By Ana Sofia Elias, Rosalind Gill, Christina Scharff
This quantity techniques questions about gender and the politics of visual appeal from a brand new standpoint via constructing the thought of aesthetic labour. Bringing jointly feminist writing in regards to the ‘beauty delusion’ with fresh scholarship approximately new sorts of paintings, the e-book means that during this second of ubiquitous images, social media, and 360 measure surveillance, ladies are more and more required to be 'aesthetic entrepreneurs’, keeping a continuing country of vigilance approximately their visual appeal. the gathering indicates that this paintings is not only at the floor of our bodies, yet calls for a metamorphosis of subjectivity itself, characterized via notions of non-public selection, risk-taking, self-management, and person accountability. The ebook comprises analyses of on-line media, attractiveness carrier paintings, woman genital plastic surgery, educational type, self-help literature and the seduction group, from a number of nations.
Discussing attractiveness politics, postfeminism, neoliberalism, labour and subjectivity, the publication may be of curiosity to students and scholars with an curiosity in Gender, Media experiences, Cultural reviews, Sociology, Social Psychology and administration Studies.
“This hugely attractive, clever, and wide-ranging assortment analyzes how, below 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 unique energy of the e-book is its emphasis at the upward push of ‘aesthetic labour’ as an international, transnational and ever-colonizing phenomenon that seeks to comb up ladies of all races, a while and locales into its disciplinary grip. hugely recommended.”
-Susan J Douglas, University of Michigan, USA
the inherited accountability that continues to be women’s specific burden to manage.”
-Melissa Gregg, Intel company, USA
“This e-book incisively conceptualizes how neo-liberalist and postfeminist developments are ramping up pressures for glamour, aesthetic, model, and physique paintings within the basic public. In a second while YouTube ‘makeup the best way to’ video clips obtain thousands of hits; what to put on and the way to put on it blogs clock huge followings; and staying ‘on model’ is offered to us because the key to non-public and monetary good fortune, ‘aesthetic entrepreneurship’ is sure to turn into a go-to idea for somebody looking 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
Arguing along these lines Debbie Stoller for example states that ‘painting one’s nails is a feminist act because it expands the notions of what a feminist is allowed to do or how she may look’ (Stoller, quoted in Baumgardner and Richards 2000). This assertion might seem troubling—resting as it does on a critique of an imagined orthodox and punitive feminism, its construction of other feminists as ‘killjoys’ and its insistence on what Sara Ahmed (2010) has dubbed ‘happy talk’. What we value about the affirmative turn, however, is its force as a catalyst to think more ambivalently about beauty politics, retaining an openness to multiple possible readings.
Even rejections of it are patterned. The Affirmative Turn Closely connected to the ‘turn to affect’ is another ‘turn’ in feminist theory: the affirmative turn. 551). This may be seen in the more optimistic and affirmative readings that emerge in some contemporary writing. 133). 20 A. Elias et al. 23); a rejection of a ‘feminist killjoy ethics’; and, at times, seemingly an embrace of a ‘politically incorrect’ ‘bad girl’ image (Lumby 1997; Davis 2015). g. ’s (2013) collection on agency and coercion).
To put it succinctly, we seek 14 A. Elias et al. to contribute to critical thinking about aesthetic entrepreneurs as intersectional subjects who come into being in a transnational field. Surveillance Another emergent theme in contemporary studies of beauty is surveillance. Digital technologies have radically expanded what counts as surveillance and we are seeing the proliferation of new terms such as ‘dataveillance’ and notions of ‘data bodies’ and ‘neoliberal optics’ (Hayward 2013) as well as new modes of surveillance that depart from the dominant image of the Panopticon, used by Foucault as his metaphor for disciplinary power.