Documente Academic
Documente Profesional
Documente Cultură
Beauty
Myth
Modern
Femininities
Summer
2017
The
Beauty
Myth
(1990)
Naomi
Wolf
Main
idea:
We
are
in
the
midst
of
a
violent
backlash
against
feminism
that
uses
images
of
female
beauty
as
a
political
weapon
against
womens
advancement:
the
beauty
myth.
Before:
domesticity
was
used
to
control
women,
feminine
mystique
Now:
women
liberated
themselves
from
the
myth
that
they
should
only
be
housewives;
new
modes
of
controlling
women
necessary
Wolfe:
mechanisms
of
oppression
- changed
Laws
against
job
discrimination
based
on
gender >>>
emergence
of
case
law
in
Britain
and
the
US
that
institutionalized
job
discrimination
based
on
womens
appearances
Patriarchal
religion
in
decline >>
new
almost-religious
dogma
around
age
and
weight
Break
with
the
old
advertisements
that
promoted
women
as
housewives,
cleaners,
cooks >>
replaced
by
advertisement
based
on
beauty,
skin
care
products...
the
gaunt,
youthful
model
supplanted
the
happy
housewife
as
the
arbiter
of
successful
womanhood
Sexual
revolution
and
the
promotion
of
female
sexuality >>>
link
between
beauty
and
sexuality
Reproductive
rights
gave
women
control
over
their
bodies >>>
the
promotion
of
unhealthy
weight
loss
and
eating
disorders
takes
that
control
away
The
beauty
myth
It
tells
a
story:
that
the
quality
called
beauty
objectively
and
universally
exists.
Women
must
want
to
embody
it
and
men
must
want
to
possess
women
who
embody
it
>
strong
men
battle
for
beautiful
women
Beauty
as
an
evolutionary
practice:
beauty
correlated
to
fertility
>
myth
Wolf
claims
that
beauty
is
a
currency
system:
it
is
determined
by
politics,
and
it
is
used
to
assign
value
(to
women)
>
an
expression
of
power
relations
in
which
women
must
unnaturally
compete
for
resources
that
men
have
appropriated
for
themselves
Beauty
as
an
evolutionary
practice
Claim
that
beauty
=
fertility,
that
it
is
a
natural
distinction
Wolf:
says
that
it
has
been
proven
untrue:
in
nature,
it
is
usually
males
who
display
specific
physical
traits
(color,
size,
etc.)
In
primates:
females
are
attractive
to
males
based
on
whether
or
not
they
are
pregnant
>
the
ability
to
become
pregnant
is
attractive,
not
any
specific
physical
traits
W.
links
the
beauty
myth
to
power
and
patriarchy:
cites
examples
from
history/mythology,
e.g.
Venus
and
Adonis:
strong
female
with
a
young
lover
whose
only
trait
is
beauty
In
real
life:
tribes
with
matriarchal
structures
some
differences.
E.g.
in
Niger,
the
Wodaabe tribe:
men
use
makeup
and
compete
in
beauty
contests,
women
are
the
ones
with
economic
power.
What
is
the
beauty
myth
based
on?
Wolf:
not
about
evolution,
sex,
gender,
aesthetics
It
is
actually
composed
of
emotional
distance,
politics,
finance,
and
sexual
repression.
The
beauty
myth
is
not
about
women
at
all.
It
is
about
mens
institutions
and
institutional
power.
The
qualities
that
a
given
period
calls
beautiful
in
women
are
merely
symbols
of
the
female
behavior
that
that
period
considers
desirable:
The
beauty
myth
is
always
actually
prescribing
behavior
and
not
appearance.
Beauty
as
competition
Beauty
an
instrument
of
DIVISION
among
women
Youth
and
(until
recently)
virginity
have
been
beautiful
in
women
since
they
stand
for
experiential
and
sexual
ignorance.
Aging
in
women
is
unbeautiful
since
women
grow
more
powerful
with
time,
and
since
the
links
between
generations
of
women
must
always
be
newly
broken:
Older
women
fear
young
ones,
young
women
fear
old,
and
the
beauty
myth
truncates
for
all
the
female
life
span.
Women
and
others:
Most
urgently,
womens
identity
must
be
premised
upon
our
beauty
so
that
we
will
remain
vulnerable
to
outside
approval,
carrying
the
vital
sensitive
organ
of
self-esteem
exposed
to
the
air.
History
Before
Industrial
Revolution:
there
have
been
considerations
of
who
was
a more
beautiful
woman,
but
no
MASS-PRODUCED
and
MASS-
DISTRIBUTED
IMAGES:
a woman
was
exposed
to
very
few
images
of
beauty
outside
Church,
no
mass-accepted
physical
ideal:
the
value
of
women
who
were
not
aristocrats
or
prostitutes
lay
in
their
work
skills,
economic
shrewdness,
physical
strength,
and
fertility
Historically:
according
to
Wolf,
the
beauty
myth
was
invented
in
the
19th
c.
industrialization
and
rise
of
literacy
and
living
standards
meant
that
the
middle-class
expanded,
there
were
more
women
who
had
to
be
controlled;
Wolf
traces
back
the
images
of
how
women
should
look
to
the
1830s-
1840s;
technology:
photography,
also
printing
technology
that
allowed
for
mass
distribution
of
newspapers
ideas
more
easily
spread
Emerging
social
fictions
in
the
19th c.
the
rise
of
the
beauty
myth
a
version
of
childhood
that
required
continual
maternal
supervision
a
concept
of
female
biology
that
required
middleclass
women
to
act
out
the
roles
of
hysterics
and
hypochondriacs
a
conviction
that
respectable
women
were
sexually
anesthetic
a
definition
of
womens
work
that
occupied
them
with
repetitive,
time-
consuming,
and
painstaking
tasks
such
as
needlepoint
and
lacemaking.
All
such
Victorian
inventions
as
these
served
a
double
function
that
is,
though
they
were
encouraged
as
a
means
to
expend
female
energy
and
intelligence
in
harmless
ways,
women
often
used
them
to
express
genuine
creativity
and
passion.
These
activities:
During
a
century
and
a
half
of
unprecedented
feminist
agitation,
they
effectively
counteracted
middle-class
womens
dangerous
new
leisure,
literacy,
and
relative
freedom
from
material
constraints.
As
soon
as
a
womans
primary
social
value
could
no
longer
be
defined
as
the
attainment
of
virtuous
domesticity,
the
beauty
myth
redefined
it
as
the
attainment
of
virtuous
beauty. It
did
so
to
substitute
both
a
new
consumer
imperative
and
a
new
justification
for
economic
unfairness
in
the
workplace
where
the
old
ones
had
lost
their
hold
over
newly
liberated
women.
The
caricature
of
the
Ugly
Feminist
was
resurrected
to
dog
the
steps
of
the
womens
movement.
The
caricature
is
unoriginal;
it
was
coined
to
ridicule
the
feminists
of
the
nineteenth
century
>>>
link
with
BEAUTY:
the
myth
that
feminists
are
bitter
because
they
are
too
ugly
to
get
married:
worth
of
women
valued
by
beauty,
and
beauty
used
to
silence
them
Beauty
and
work
Women
have
been
asked
to
add
a
third
shift
to
their
workload
( job,
housework,
beauty)
Before
women
entered
workforce,
a
class
explicitly
paid
for
beauty
e.g.
actresses,
models,
dancers
=
display
professions
Wolf
argues
that
all
jobs
have
become
display
professions
through
3
vital
lies
reinforced
in
the
workforce:
1.
Beauty
is
a legitimate
and
necessary
qualification for
a womans
rise
in
power.
2.
Beauty
can
be
attained
by
any
woman
through
hard
work
>
beauty
as
a valid
test
of
a womans
ability
to
work
hard,
i.e.
her
professional
qualities.
3.
Beauty
becomes
the
next
step
women
are
asked
to
take:
for
every
feminist
action
there
is
an
equal
and
opposite
beauty
myth
reaction
(e.g.
in
the
1980s,
more
female
employment
and
rise
in
womens
power
>
also
rise
in
the
importance
of
beauty)
Beauty
as
meritocracy
M.
power
structure
based
on
MERIT:
skill,
capability,
intelligence,
BEAUTY
Beauty
has
been
sold
to
people
through
a language
that
promised
them
they
could
be
beautiful
if
they
made
the
effort:
the
language
of
magazines
and
ads:
Meritocracy (get
the
body
you
deserve;
a
gorgeous
figure
doesnt
come
without
effort)
entrepreneurial
spirit (make
the
most
of
your
natural
assets)
absolute
personal
liability
for
body
size
and
aging (you
can
totally
reshape
your
body;
your
facial
lines
are
now
within
your
control)
open
admissions (at
last
you
too
can
know
the
secret
beautiful
women
have
kept
for
years)
THIS
RHETORIC
similar
to
the
American
Dream >>>
if
only
an
individual
tries
hard
enough,
he
or
she
has
to
make
it,
has
to
achieve
their
goals
in
the
end.
beauty
has
gained
some
economic
implications:
beauty
has
become
equated
to
wealth,
in
that
women
have
begun
to
use
beauty
as
a means
of
competition
among
women,
the
way
men
used
money.
By
the
1980s
beauty
had
come
to
play
in
womens
status-seeking
the
same
role
as
money
plays
in
that
of
men:
a
defensive
proof
to
aggressive
competitors
of
womanhood
or
manhood.
1980s
laws
about
appearance
in
the
workplace:
the
working
woman
must
be
taken
seriously:
What
must
this
creature,
this
serious
professional
woman,
look
like?
Television:
double
image:
the
older
man,
lined
and
distinguished,
seated
beside
a
nubile,
heavily
made-up
female
junior
Youth
and
beauty
make
the
anchorwoman
replaceable,
GENERIC
she
is
asked
to
maintain
beauty
but
that
same
beauty
undermines
her
position
as
not
unique
Beauty
v.
qualification
women
are
asked
to
put
the
effort
into
being
beautiful
(e.g.
older
actresses
or
anchorwomen
wont
be
allowed
to
do
their
jobs)
BUT
if
she
is
beautiful,
it
will
be
said
about
her
that
she
only
got
the
job
for
her
looks,
regardless
of
her
qualities
Wolf
calls
this
demand
for
beauty
the
professional
beauty
qualification
PBQ
gives
employers
what
they
need
economically
in
a
female
work
force
by
affecting
women
psychologically
on
several
levels:
It
reinforces
the
double
standard:
male
and
female
appearance
treated
differently
at
work.
It
keeps
women
materially
and
psychologically
poor:
great
investment
in
physical
beauty:
cosmetics,
surgeries,
luxury
products,
trainers/gym
memberships
etc.
It
tires
women
out
It
inverts
the
male
career
span:
men
gain
more
achievements
and
success
as
they
age,
old
women
less
successful
and
wealthy
than
old
men.
Nowadays:
debate
about
workplace
dress
code
(2016-17,
Britain
high
heels)
Beauty
and
culture
literature:
the
myth
>
flattening
the
feminine
into
beauty-without-
intelligence
or
intelligence-without-beauty;
women
are
allowed
a
mind
or
a
body
but
not
both
A
girl
learns
that
stories
happen
to
beautiful
women,
whether
they
are
interesting
or
not.
And,
interesting
or
not,
stories
do
not
happen
to
women
who
are
not
beautiful.
Female
writers:
search
for
a
beauty
that
has
meaning
many
images
of
a
spirited
heroine
who
is
not
particularly
beautiful
v.
a
rival
who
is
extremely
beautiful
but
has
an
unpleasant
character.
the
heros
capacity
to
see
the
true
beauty
of
the
heroine
is
his
central
test.
(Jane
Eyre)
Pop.culture:
magazines:
- censorship:
magazines
for
women:
controlled
by
the
sponsors;
airbrushing:
photos
made
to
look
younger,
thinner,
more
beautiful
Beauty
and/as
religion
Beauty
has
become
like
a
cult:
The
Church
of
Beauty
with
its
Rites
of
Beauty
strong
belief
system
in
the
power
of
beauty
The
beauty
myth
and
religion
both
based
on
guilt:
A
worshiper
who
does
not
feel
guilty
cannot
be
counted
on
to
support
the
Church;
a
woman
who
does
not
feel
damaged
cannot
be
relied
on
to
spend
money
for
her
repair.
Wolf
links
the
Victorian
repression
of
female
sexuality
to
the
modern
repression
of
female
eating
repression
of
female
APPETITE.
When
sex
stopped
being
used
as
a
source
of
fear,
guilt
and
shame
(in
the
sexual
revolution),
there
was
the
need
to
replace
it
with
a
different
source
of
these
controlling
emotions:
Women
have
been
taught
that
fear,
guilt,
and
shame
must
always
follow
pleasure.
In
the
Church,
though
men
were
tempted
by
sexual
lust,
women
were
cast
as
its
wicked
embodiment.
Similarly,
though
men
have
appetites
and
get
fat,
womens
oral
appetites
are
the
social
embodiment
of
shame.
Beauty
advertised
through
a
language
of
religion:
chocolate
becomes
temptation,
low-calorie
food
is
salvation,
spa
treatments
are
heaven
The
woman
in
these
ads:
capable
of
saving
herself
through
effort
and
the
right
products
Food
becomes
the
sin
to
be
revealed
or
confessed:
the
moment
of
truth
about
weight,
the
scale
does
not
lie,
Your
skin
reveals
what
you
eat
Wolf
also
says
theres
The
Cult
of
the
Fear
of
Fat
the
mentality
of
weight
control
is
frightening
because
it
draws
on
techniques
that
addict
the
devotee
to
cult
thinking,
and
distort
her
sense
of
reality.
How
does
beauty/weight
loss
resemble
a
cult?
Cults
follow
an
authoritarian
structure.
Dieters
follow
regimes
from
which
they
must
not
deviate:
The
tone
of
diet
books
and
features
is
dogmatic
and
unequivocal.
Experts
direct
the
endeavor
and
always
know
best.
Cults
preach
renunciation
of
the
world. Dieters
give
up
pleasure
in
food.
They
avoid
eating
out,
restrain
their
social
lives,
and
withdraw
from
situations
in
which
they
might
face
temptations.
Anorexics
give
up
most
earthly
pleasuresmovies,
trinkets,
jokesas
an
extension
of
food
renunciation.
Cult
members
believe
that
they
alone
are
gifted
with
the
truth. Women
with
weight
obsessions
ignore
compliments
because
they
feel
that
they
alone
really
know
just
how
repulsive
is
the
body
hidden
from
view.
Anorexics
are
sure
they
are
embarked
on
a
quest
that
no
one
else
can
understand
by
looking
at
them.
Self-denial
can
lock
women
into
a
smug
and
critical
condescension
to
other,
less
devout
women.
cult
members
develop,
from
these
three
convictions,
an
attitude
of
moral
superiority,
a
contempt
for
secular
laws,
rigidity
of
thought,
and
the
diminution
of
regard
for
the
individual. A
high
premium
is
placed
on
conformity
to
the
cult
group;
deviation
is
penalized.
The
aim
of
beauty
thinking,
about
weight
or
age,
is
rigid
female
thought.
Cult
members
are
urged
to
sever
all
ties
with
the
past:
I
destroyed
all
my
fat
photographs;
Its
a
new
me!
Sex
Women
represented
as
objects
of
sexual
desire,
not
subjects
women
have
to
earn
their
sexuality
through
appearance
Young
girls
do
not
lack
facts;
they
lack
a
positive
sexual
culture:
novels
and
poetry,
film
and
jokes
and
rock
and
roll,
written
not
to
sell
but
to
explore
and
communicate
and
celebrate,
as
the
best
male
erotic
culture
is
written.
Because
they
lack
this
positive
sex.culture,
the
girls
looks
are
turned
back
onto
their
bodies:
The
questions,
Whom
do
I
desire?
Why?
What
will
I
do
about
it?
are
turned
around:
Would
I
desire
myself?
Why?Why
not?
What
can
I
do
about
it?
In
the
past,
female
sexuality
and
childbirth
was
kept
a
secret
from
men
Nowadays,
beauty
rituals
are
whats
being
hidden
>
again,
beauty
as
DIVISION
this
time,
divides
men
from
women,
creates
anger,
suspicion,
incomprehension,
ridicule
Wolfe
claims
that
relationships
of
men
and
women
are
set
up
to
be
difficult,
because
women
both
fear
being
loved
only
for
their
beauty
for
which
they
have
to
constantly
make
great
effort
and
NOT
being
recognized
as
beautiful: A
high
rating
as
an
art
object
is
the
most
valuable
tribute
a
woman
can
exact
from
her
lover.
If
he
appreciates
her
face
and
body
because
it
is
hers,
that
is
next
to
worthless.
Not
just
insecurity:
if
a
woman
has
self-respect,
it
turns
into
HOSTILITY:
she
asks
for
positive
evaluation
from
her
male
lover,
but
at
the
same
time,
shes
asking
why
he
should
be
in
a
position
to
judge
her
against
other
women?
Why
must
she
demand
knowing
about
her
position
in
regard
to
other
women,
and
at
the
same
time
hate
knowing
the
answer?
Hunger
and
violence
Hunger:
connected
to
control:
girls
and
women
are
taught
to
control
what
they
eat
->
hunger
has
become
equated
with
beauty,
a
price
to
pay
for
beauty;
also
hunger
keeps
women
distracted
thinking
about
what
they
eat
Violence:
Wolf
calls
cosmetic
surgery
violence
Argues
that
breast
implants
can
cause
many
problems,
among
which
is
also
loss
of
sensation
in
breasts:
breasts
become
pure
OBJECTS
without
doing
much
for
the
woman
herself
Wolf
links
relief
women
feel
after
cosmetic
surgery
to
genital
mutilation
of
the
Victorian
era:
women
were
told
they
should
not
feel
sexual
desire/arousal,
so
after
clitoridectomy,
they
felt
relief
from
these
forbidden
feelings.
Present
women:
taught
they
should
look
beautiful/youthful,
so
after
a
surgery
they
feel
relief
too.
Criticism
Exaggerated
claims
of
numbers
of
death
from
anorexia
in
Wolfs
book
Historical
research
and
analysis
might
be
flawed
Centered
on
heterosexual
women
a
lot
of
discussion
about
women
and
male
lovers
or
male
partners
The
Right
to
Be
Beautiful
(2011)
Michelle
M.
Lazar
Discusses
advertising
in
magazines
and
newspapers,
and
how
beauty
is
presented
in
advertisements
on
beauty
products
doing
beauty
is
a
vital
component
of
doing
femininity
Some
feminists
(associated,
especially,
with
the
second
wave)
have
criticized
normative
beauty
practices,
and
the
highly
profitable
commercialized
beauty
industry
that
drives
those
practices,
as
oppressive
upon
women
generally.
Lazar
shows
how
the
beauty
industry
incorporated
the
language
of
feminism
and
liberation
in
order
to
make
their
ads
seem
positive,
to
market
beauty
products
as
a
form
of
liberation
Emancipation
as
the
right
to
be
beautiful
Beauty
practices
were
re-signified
as
productive
of
a
new
kind
of
femininity
>>
femininity
and
feminism,
or
beauty
and
feminism,
no
longer
seen
as
mutually
exclusive
(debate
on
feminism
and
makeup)
Freedom
and
liberation
from
self-restrictions
these
can
be
located
in
the
body
or
in
the
attitude
In
the
body:
advertisements
use
language
of
freedom:
freedom
from
oily
skin,
life
free
from
stubborn
fat!,
I
am
hair-free
for
evermore.
[XY
product]
frees
you
of
your
beauty
concerns
and
the
effects
of
stress
(ads
taken
from
a
Singapore-based
English
newspaper,
2001-
2007)
What
these
ads
promise
is
the
FREEDOM
TO
BE
BEAUTIFUL an
entry
into
a
world
in
which
women
have
flawless
skin,
a
perfect
body,
and
no
restrictions
on
clothes
they
can
wear.
Not
having
a
completely
perfect
body
=
seen
as
a
CONSTRAINT.
Freedom
=
wearing
revealing
clothes
->
but
the
ads
use
a
language
that
suggests
it
is
the
womens
own
desire.
This
freedom
to
be
beautiful is
set
against
an
imagined
tyranny
of
ugliness.
Therefore,
conformity
to
the
(narrow)
beauty
ideals,
paradoxically,
is
represented
as
freedom
of
expression
for
women;
the
liberating
promise
of
beauty
is
to
gain
access
to
ways
of
life
and
styles
of
dressing
otherwise
denied
them,
which
does
nothing
to
challenge
the
prevailing
norms
of
beauty
and
fashion.
Achievement
of
body
beauty
as
a
feminist
right
Exercise
your
right
to
health
and
beauty!
FIGHT
FOR
YOUR
RIGHT
TO
OWN
THE
PERFECT
BODY.
Fend
off
the
extra
pounds
with
the
womens
empowerment
package.
Women
around
the
world,
unite.
The
struggle
against
the
flab
is
coming
to
an
end.
With
our
new
Womens
Empowerment
Package,
you
can
now
slim
down
and
shape
up
in
10
effective
sessions.
[...]
So
take
a
step
towards
liberation.
Give
us
a
call
to
sign
up
for
the
Womens
Empowerment
Package
today.
combines
resonances
of
secondwave feminist
sentiments
with
popular
postfeminist
ones.
Semblance
of
a
second-wave
feminist
discourse
is
rehearsed
linguistically
in
the
expressions:
fight
for
your
right,
womens
empowerment;
women
...
unite,
the
struggle
and
liberation.
Beauty
as
self-belief,
ambition,
potential
To
say
the
skys
the
limit
isnt
too
much
of
a
stretch.
[Headline]
Try
and
you
will
see.
Reach
and
you
will
achieve.
At
Amore
Fitness,
its
about
taking
that
all
important
step
towards
achieving
a
healthy
and
attractive
body.
[...]
The
skys
the
limit.
So
go
for
it
at
Amore
Fitness
now.
These
ads
draw
upon
a
motivational,
self-help
discourse
that
suggests
to
women
that
emancipation
lies
in
the
hands
of
women
themselves.
Beauty
as
the
right
to
choose
Feminist
debate:
right
of
choice,
e.g.
reproductive
rights:
pro-life
v.
pro-CHOICE:
framed
as
a
matter
of
CHOICE
first
and
foremost
choice
feminism indexes
the
shift
to
personal
(rather
than
social
and
political)
choices made
by
women in
domains
such
as
paid
work,
domesticity
and
parenting,
sexuality,
as
well
as
grooming
Choice
extended
to
matters
of
beauty
and
consumerism
appeal to
the target consumer directly:
Ads:
choose
from
several
products
of
the
same
type,
colors,
textures,
select
specific
parts
of
packages
you
want
The
choices
offered
to
women
are
to
decide
what
(and
how)
to
consume
from
a
fairly
limited
and
indistinguishable
range
of
products,
as
if
this
is
the
kind
of
choice
that
matters.
The
option
not
offered
to
women
is
the
one
not
to
consume
and,
in
turn,
the
freedom
not
to
comply
with
the
commercialized
beauty
rituals and
ideals
entailed
by
the
consumption
of
those
products.
Also
compliant
with
third-wave
feminism
and
post-feminism:
idea
of
women
as
individuals,
not
as
one
coherent
group:
many
ads
speak
about
custom
fit,
products
developed
for
a
particular
skin
type
or
skin
color,
not
all
skin
are
similar,
different
personalities
even
These
commercial
choices
offer
only
a
SIMULATION
of
freedom