Contemporary feminisms are ineluctably drawn into comparisons with historic discourses, forms of praxis and tactical repertoires. While this can underscore points of continuity and commonality in ongoing struggles, it can also result in nostalgia for a more unified and purposeful feminist politics. Kate Eichhorn argues that our interest in nostalgia should be to understand feminist temporalities, and in particular the specific context in which we experience such nostalgia. Accordingly, this article takes up the idea that neoliberalism and populism, which have (...) given rise to both neoliberal feminism and femonationalism, have produced a series of contestations regarding the purpose and nature of feminist politics, as expressed by white popular feminism in the United Kingdom. This article examines two dimensions of feminist nostalgia: first, nostalgia for a more radical form of feminist politics – one not co-opted by neoliberal forces, not individualistic and not centred around online activism; and second, a nostalgia for the idea of ‘sisterhood’ – a time before white feminists were called upon to engage with intersectionality or be inclusive of trans-women. We analyse these themes through analysis of white popular feminism produced in the United Kingdom between 2010 and 2020, cautioning against a feminist nostalgia which neglects to engage with the radical politics of intersectionality. (shrink)

This article discusses the resurgence of the term ‘patriarchy’ in digital culture and reflects on the everyday online meanings of the term in distinction to academic theorisations. In the 1960s–1980s, feminists theorised patriarchy as the systematic oppression of women, with differing approaches to how it worked. Criticisms that the concept was unable to account for intersectional experiences of oppression, alongside the ‘turn to culture’, resulted in a fall from academic grace. However, ‘patriarchy’ has found new life through Internet memes (humorous, (...) mutational images that circulate widely on social media). This article aims to investigate the resurgence of the term ‘patriarchy’ in digital culture. Based on an analysis of memes with the phrase ‘patriarchy’ and ‘smash the patriarchy’, we identify how patriarchy memes are used by two different online communities (feminists and anti-feminists) and consider what this means for the ongoing usefulness of the concept of patriarchy. We argue that, whilst performing important community-forming work, using the term is a risky strategy for feminists for two reasons: first, because memes are by their nature brief, there is little opportunity to address intersections of oppression; secondly, the underlying logic of feminism is omitted in favour of brevity, leaving it exposed to being undermined by the more mainstream logic of masculinism. (shrink)

In this unconventional article, Sarah Banet-Weiser, Rosalind Gill and Catherine Rottenberg conduct a three-way ‘conversation’ in which they all take turns outlining how they understand the relationship among postfeminism, popular feminism and neoliberal feminism. It begins with a short introduction, and then Ros, Sarah and Catherine each define the term they have become associated with. This is followed by another round in which they discuss the overlaps, similarities and disjunctures among the terms, and the article ends with how each one (...) understands the current mediated feminist landscape. (shrink)

The aim of the article is to examine the representation of ageing in selected issues of the Polish women’s magazine Twój Styl. With reference to Wolf’s concept of the “beauty myth,” the article argues that ageing is presented as a threat to women’s psychological integrity. Although the theme of old age is rarely directly addressed in the magazines, its presence is implied in the advertised anti-age beauty products. Based on semiotic theory and Cognitive Metaphor Theory, the paper demonstrates that the (...) advertising of anti-ageing beauty products serves the function of controlling ageing female bodies, which are positioned outside of the mainstream concept of femininity. (shrink)

The essential premise of #MeToo is that, while large numbers of women are subject to sexual harassment and assault, this reality is not known to or understood by unnamed others. This article interrogates the subject of non-knowing #MeToo points to but does not name, asking: who exactly does not know, and why? These questions provide the starting point to elaborate the concept of male ignorance. While this lexicon has been fleetingly deployed in canonical feminist works – where it denotes something (...) so obvious that is does not require explanation, functioning instead as a kind of feminist common sense – I develop it here so it might be put to greater use as a dedicated analytic. The work of Charles Mills, particularly his writings on white ignorance, provides a critical precedent in this regard. Following Mills in foregrounding the ideological operations of not knowing, I conceive male ignorance as a structure of concerted if unconscious epistemic occlusion which both stems from and serves to protect male privilege. As such, it plays a crucial role in securing the overall relation of domination and oppression within which gendered lives are lived. While male ignorance is itself multiple and has a variety of stakeholders, I argue that the non-knowing that surrounds sexual harassment and assault – which #MeToo draws attention to and seeks to undo – constitutes a paradigmatic manifestation, one in which cisgender heterosexual men have a particular stake. (shrink)

Over the past decade, Hungary has become a noteworthy example of democratic backsliding, marked by a pronounced shift towards conservative values and traditional gender roles within government policies. This trend, centred around Christian principles, has manifested in political campaigns actively opposing LGBTQ+ rights and the challenging of normative family structure. The resultant media campaigns and policy implementations have ignited extensive public discourse on gender and sexuality, prominently visible on social media platforms. This study conducts a qualitative analysis of the online (...) discussion surrounding the LGBTQ+ children’s book, Fairyland Is for Everyone, to explore the contemporary gender discourse in Hungary. By examining social media comments under Hungarian online news articles, the research identifies three prevailing discursive lenses—heteronormative familism, neocolonialism, and diversity and inclusion—illustrating both the concurrent rise of anti-gender movements and the fortification of LGBTQ+ allyship in Hungary, while also considering broader transnational trends in LGBTQ+ rights and visibility. (shrink)

I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially (...) helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’. (shrink)

The increased visibility of feminism in mainstream culture has recently been noted, with the presence of both online and offline campaigns embedding feminist claims in a variety of everyday spaces. By granting recognition to women’s experiences, these campaigns continue the feminist practice of generating critical knowledge on the basis of gendered experience. In the post-truth era, however, the norms governing claims-making are being significantly reconstructed, with significant consequences for critiques of gender inequality. It is argued here that these norms are (...) linked directly to a wider context of anti-feminism in which dismissing women’s claims is consistent with the goal that opponents of gender equality have of seeking and consolidating epistemic power in the face of what is perceived as systemic male disadvantage and victimhood. Returning to earlier debates within feminism, it is argued that the kinds of post-truth rhetoric used to dismiss women’s experience provide a challenge that feminism must confront. This rhetoric is often grounded in the authenticity of individual experience; however, experience cannot provide unmediated access to truth and, therefore, cannot provide the foundation for feminist claims. On the other hand, experience cannot merely offer one of many contested versions of ‘reality’. The excesses of both foundationalist and anti-foundationalist epistemology are countered with the argument that cognition is a human practice mediated by theoretical propositions which illuminate the question of what can be known. This is the role played by feminist theory in defending the role of experience. (shrink)