By Ana Sofia Elias, Rosalind Gill, Christina Scharff
This quantity techniques questions about gender and the politics of visual appeal from a brand new point of view through constructing the suggestion of aesthetic labour. Bringing jointly feminist writing in regards to the ‘beauty fable’ with contemporary scholarship approximately new types of paintings, the ebook means that during this second of ubiquitous images, social media, and 360 measure surveillance, ladies are more and more required to be 'aesthetic entrepreneurs’, protecting a relentless country of vigilance approximately their visual appeal. the gathering exhibits that this paintings is not only at the floor of our bodies, yet calls for a change of subjectivity itself, characterized via notions of private selection, risk-taking, self-management, and person accountability. The booklet comprises analyses of on-line media, good looks provider paintings, woman genital plastic surgery, educational style, self-help literature and the seduction group, from a number international locations.
Discussing good looks politics, postfeminism, neoliberalism, labour and subjectivity, the ebook might be of curiosity to students and scholars with an curiosity in Gender, Media experiences, Cultural reviews, Sociology, Social Psychology and administration Studies.
“This hugely enticing, clever, and wide-ranging assortment analyzes how, below the self-governing mandates of neoliberalism, the calls for that women and ladies control and keep watch over their our bodies and visual appeal have escalated to new, unforgiving degrees. a distinct energy of the e-book is its emphasis at the upward thrust of ‘aesthetic labour’ as an international, transnational and ever-colonizing phenomenon that seeks to brush up girls of all races, a long time and locales into its disciplinary grip. hugely recommended.”
-Susan J Douglas, University of Michigan, USA
the inherited accountability that is still women’s specific burden to manage.”
-Melissa Gregg, Intel company, USA
“This e-book incisively conceptualizes how neo-liberalist and postfeminist trends are ramping up pressures for glamour, aesthetic, model, and physique paintings within the basic public. In a second whilst YouTube ‘makeup easy methods to’ movies obtain thousands of hits; what to put on and the way to put on it blogs clock big followings; and staying ‘on model’ is offered to us because the key to private and fiscal luck, ‘aesthetic entrepreneurship’ is sure to turn into a go-to idea for somebody trying to comprehend the profound shifts shaping exertions and existence within the 21st century.”
-Elizabeth Wissinger, City college of recent York, USA
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Extra info for Aesthetic Labour: Rethinking Beauty Politics in Neoliberalism
JongMi Kim’s (2012) conversations with young Korean women talking about nose and eyelid reshaping, for example, demonstrated that these surgeries were resolutely not understood as attempts to fashion a Caucasian look. Instead her young female participants were invested in a novel but distinctively Korean appearance. To suggest this is Western mimicry, Kim argues, is to see through an Orientalist gaze or through ‘western eyes’—as Chandra Mohanty (1984) expresses it. Jie Yang’s (2011) research on Chinese beauty culture recognises the extraordinary power of Euro-American beauty ideals, now widely dispersed as a result of global media flows, but again cautions against reading Chinese women’s uptake of cosmetic surgery only through this lens.
Watch out world! We highlight this not to criticise Malone—her choice of underwear is entirely her business—but rather to draw attention to the hysterical ramping up of beauty norms to an extent that such an act could be considered ‘rad’ and ‘badass’. To be sure, Malone is a Hollywood celebrity and therefore subject to more scrutiny than most women, but it is indicative, we contend, of a more general intensification of beauty standards that is widely dispersed. More hopefully, it is also indicative of the continuing power of small acts of resistance.
Postfeminism, some have argued, might be conceptualised as ‘gendered neoliberalism’ (Gill in press-b; Henderson and Taylor in press). Like neoliberalism, it should be used as a critical term, locating postfeminism as 1 Aesthetic Labour: Beauty Politics in Neoliberalism 25 an object of study (rather than a perspective or historical period). That is, rather than being postfeminists we identify ourselves as critical analysts of postfeminist culture, interested in interrogating the ideas and discourses that comprise contemporary common sense.