The Staging of Agency in Girls Gone Wild

This paper addresses the ambivalence produced by Girls Gone Wild (GGW) as both text and social practice by interrogating the ways in which it functions hegemonically by staging an effect of agency. I draw on Bakhtin's notion of the carnivalesque as a means to examine how contradictory spatio-temporal contexts of GGW function as spaces that offer the opportunity to momentarily transgress—yet simultaneously reify—white, bourgeois norms of femininity. The videos reinforce a neoliberalist mentality of personal responsibility through the inclusion of the consent—and dissent—processes on camera. After analyzing how postfeminist discourses emphasizing “individual choice” justify GGW as a mode of female empowerment, I turn to a complementary textual analysis of GGW's role-reversal counterpart, Guys Gone Wild (2004), in an effort to show the ways in which this “mirror image” text ultimately reinforces the structure of exploitation in the original.     

The Post-Nuclear Family and the Depoliticization of Unplanned Pregnancy in Knocked Up,Juno, and Waitress

This essay explores three films from 2007, Knocked Up, Juno, and Waitress, which foreground young women's unplanned pregnancies. These movies depoliticize women's reproduction and motherhood through narratives that rearticulate the meaning of choice. Bypassing the subject of abortion, the women's decisions revolve around their choice of heterosexual partners and investment in romantic relationships. Although they question the viability of the nuclear family for single pregnant women, these films represent new iterations of post-feminism that ultimately restore conservative ideas that valorize pregnancy and motherhood as women's imperatives. We conclude by addressing how these movies present a distorted and short-sighted depiction of the politics of reproductive agency and the challenges that single mothers face.     

Beyond the Backlash: Sex and the City and Three Feminist Struggles

Much scholarly debate surrounds the extent to which female situation comedies make feminist contributions, particularly in a postfeminist context. While Sex and the City (SATC) can be read as a postfeminist text, this essay aims to recover the show's feminist meanings. To that end, this essay situates SATC within three key feminist struggles—between the individual and the collective, feminism and femininity, and agency and victimization. As Carrie, Charlotte, Miranda, and Samantha face each of these struggles, they often embody complex feminist identities. Exploring these complexities will highlight SATC's participatory elements as they relate to the ongoing feminist project.     

后女权主义文学批评的理论渊源探析

后女权主义文学批评,致力于对父权中心主义文化的解构批判,汲取了符号学、解构主义和精神分析等学说的成分,得益于德里达、索绪尔、弗洛伊德和拉康等人的学说,在不断的批判、继承和发展中建构后女权主义理论,倡导差异、多元中心和女性自我意识,以寻求多元身份认同的女性主体话语权。     

《三色》中的后女性主义

《三色》系列塑造了不同的女性生存姿态。影片中的女主人公朱丽、多米尼克和瓦伦蒂娜各自代表了想像界中的自恋女性、象征界中的菲勒斯女性和实在界谜一般的女性．展现了女性主义历史发展中对女性主体的渐进探求。电影因此揭示了后女性主义语境中真正女性主体的生成之路。