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From 'can-do' girls to insecure and angry: affective dissonances in young women's post-recessional media

机译:从“可以做”女孩不安全和愤怒:年轻女性后医生媒体的情感解剖

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Feminist scholars have begun to unpack the ways in which neoliberalism is underpinned by particular gendered affective investments: drives for perfection, confidence, and the careful observance of feeling rules mandating a pleasing balance of resilience and approachability. In this context, we are interested in mapping the cultural production of affective dissonances with neoliberal modes of thriving. We draw attention to post-recessional television made by and about young women that articulate affective dissonances with the confident subjectivities associated with neoliberal cultural mythologies of girlpower. We suggest that within recent, largely USA, television some important questioning of such mythologies is taking place through the articulation of young women's anger, insecurity, anxiety, and misplaced confidence. Such affective dissonances may to some extent serve to problematise myths about both the accessibility and appeal of highly individualist career-oriented lifestyles idealised in cultural mythologies of powerful "can-do" girls. Our analysis aims at two-fold consideration of: first, how giving voice to young women as "suffering actors" may open space for dissonant affective positions that connect to feminist aims of social transformation; and second, consideration of the ways in which exclusionary technologies of femininity may also operate through representations of young women's anger, insecurity, and anxiety. Through this analysis we contribute to understanding dialectical tensions in the psychic and affective life of post-feminism and feminine subjectification in the neoliberal, post-recessional socio-cultural context.
机译:女性主义学者开始解开其中新自由主义是由特定性别的情感投资支撑的方式:驱动器完美,信心和感觉的规则,规定弹性和平易近人的令人愉悦的平衡认真遵守。在此背景下,我们感兴趣的是映射的文化生产与蓬勃发展的新自由主义模式的情感不和谐的。我们提请注意和有关阐明与girlpower的新自由主义神话文化相关联的信心主观性情感不和谐的年轻妇女做后退场电视。我们认为,近期之内,主要是美国,电视这样的神话的一些重要的质疑是通过年轻女性的愤怒,不安,焦虑和错位的信心关节发生。这种情感不和谐可以在一定程度上起到对可访问性和强大的“可以做的”少女文化的神话理想化的高度个人主义的职业化生活方式的吸引力都problematise神话。我们分析的目的是两方面的考虑:第一,如何让声音的年轻女性为“痛苦的演员”可用于连接到社会变革的女权主义者的目标不和谐的情感位置打开空间;第二,考虑到其中女性气质的排他性技术,也可能通过的年轻女性的愤怒,不安和焦虑陈述运作方式。通过上述分析,我们有助于了解在后女权主义和女性主观的心理和情感生活辩证的紧张关系在新自由主义,后休会的社会文化背景。

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