Chinese cinema in the 1930s gave a new perspective to Chinese women: it seemed that they were to play an important part in the upcoming changes. However, there were limits to the way women were portrayed –and consequently, to the way women’s liberation was envisioned.
In 1991, Naomi Wolf published “The Beauty Myth”, wherein she introduced the Iron Maiden concept, an “unattainable standard that is (…) used to punish women physically and psychologically for their failure to achieve and conform to it.” The Iron Maiden is a monster, the product of a deep societal illness. Yet, somehow, most women aspire to be her.
Women and scientific subjects still have a complicated relationship: in 2012, close to 80% of the British students taking A-level Physics were male. Yet technologies represent an important part of women’s daily lives, and in fact women use the Internet 17% more than men in western countries, and form the majority of technological devices’ owners. This paradox illustrates that despite women being involved in new technologies, the mastery and consequently control of technology oftentimes remain out of women’s reach, for reasons that have to do with the structure of our patriarchal societies and with cultural norms.
Taylor Swift has popularized country music to a large audience around the world, but has often been criticized for portraying relationships involving weak and vulnerable women. But this theme is not alien to country music, far from that. In fact, country western is one of the only musical genres where this tragically frequent phenomenon is addressed.
by Marie Baleo Dear “Women Against Feminism”, please allow me to debunk a few myths and guide you to the light Unless you were hiding under a rock in 2014, you have probably heard of “Women Against Feminism”, a social media trend hailing from the United States. This online phenomenon consists of predominantly young, white …