By Ana Sofia Elias, Rosalind Gill, Christina Scharff
This quantity ways questions about gender and the politics of visual appeal from a brand new standpoint by way of constructing the idea of aesthetic labour. Bringing jointly feminist writing in regards to the ‘beauty fable’ with fresh scholarship approximately new different types of paintings, the publication means that during this second of ubiquitous images, social media, and 360 measure surveillance, ladies are more and more required to be 'aesthetic entrepreneurs’, conserving a relentless nation of vigilance approximately their visual appeal. the gathering exhibits that this paintings isn't just at the floor of our bodies, yet calls for a change of subjectivity itself, characterized through notions of non-public selection, risk-taking, self-management, and person accountability. The ebook contains analyses of on-line media, attractiveness carrier paintings, girl genital plastic surgery, educational style, self-help literature and the seduction neighborhood, from a number nations.
Discussing attractiveness politics, postfeminism, neoliberalism, labour and subjectivity, the booklet could be of curiosity to students and scholars with an curiosity in Gender, Media stories, Cultural stories, Sociology, Social Psychology and administration Studies.
“This hugely enticing, shrewdpermanent, and wide-ranging assortment analyzes how, less than the self-governing mandates of neoliberalism, the calls for that ladies and ladies control and keep watch over their our bodies and visual appeal have escalated to new, unforgiving degrees. a distinct energy of the publication is its emphasis at the upward push of ‘aesthetic labour’ as a world, transnational and ever-colonizing phenomenon that seeks to comb 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 publication incisively conceptualizes how neo-liberalist and postfeminist developments are ramping up pressures for glamour, aesthetic, model, and physique paintings within the common public. In a second whilst YouTube ‘makeup easy methods to’ video clips obtain hundreds of thousands of hits; what to put on and the way to put on it blogs clock immense followings; and staying ‘on model’ is offered to us because the key to private and monetary good fortune, ‘aesthetic entrepreneurship’ is certain to turn into a go-to suggestion for somebody trying to comprehend the profound shifts shaping exertions and existence within the 21st century.”
-Elizabeth Wissinger, City collage of recent York, USA
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Extra resources for Aesthetic Labour: Rethinking Beauty Politics in Neoliberalism
In a Deleuzian frame, McRobbie (2009) argues that patriarchy has been ‘re- territorialised’ in the fashion-beauty complex, creating unliveable pressures that produce a particular kind of melancholia and also ‘illegible rage’ expressed through ‘postfeminist disorders’ that include bulimia, anxiety, depression, drinking and forms of addiction. Our argument is that in this distinctively postfeminist and neoliberal moment, beauty pressures have intensified, extensified and also moved into the realm of subjectivity in new and pernicious ways, facilitated by new technologies and by aggressive consumer capitalism that is colonising women’s bodies—and increasingly men’s too, though with nothing like equivalent force.
And third, the need to slow down the ‘rush to judgment’. As Rita Felski puts it: 22 A. Elias et al. ‘The challenge for feminism is to rein back its compulsion to immediately translate aesthetic surfaces into political depths; or rather, to keep both surface and depth in the mind’s eye, teasing apart the multifarious sociopolitical meanings of texts whilst also crafting richer and thicker descriptions of aesthetic experience’. 281) Lisa Henderson (2008) asks feminist and queer scholars to ‘slow down’, that is to be slow to condemn and ‘slow to discover meanings’.
E ngaging with such products or practices will have. g. Figueroa and Moore 2013) and, above all, to examine everyday cultural practices of beauty and women’s experiences of them. Maxine Leeds Craig’s (2002) research about black women’s experiences of beauty parlours in the 1960s in the USA is an excellent example of a study that takes this more ‘complicated stance’ embracing a thoroughgoing intersectional approach. Craig argued that experiences of beauty were formed through a complex amalgam of reactions to white beauty standards, social expectations of black middle class respectability, notions of black power and black pride in the context of the civil rights movement, and discourses of black as beautiful, emerging black female entrepreneurship, and ideas of leisure and female bonding.