.

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17

Enderstein, Athena-Maria. "(Not) just a girl: Reworking femininity through women’s leadership in Europe." European Journal of Women's Studies 25, no. 3 (March 28, 2018): 325–40. http://dx.doi.org/10.1177/1350506818765029.

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This article applies a critical femininities perspective to the concept of women’s leadership, interrogating the market-oriented instrumentalization of femininity. The author presents empirical research consisting of in-depth interviews conducted with young women leaders in European student organizations. These participants juggle complicity and subversion as they negotiate the divergent expectations of femininity and leadership through interpersonal interactions and sociocultural positionalities. In these narratives the themes of social responsibility, difference, femininity, culture and embodiment are interlaced. The analysis of findings complicates monolithic interpretations of femininity by evidencing intra-categorical fracturing, multiplicity in locations and manifestations of femininities, conflicting attachments and affective relations to femininity, and broader geopolitical contextualization. This theoretically and practically challenges tropes of hegemonic femininity, and presents opportunities for resistance. On this basis the author argues for countering the feminist trouble of engaging with non-transgressive femininity from within strongly normative spaces in the development of critical femininity studies.

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18

YAGI, YASUKI. "Masculinity versus Femininity." JAPANESE JOURNAL OF EXPERIMENTAL SOCIAL PSYCHOLOGY 32, no. 2 (1992): 145–59. http://dx.doi.org/10.2130/jjesp.32.145.

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19

Evans, Caroline, and Minna Thornton. "Fashion, Representation, Femininity." Feminist Review, no. 38 (1991): 48. http://dx.doi.org/10.2307/1395377.

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20

Scholz, Sally J. "Femininity and Domination." Radical Philosophy Review of Books 7, no. 7 (1993): 5–8. http://dx.doi.org/10.5840/radphilrevbooks199376.

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21

Berger, Joseph. "Book Review: Femininity." Canadian Journal of Psychiatry 30, no. 6 (October 1985): 451–53. http://dx.doi.org/10.1177/070674378503000619.

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22

Arden, Margaret. "Femininity Grows Up." British Journal of Psychotherapy 1, no. 3 (March 1985): 229. http://dx.doi.org/10.1111/j.1752-0118.1985.tb00910.x.

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23

Patterson, Anne. "On Freud's “Femininity”." International Journal of Psychoanalysis 94, no. 5 (October 2013): 1043–51. http://dx.doi.org/10.1111/1745-8315.12032.

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24

Green, Karen. "Femininity and transcendence." Australian Feminist Studies 4, no. 10 (December 1989): 85–96. http://dx.doi.org/10.1080/08164649.1989.9961654.

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25

Evans, Caroline, and Minna Thornton. "Fashion, Representation, Femininity." Feminist Review 38, no. 1 (July 1991): 48–66. http://dx.doi.org/10.1057/fr.1991.19.

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26

Greene, Katherine S., and Malcolm D. Gynther. "Another Femininity Scale?" Psychological Reports 75, no. 1 (August 1994): 163–70. http://dx.doi.org/10.2466/pr0.1994.75.1.163.

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The construction and validation of the Behavioral Self-report of Femininity is described. An initial sample of 32 male and 63 female undergraduates indicated the frequency of engaging in 91 “feminine” behaviors. The 59 items which showed good internal consistency as well as differentiation between genders were retained. Test-retest reliability over a 2-wk. period was .90. Convergent and discriminant validities were examined by comparing our results with those obtained from the Hyperfemininity Scale and the Personal Attributes Questionnaire. Responses of women in traditional and nontraditional majors were significantly different, indicating good within-sex validity. Finally, a principal components analysis identified six primary factors, accounting for 60% of common variance.

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27

Pfeffer, Carla A. "Food and Femininity." Contemporary Sociology: A Journal of Reviews 46, no. 4 (June 19, 2017): 412–14. http://dx.doi.org/10.1177/0094306117714500d.

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28

Walkerdine, Valerie. "Femininity as Performance." Oxford Review of Education 15, no. 3 (January 1989): 267–79. http://dx.doi.org/10.1080/0305498890150307.

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29

Fürst, Elisabeth L'orange. "Cooking and femininity." Women's Studies International Forum 20, no. 3 (May 1997): 441–49. http://dx.doi.org/10.1016/s0277-5395(97)00027-7.

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30

Mun, Soo-Hyun. "“Femininity without Feminism”." Asian Journal of Social Science 43, no. 3 (2015): 249–72. http://dx.doi.org/10.1163/15685314-04303003.

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This article contributes to the debate between the merits of the ‘politics of presence’ versus the ‘politics of ideas’ by examining the case of the first female Korean president, Park Geun-Hye. On the one hand, Park did not represent ‘the ideas’ of feminist politics. While her gender identity was widely propagated and accepted, it did not transform into deliberate identity-based politics. On the other hand, she contributed to the elevation of women’s social status through various unintended consequences, although Park’s ‘femininity without feminism’ inevitably led to the negligence of gender politics in her government. Indeed, Park’s existence, rather than her intention, stimulated the debate on the role and status of women in Korean society and enabled the rise of a number of first females in various sectors. In sum, the ‘politics of presence’ was triggered even without overt political measures.

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31

Eichner, Eduard. "Femininity—a problem(?)." American Journal of Obstetrics and Gynecology 157, no. 2 (August 1987): 517. http://dx.doi.org/10.1016/s0002-9378(87)80213-2.

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32

Poston, Larry. "Femininity Versus Feminism." American Journal of Islam and Society 18, no. 4 (October 1, 2001): 47–62. http://dx.doi.org/10.35632/ajis.v18i4.1981.

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This essay shows how the concept of womanhood undergoes atransformation in the minds of some western females who convert tothe Muslim faith. With respect to the role of women in Islam, threedifferent groups may be distinguished: “outsiders looking in,” “insiderslooking out;” and “converts to Islam looking around and back.” Withinthe f i i t category, a majority see Islam in terms of oppression andservitude, although for a smaller group the faith represents a return toall that “hearth and home” signifies. The second major groupingconsists of Muslims, many of whom find Muslim womanhood to besuperior to non-Islamic alternatives. But an increasing number seek toliberate females from “the tyranny of Islamic Law.” Those in the thirdcategory were originally “outsiders looking in,” but after a transitionalperiod become “insiders looking out.” The . female converts areoriginally attracted to a feminine ideal that is interpreted through theirown culture and experience. Becoming “insiders” brings exposure toissues of Islamic womanhood which necessitate a re-interpretationof the essence of femaleness, producing what uninitiated westernobservers might call rationalizations but which actually formapologetical replies to objections from unbelievers.

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33

Sillo, Christie. "Food and Femininity." Food, Culture & Society 20, no. 2 (April 3, 2017): 360–62. http://dx.doi.org/10.1080/15528014.2017.1310451.

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34

Wain, Carol. "Femininity in dissent." Women's Studies International Forum 15, no. 2 (January 1992): 327–28. http://dx.doi.org/10.1016/0277-5395(92)90119-g.

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35

Bergeron, Danielle. "Femininity and maternity." Topoi 12, no. 2 (September 1993): 117–25. http://dx.doi.org/10.1007/bf00821849.

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36

Hristova, Gergana Nikolova. "Masculinity and femininity." Postmodernism Problems 14, no. 1 (April 5, 2024): 116–34. http://dx.doi.org/10.46324/pmp2401116.

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The article examines the different interpretations of masculinity and femininity within the contexts of sociology, cultural studies, and psychology. In sociology, gender roles are considered to be socially constructed and variable, with feminist studies emphasizing the social construction of femininity in the context of gender inequality. In cultural studies, Hofstede views masculinity and femininity as cultural dimensions that influence societal attitudes and behavior. Overall, gender is interpreted as a complex of biological, social, and psychological aspects, which are expressed on a continuum and are often subject to social and cultural reconstruction. In psychology, these characteristics are associated with social and behavioral aspects, rather than with biological sex alone. Gender schema theory highlights that individuals can exhibit both masculine and feminine traits. Psychoanalysis introduces concepts of gender identity and the role of parents in the gender socialization of children.

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37

Fahey, Johannah. "Privileged girls: the place of femininity and femininity in place." Globalisation, Societies and Education 12, no. 2 (April 3, 2014): 228–43. http://dx.doi.org/10.1080/14767724.2014.888307.

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38

Pasaribu, Rouli Esther. "Freeter, Arafo, House Husband: Shifting Values of Hegemonic Masculinity and Emphasized Femininity in Four Japanese Television Dramas." IZUMI 9, no. 1 (May 31, 2020): 48–57. http://dx.doi.org/10.14710/izumi.9.1.48-57.

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This study examines the shifting values of masculinity and femininity in four Japanese television dramas: At Home Dad (2004), Around 40 (2008), Freeter, Buy a House (2010), and Wonderful Single Life (2012). These corpus data are analyzed using Connell’s concepts of hegemonic masculinity and emphasized femininity. The findings of this study focus on the following: 1. Characters in the four television dramas challenge the dominant discourses of masculinity and femininity by living as freeters, house husbands, and arafos. 2. To criticize hegemonic masculinity and emphasized femininity, these dramas depict the negative aspects of living a rigid lifestyle encompassed by traditional gender roles and feature main characters who show alternative lifestyles of masculinity and femininity. 3. Hegemonic masculinity and emphasized femininity values shadow the emergence of alternative masculinity and femininity in contemporary Japanese society.

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39

von der Heyde, Judith. "Hegemonialisierte Weiblichkeit." Freiburger Zeitschrift für GeschlechterStudien 25, no. 1-2019 (October 8, 2019): 65–82. http://dx.doi.org/10.3224/fzg.v25i1.04.

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Dieser Beitrag geht der Frage nach, ob das Konzept hegemonialer Männlichkeit von Connell (1999) auf Weiblichkeit anwendbar ist. Eine praxistheoretische Herangehensweise an Geschlecht und Hegemonie kann dabei ihr Verhältnis zueinander analysierbar machen. Weiblichkeit ist nicht hegemonial, aber sie kann sich hegemonialisieren, wenn Frauen hegemoniale Praktiken anwenden und diese mit ihrer Weiblichkeitspraxis vereinbar sind. Das ist vor allem dann möglich, wenn der Kontext, in dem sie handeln, ein von Hegemonie geprägter ist. Bezugnehmend auf eine ethnographische Studie, die zwei Frauen in einer sonst aus männlichen Mitgliedern bestehenden Gruppe von Fußballfans fokussiert, wird dieser Beitrag die hegemonialisierte Weiblichkeit theoretisieren.

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40

Wijaya, Theo Triansa, and Gregorius Genep Sukendro. "Representasi Femininitas Pada Tokoh Juno dalam Film “Kucumbu Tubuh Indahku” (Analisis Semiotika Roland Barthes)." Koneksi 5, no. 2 (September 29, 2021): 295. http://dx.doi.org/10.24912/kn.v5i2.10308.

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Film is one of the most influential and massive mass communication media. The film "Kucumbu Tubuh Indahku" is one of the films that has this influence. This film tells the story of the life journey of a professional dancer and choreographer in Indonesia, Rianto. In this film, Rianto is told as Juno, an orphaned boy who has a sad and violent life journey, so as to melt the feminine and masculine characters that exist in his body. This research is a qualitative descriptive study with a semiotic approach, one of which is Roland Barthes' semiotics. The purpose of this research is to find out and show how and what are the signs, meanings of the results of the representation of femininity in the character Juno in the film "Kucumbu Tubuh Indahku". There are several theories that the author uses in this research, namely, the theory of film as mass communication, mass media, representation, Roland Barthes' semiotics, and Simone de Beauvoir's main theory of femininity. Based on the results of the analysis and findings made by the author about the representation of femininity in the character Juno in the film "Kucumbu Body Indahku". Juno's character can be said to be a man who tends to be feminine and less masculine, according to the description of Simone de Beauvoir's femininity characteristics, namely, cowardice, caring, emotional, multitasking, kind, patient, obedient, loves beauty and shy. But that doesn't matter, because these characters tend to be positive.Film merupakan salah satu media komunikasi massa yang paling berpengaruh dan masif. Film “Kucumbu Tubuh Indahku” salah satu film yang memiliki pengaruh tersebut.. Film ini menceritakan alur perjalanan hidup seorang penari dan koreografer profesional di Indonesia, Rianto. Dalam film ini, Rianto diceritakan sebagai Juno, seorang bocah yatim piatu, yang memiliki perjalanan hidup yang pilu dan penuh kekerasan, sehingga dapat meleburnya karakter feminim dan maskulin yang ada pada tubuhnya. Penelitian ini merupakan penelitian kualitatif deskriptif dengan pendekatan semiotika, salah satunya semiotika Roland Barthes. Tujuan penelitian ini untuk mengetahui dan memperlihatkan bagaimana dan apa saja tanda-tanda, makna-makna dari hasil representasi femininitas pada tokoh Juno dalam film “Kucumbu Tubuh Indahku”. Ada beberapa teori yang penulis gunakan dalam penelitian ini, yaitu, teori film sebagai komunikasi massa, media massa, representasi, semiotika Roland Barthes, dan teori utama femininitas Simone de Beauvoir. Berdasarkan hasil analisis dan temuan yang penulis lakukan tentang representasi femininitas pada tokoh Juno dalam film “Kucumbu Tubuh Indahku”. Tokoh Juno dapat dikatakan sebagai laki-laki yang cenderung feminim dan kurang maskulin, sesuai dengan penjabaran karakteristik femininitas Simone de Beauvoir, yaitu, penakut, peduli, lemah, emosional, multitasking, baik, sabar, taat, menyukai keindahan dan pemalu. Tetapi hal itu tidak menjadi masalah, karena karakter tersebut cenderung positif.

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41

Astuti, Leny Dwi, and Wiyatmi. "Deconstruction of Femininity in Islamic Boarding Schools in the Novel Hati Suhita by Khilma Anis: Work, Desire, Image, Symbol, and Beauty." International Journal of Linguistics, Literature and Translation 5, no. 5 (April 30, 2022): 78–84. http://dx.doi.org/10.32996/ijllt.2022.5.5.10.

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Gender issues in pesantren can be seen in both men and women. Femininity in pesantren is characterized by passivity to limit women's movement. In novels related to pesantren, the female figure is usually depicted as someone who ends up experiencing powerlessness. However, in the novel Hati Suhita, the author tries to describe women as intelligent, brave, critical, etc. The assumption that arises is that Khilma Anis deconstructs femininity. This study aims to identify and explain the deconstruction of femininity in Islamic boarding schools in the novel Hati Suhita by Khilma Anis. This research uses a critical analysis method with a postmodern feminism approach. There are five forms of deconstruction of femininity in the novel Hati Suhita, namely feminine work, feminine desire, feminine symbols, feminine image, and feminine beauty. Femininity is practiced by female and male characters. Deconstruction of femininity shows that femininity has advantages and disadvantages.

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42

Szpilka, Jay. ""Lesbian with the attributes of a man: Is a trans history of male masochism possible?" Excursions Journal 13, no. 1 (April 20, 2023): 17–43. http://dx.doi.org/10.20919/exs.13.2023.376.

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This article is an attempt at presenting a case for thinking about male masochism—from its conceptual inception in late 19th century sexology, to its contemporary framing as a sexual practice falling under the umbrella of BDSM—as having close historical connections with the history of transness, and trans femininity in particular. In order to do so, I provide an overview of the way that the idea of male masochism as femininely gendered has been variously posited, contested, and disavowed across 130 years of masochism’s discursive history. Finally, I argue for the necessity of histories of trans femininity to accept speculative approaches as a valid way of thinking about the possibilities of trans history, and ask what political ends have been served by the “cisisfication” of masochism and practices of sexual submissiveness, which is rendering them culturally legible as having nothing to do with their practitioners’ gender.

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Ohlsson, Hélène. "Representing Pariah Femininity. Sexuality, gender, and class at the fin-de-siècle." Nordic Theatre Studies 29, no. 1 (December 27, 2017): 44. http://dx.doi.org/10.7146/nts.v29i1.102967.

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This article discusses the representation of an actress’s sexuality, femininity, and class at the fin-de-siècle with an emphasis on pariah femininity. The central empirical sources for this study are the correspondence between King Oscar II (1829-1907) and Baroness Henriette Coyet (1859-1941) about the famous actress Ellen Hartman (1860-1945). Tracy C. Davis’s feminist historiographical methodology is put to use in the analysis in combination with Mimi Shipper’s notion pariah femininity. The analysis of the correspondence shows how the actress Ellen Hartman’s femininity was discursively constructed as pariah femininity embodying asexuality, excessive sexuality, and of a degenerate moral. It is argued that Hartman’s specific kind of pariah femininity is based on a perceived threat triggered by her public profession, sexual history and social ambition. Her body was sexualized, her sexuality demonized, and her appearance downgraded to defuse the threatening presence of her profession, femininity, and class. The historical sources also show a change of attitudes toward intersections of femininities and class.

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Ohlsson, Hélène. "Representing Pariah Femininity. Sexuality, gender, and class at the fin-de-siècle." Nordic Theatre Studies 29, no. 1 (January 27, 2018): 44. http://dx.doi.org/10.7146/nts.v29i1.103308.

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This article discusses the representation of an actress’s sexuality, femininity, and class at the fin-de-siècle with an emphasis on pariah femininity. The central empirical sources for this study are the correspondence between King Oscar II (1829-1907) and Baroness Henriette Coyet (1859-1941) about the famous actress Ellen Hartman (1860-1945). Tracy C. Davis’s feminist historiographical methodology is put to use in the analysis in combination with Mimi Shipper’s notion pariah femininity. The analysis of the correspondence shows how the actress Ellen Hartman’s femininity was discursively constructed as pariah femininity embodying asexuality, excessive sexuality, and of a degenerate moral. It is argued that Hartman’s specific kind of pariah femininity is based on a perceived threat triggered by her public profession, sexual history and social ambition. Her body was sexualized, her sexuality demonized, and her appearance downgraded to defuse the threatening presence of her profession, femininity, and class. The historical sources also show a change of attitudes toward intersections of femininities and class.

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Lester, David. "The Fear of Death, Sex and Androgyny: A Brief Note." OMEGA - Journal of Death and Dying 15, no. 3 (November 1985): 271–74. http://dx.doi.org/10.2190/6lc2-fq03-03p9-t80q.

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The fear of death (and other attitudes toward death) were explored in male and female students, together with masculinity/femininity scores as a covariate. Both sex and masculinity/femininity scores had little relationship with attitudes toward death. Furthermore, masculinity/femininity scores did not account for the sex differences observed, and sex did not account for the relationship between masculinity/femininity scores and attitudes toward death.

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Utomo, Samuel Rihi Hadi, and Wening Udasmoro. "QUEER FEMINITY MULTIMODAL DISCOURSE ANALYSIS ON WEB SERIES BOUNDARIES: CONFINING OR FREEING(?)." Jurnal Komunikasi dan Bisnis 9, no. 1 (May 17, 2021): 23–35. http://dx.doi.org/10.46806/jkb.v9i1.681.

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This study attempts to explain and dissect the position of queer femininity in the gender order constellation in the context of queer in Indonesia, exploring the position of queer femininity on the Batas web series. Analysis of multimodal discourse from the perspective of Kress and van Leeuwen with terminologies; representational meaning, interactive meaning and compositional meaning, shows that queer femininity discourse within Batas explains the shifting and blurring of boundaries between subject-object and active-passive which always refers to rigid masculine and feminine binary. Queer femininity discourse in Batas shows that femininity is not monolithic. A queer perspective can provide a subversive position, negotiate and resist the dominant discourse. On the other hand, it shows the idealized codes of heterosexual discourse, patriarchy and media. Keywords: Queer, Femininity, Discourse, Multimodal, Webseries

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Davies, Sharyn Graham, and Antje Deckert. "Muay Thai: Women, fighting, femininity." International Review for the Sociology of Sport 55, no. 3 (October 4, 2018): 327–43. http://dx.doi.org/10.1177/1012690218801300.

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Women fighting challenges conventional notions of femininity in many ways. A bleeding nose, bruised eyes and swollen lips embody perhaps masculine success but, for many, constitute failed femininity. Yet women fighters, who are attracting unprecedented media attention, are in novel ways forcing a re-imagination of femininity. This article draws on 17 in-depth semi-structured interviews with professional and amateur female Muay Thai fighters based in Thailand to explore the subversion and reinvention, and also reinforcement, of feminine norms. Theoretically, we advance the debate around fighting and femininity by developing the concept of bio-borders to investigate the presentation, protection and penetration of bodily femininity. We conclude that women fighters inspire a femininity recognising physical and emotional strength alongside conventional feminine norms of beauty, relationality and compliance.

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SCHWEICKART, PATROCNIO P. "In Defense of Femininity: Commentary on Sandra Bartky's Femininity and Domination." Hypatia 8, no. 1 (February 1993): 178–91. http://dx.doi.org/10.1111/j.1527-2001.1993.tb00637.x.

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Brazelton, Elizabeth W., Katherine S. Greene, and Malcolm Gynther. "FEMININITY, DEPRESSION AND STRESS IN COLLEGE WOMEN." Social Behavior and Personality: an international journal 24, no. 4 (January 1, 1996): 329–34. http://dx.doi.org/10.2224/sbp.1996.24.4.329.

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This study evaluated the relationships among femininity, depression, and stress. One hundred eighty-six college females were given the Beck Depression Inventory, the Behavioral Self-report of Femininity and the Psychological Distress Inventory. Positive correlations were found between femininity and depression. Lower femininity and lower depression scores tended to be associated with reports of high stress. Further work is needed to clarify the relationships among these important variables.

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Wickens, Emma, and Melanie Haughton. "Social constructs of online feminine identities in social media: A thematic analysis." Psychology of Women and Equalities Section Review 6, no. 1 (June 2023): 20–31. http://dx.doi.org/10.53841/bpspowe.2023.6.1.20.

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It has been argued that femininity is a form of control over women’s identity, and that femininity is predominantly performative. This research examines the performative nature of femininity in Instagram posts, based on the idea that social media is a means through which young women negotiate and perform their feminine identity. Self-presentation theories suggest that female social media users perform aspects of self-presentation as influenced by the audience, the situation, and implicit social constructs of gender. This study used Reflexive Thematic analysis of semi-structured interviews with ten women Instagram users aged between 18 – 27, who post regularly to Instagram. The focus was on exploring the participant’s detailed accounts of how they manage their online identity and self-presentation of femininity on Instagram. Emerging themes emphasised the performative aspects of self-presentation, such as self-surveillance and self-monitoring and impression management in relation to online social situations. Findings highlight the significant, influential aspect the audience plays in performative femininity as well as the importance of Goffman’s (1959) dramaturgical theory of self-presentation and Walkerdine’s (1989) concept of femininity as a performance. The study raises important questions about the presentation and performative elements of femininity on Instagram and how femininity is still a form of hegemonic control over women.

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