The term "third wave" within contemporary feminism presents some initial difficulties in scholarly investigation. Located in popular-press anthologies, zines, punk music, and cyberspace, many third wave discourses constitute themselves as a break with both second wave and academic feminisms; a break problematic for both generations of feminists. The emergence of third wave feminism offers academic feminists an opportunity to rethink the context of knowledge production and the mediums through which we disseminate our work.

The article seeks to examine identities young women are producing within late modern social conditions with the aim of exploring these identities in relation to the increasingly fragmented project of second wave feminism. In order to evaluate whether feminism has maintained intergenerational currency, the article, based upon interviews with 33 young women aged 16–20, discusses ways in which young women are engaging with choices available to them. The active negotiation of identity requires an examination of the discourses available to the (...) subjects and in this study it is apparent that, while these young women were alienated from second wave feminism, their identities were indeed informed by intrinsically feminist ideals. This contradiction begs the question of what place young women occupy within the increasingly diverse category of ‘feminisms’? The tension between second wave feminism and postfeminism and their problematic relationship is analysed as a problem deriving from difference. Analysis of interview material is used to argue that the identities under construction allow the young women to engage in a resistant fashion with the choices they have available at the micro-level of everyday life. (shrink)

This paper is based on the premise that the analysis of some cyberethics problems would benefit from a feminist treatment. It is argued that both cyberstalking and Internet child pornography are two such areas which have a `gendered' aspect which has rarely been explored in the literature. Against a wide ranging feminist literature of potential relevance, the paper explores a number of cases through a focused approach which weaves together feminist concepts of privacy and the gaze.

This article identifies a prevalent strand of feminist writing on beauty and aesthetic surgery and explores some of the contradictions and inconsistencies inscribed within it. In particular, we concentrate on three central feminist claims: that living in a misogynist culture produces aesthetic surgery as an issue predominantly concerning women; that pain - both physical and psychic - is a central conceptual frame through which aesthetic surgery should be viewed; and that aesthetic surgery is inherently a normalizing technology. Engaging with these (...) ‘myths’, we explore the tensions uncovered through a historical analysis of the practices of aesthetic surgery as well as the challenges to feminist claims offered by post-feminism. In particular we seek to destabilize the connection in feminist writing between beauty and passivity. We argue that through aesthetic references to denigrated black and working-class bodies, young women may mobilize aesthetic surgeries to reinscribe active sexuality on the feminine body. (shrink)

This article considers Kate Walbert’s A Short History of Women (2009), a novel that tells the stories of a hunger striking suffragette and four generations of her female descendants. Tracing feminist history through female genealogy, Walbert’s historiographic metafiction helps us think through the perils and potentials of the generational methods that have long dominated feminist historiography. Critically engaging with what has arguably become a feminist family drama, the novel makes an invaluable contribution to contemporary feminist theory and feminist historiography, illustrating (...) of feminist genealogies as simultaneously fruitful and fraught, limiting and liberating and yet inescapable and useful. (shrink)

Language does not simply symbolize a situation or object which is already there in advance; it makes possible the existence or the appearance of that situation or object for it is a part of the mechanism whereby that situation or object is created. (Mead 1934, p. 78).