"Let's Go Make Some Videos!": Post-Feminist Digital Media on Tween-Coms.

Our paper looks at three popular tween shows premised on tween girls creating digital content-iCarly, Bizaardvark and Coop & Cami Ask the World. Using the theoretical frameworks of critical digital labor studies, girls' media studies, and feminist theory, we argue that the tween-coms imagine the tween content creator as a post-feminist neoliberal subject in three ways: first, by hiding the labor behind the affective sentiments of play; second, by obscuring the misogynistic structure; and third, by framing childhood digital spaces as separate from adult spheres, legitimizing corporate encroachments into children's digital lives. The shows are a distillation of the neoliberal, post-feminist ideologies that define late-stage capitalism. The discursive formation of digital girls on children's television has been overlooked in the field of digital studies and girl studies. Our paper explores how digital content creation is discursively constructed within the cultural imaginaries of children's media.

O dispositivo "antes e depois" nas cirurgias estéticas íntimas: novas formas de materialização das normas de gênero / The "before and after" dispositive in intimate aesthetic surgeries: new ways of materializing gender norms / El dispositivo "antes y después" en las cirugías estéticas íntimas: nuevas formas de materializar las normas de género

Resumo Este artigo tem como ponto de partida uma reflexão sobre a produção de imagens e narrativas circunscritas em torno do dispositivo antes e depois. Argumenta que a divulgação de padrões estéticos, especialmente nas redes sociais, opera de modo a prescrever uma necessária transformação e aprimoramento de si. Analisa relatos de experiências de mulheres que realizaram a chamada cirurgia íntima (ninfoplastia ou redução dos pequenos lábios vaginais) com a intenção de melhoria estética. Os depoimentos provêm de um grupo de discussão em torno desses procedimentos na internet. Nos casos em que as intervenções cirúrgicas são avaliadas negativamente, o antes e depois não se realizam da forma prevista. Nesse cenário, as mulheres tendem a ressignificar a necessidade da cirurgia e a reconhecer a imposição, por parte da sociedade, de padrões corporais idealizados. Este processo é discutido por meio do debate acerca do pós-feminismo e constrangimentos de gênero.

Abstract This article analyzes the production of images and narratives circumscribed around the dispositive before and after. It argues that the dissemination of aesthetic standards, especially on social networks, operates in order to prescribe a necessary transformation and improvement of the self. It analyzes reports of experiences of women who underwent the so-called intimate surgery (nymphoplasty or reduction of the labia minora) with the intention of aesthetic improvement. The testimonies come from a discussion group around these procedures on the internet. In cases where surgical interventions are negatively evaluated, the before and after are not performed as expected. In this scenario, women tend to resignify the need for surgery and recognize the imposition, by society, of idealized body standards. This process is discussed through the debate about post-feminism and gender constraints.

Resumen Este artículo tiene como punto de partida una reflexión sobre la producción de imágenes y narrativas circunscritas en torno al dispositivo antes y después. Argumenta que la difusión de normas estéticas, especialmente en las redes sociales, opera para prescribir una necesaria transformación y mejora del yo. Analiza relatos de experiencias de mujeres que se sometieron a la llamada cirugía íntima (ninfoplastía o reducción de labios menores) con la intención de mejorar estéticamente. Los testimonios provienen de un grupo de discusión sobre estos procedimientos en Internet. En los casos en que las intervenciones quirúrgicas son evaluadas negativamente, el antes y el después no se realizan como se esperaba. En ese escenario, las mujeres tienden a resignificar la necesidad de la cirugía y reconocen la imposición, por parte de la sociedad, de patrones corporales idealizados. Este proceso se discute a través del debate sobre el posfeminismo y las restricciones de género.

"That's just healthy eating in my opinion" - Balancing understandings of health and 'orthorexic' dietary and exercise practices.

There is a fine line between eating and exercising "for one's health" and adopting obsessive dietary practices. Not currently recognised in the DSM-5, Orthorexia Nervosa is a proposed eating disorder characterized by an unhealthy obsession with eating healthy foods. In this study, we explored people's self-identified experiences of highly significant dietary and exercise practices, which whilst considered to be healthful may paradoxically have become problematic or resulted in dysfunction. Fifteen participants took part in semi-structured interviews. We used reflexive thematic analysis through a post structuralist theoretical lens to analyze the data, and developed three key themes: (1) feeling good and looking good; (2) relationality: the role of connections, community and social responses; (3) disordered or healthy. Daily health practices were understood as positive acts of self-care which were motivated by a range of embodied experiences and entangled within social relationships. Each theme also highlighted how sociocultural influences such as healthism and post-feminist discourses impacted upon participants food choices, exercise engagement and appearance goals-often producing contradictory understandings of what was considered to be (un)healthy. Overall, findings indicate that achieving 'a healthy balance' may be easier said than done and points to the need for nuanced analyses of the tensions that exist within first-person accounts of engaging with "health" in both "healthful" and potentially problematic ways.

'Pretty in Pink' and 'Girl Power': An analysis of the targeting and representation of women in alcohol brand marketing on Facebook and Instagram.

BACKGROUND: Alcohol marketing helps shape how gender roles and relations are understood, and the gendered nature of drinking learned. In recent years, changes in how women are presented and addressed in marketing, including alcohol marketing, have been observed. This reflects the shifting social, political and regulatory context, in which increased attention has been given to gender inequality and the damaging impact of gender stereotypes. Research is yet to explore the gendered nature of alcohol marketing within this contemporary context. METHODS: A quantitative content and qualitative thematic analysis of alcohol marketing posts (N = 2600) by 20 alcohol brands on Facebook and Instagram pages over an 18 month period (1st January 2019-30th June 2020) was conducted. Marketing strategies were identified, and the way in which posts targeted, represented and engaged women analysed. FINDINGS: New (e.g. 'influencer' collaborations) and established (e.g. competitions) strategies were being used to target both women and men. Drinking was presented as a feminine practice and as an important component of 'doing' a combination of traditional, post-feminist and feminist femininities. Women were assigned a range of gender roles that acknowledged their individual pleasures and achievements, and traditional gender roles and stereotypes were both reinforced and rejected to promote alcohol use. An important move away from sexualising and demeaning women to the appropriation of feminist and equality messages was observed, which may appeal to a wider range of women, including those embracing feminist identities. CONCLUSION: Alcohol brand marketing encourages alcohol use to women through both perpetuating and challenging gender stereotypes. Claims by brands of a commitment to equality are at odds with the harms related to alcohol consumption that contribute to the widening of health and social inequalities. It is important that future work on women's drinking and alcohol marketing is situated within the shifting social-political climate in which traditional, post-feminist and new fourth wave feminist rhetoric and femininities co-exist.

Posfeminismo y transhumanismo: una relación histórica / Posfeminist and transhumanism: a historical relationship

El posfeminismo de género o “ideología de género”, es una revolución contra el hombre que niega laexistencia de su naturaleza humana, y promueve un mundo homogeneizado con papeles intercambiablessin distinción sexual. A medida que el hombre ha ido transformando el mundo con la tecnología y depen-diendo de ella, se ha ido cambiando a sí mismo hasta tal punto que, ante una máquina y un ser humano,optamos por la máquina porque el ser humano nos parece imperfecto. La ideología transhumanista comosuperación de lo humano supone la deshumanización del hombre. No es que solo nos transformemos enotros seres, sino que podríamos acabar despreciando lo humano. ¿Nos espera un mundo totalmente arti-ficial? La pregunta clave que hemos de hacernos es qué perspectiva del hombre tiene el transhumanismo.¿Qué somos para esta ideología? ¿Demostrará la felicidad del hombre?.(AU)

Gender post-feminism or “gender ideology” is a revolution against man that denies the existence of hishuman nature, and promotes a homogenized world with interchangeable roles without sexual distinction.As man has been transforming the world with technology and depending on it, he has been changinghimself and we get to the point that, when faced with a machine and a human being, we opt for the ma-chine because the human being seems imperfect to us. The transhumanist ideology as an overcoming ofthe human supposes the dehumanization of man. It is not that we only transform into other beings, butwe could end up despising the human. Does a totally artificial world await us? The key question we haveto ask ourselves is what perspective of man does transhumanism have? What are we to this ideology? Willit show the happiness of man?.(AU)

You've Got to Be Real: Authenticity, Performativity and Micro-Celebrity in South Africa.

For many young black South African women, the competitive arena of social media offers access to significant social and cultural capital, which can be invaluable in the unequal context in which they live. In order to succeed in this high stakes environment young women carefully construct the identities and idealised selves that they present on platforms like Instagram. They display a lifestyle of glamorous consumption, showcasing exclusive brands and fashionable items and modifying and modelling themselves to fit a beauty ideal that emphasises youth, light skin, slender bodies and straight hair. As well as these physical features, young women on Instagram are also hyper-aware of the need to appear "authentic": to have their online lives and selves appear natural, easy and free of artifice in order to further enhance their status as role models to other women. This article draws from in-depth interviews with 10 black South African "micro-celebrities." It reveals the central role of authenticity in these young women's online performances of self, and considers the contradictory impulses that require them to both "feel" and "appear" real. Within the framework of existing hegemonic structures, these women appear to be exercising their freedom as neoliberal citizens within a post-feminist setting. Despite the promises of freedom, however, this article reveals the way in which their performances of selfhood are powerfully constrained by normative ideas about aspiration and success.

Women's Empowerment, Agency and Self-Determination in Afrobeats Music Videos: A Multimodal Critical Discourse Analysis.

Stemming from a broader PhD project, this article argues that neoliberal post-feminist cultural sensibilities-entrenched in contemporary popular culture-about empowered, agentic and self-determining women, are regressive for the feminist advancement of gender-relational equality in the African context. To arrive at this conclusion, the central aim was to elucidate whether the gender-performative representations prioritised in the multimodal discourses of Afrobeats music videos are implicated in post-feminist sensibilities and if so, in what ways and to what effect? Given the continent's richly diverse, yet largely heteropatriarchal, sociocultural formations, I argue that ideas about empowered, agentic and self-determining (black) African women are-based on the limited purview offered through the multimodal discourses of a small corpus of Afrobeats music videos-no more than sociocultural façades as opposed to gender-relational realities in our context. The article relied on a multimodal critical discourse analysis of a total of nine music videos drawn from the PhD project's larger corpus of 25 Afrobeats music videos, their accompanying song lyrics, as well as a selection of YouTube viewer comments extracted from the analysed music videos. In critically exploring the gender-relational depictions prioritised in the analysed music videos, I argue for the consideration of what I am coining "misogyrom"; a gender-relational cultural sensibility which, in tandem with a post-feminist sensibility partly undergirding the multimodal discourses of these music videos, effectively veil this popular musical genre's evidently sexist and misogynistic undertones that subvert potentialities of empowered, agentic and self-determining black African women.

Craftivism Between Nationalism and Activism in Ukraine and Belarus.

This article outlines the history and significance of Craftivism in Eastern Europe. Using two case studies of artists it investigates the use of the craft language in Eastern Europe and its usability for activism. Do-It-Yourself culture, of which Craftivism is part, rejects the commercialism, gender norms and the conventional lifestyle in the Global North. Use of crafts as a language of political and social struggle allows to convey the message in a less confrontational but nevertheless very pertinent way. The craftivism is a successful language for the feminist political struggle in the Eastern Europe.

'If I don't look good, it just doesn't go up': A qualitative study of young women's drinking cultures and practices on Social Network Sites.

BACKGROUND: Young women in the UK often partake in a culture of intoxication in the pursuit of pleasure and friendship fun. Experiences of intoxication and drinking spaces remain highly gendered, and relative to men, women continue to find their behaviours in drinking spaces more constrained and scrutinised. Simultaneously, young women now express themselves via Social Network Sites (SNS), where they display drinking experiences and where they perform, negotiate and display contemporary femininities. METHODS: The research explored young women's experiences of drinking and intoxication, the use of SNS in their drinking cultures and the display of drinking practices on SNS through group interviews (n=12) with women (n=37) aged 16-21 from one city in the North-West of England, UK. RESULTS: The practice of uploading drinking photographs to SNS played an important role in displaying young women's popularity, enhancing friendship fun and belonging, and in positioning the hyper-sexual feminine look as the norm in drinking spaces. Both intoxication and the hyper-sexual and feminine look challenged traditional notions of respectable femininity, while the highly groomed feminine look itself was threatened by drunkenness. As such, young women invested much work and effort in self-surveillance and in managing the display of their drinking behaviours on SNS. CONCLUSION: The dilemmas in contemporary femininity created by the juxtaposition of hyper-sexual femininity and the culture of intoxication are reproduced on SNS. Controlling and restricting certain content on SNS with the aim of achieving the 'right' feminine self-presentation resulted in a narrowly set of body oriented and behavioural feminine attributes being presented as the norm, and an overly positive online representation of young women's drinking experiences.

New Heroines of Labour: Domesticating Post-feminism and Neoliberal Capitalism in Russia.

In recent years, post-feminism has become an important element of popular media culture and the object of feminist cultural critique. This article explores how post-feminism is domesticated in Russia through popular self-help literature aimed at a female audience. Drawing on a close reading of self-help texts by three best-selling Russian authors, the article examines how post-feminism is made intelligible to the Russian audience and how it articulates with other symbolic frameworks. It identifies labour as a key trope through which post-feminism is domesticated and argues that the texts invite women to invest time and energy in the labour of personality, the labour of femininity and the labour of sexuality in order to become 'valuable subjects'. The article demonstrates that the domestication of post-feminism also involves the domestication of neoliberal capitalism in Russia, and highlights how popular psychology, neoliberal capitalism and post-feminism are symbiotically related.

Staying alive: rethinking deterritorialization in a post-feminist era.

In recent years, the concept 'post-feminism' and its links to neoliberal economic structures and to the extreme reinforcement of individualization as raison d'etre of Western civilization have been discussed at length by numerous distinguished scholars in feminist cultural studies and feminist philosophy. This article takes its point of departure in this discussion. Drawing on Wendy Brown, Elizabeth Grosz, Angela McRobbie, Wendy Larner, and others, the text is examining the discourse of post-feminism and neoliberalism, and its effects on overarching political scenarios, as well as on everyday life: What happens to feminist politics when the collective, both as figuration and as virtual political platform, is deemed to be something situated in the discursive outskirts? By drawing on examples form the contemporary cultural imaginaries, from popular culture, economic structures, and public debate, and by pointing out the links between the micro-perspective of our everyday living and overarching political structures, this article aims at bringing to the fore and critically discuss these issues, and the ways in which they intersect with contemporary Western feminism. The article ends with a discussion of possible points of exit or paths to follow in order to find alternatives.