Categories
Gender and Sexuality

The ‘Why’ of Modern Feminism: A Commentary On The Growth Of Social Media as a Hotbed for Misogyny

Caitlyn Jones is a passionate, aspiring, academic and feminist activist, who is in her first-year studying English at King’s College London. Drawing from her personal experiences as a woman and a keen observer of history, she explores the ongoing struggles women face in the realms of self-expression, body autonomy, and societal expectations. Check out an extract of her work below:

One thing I have come to realise from studying the issues surrounding women’s rights throughout history, from being a social media user, and, crucially, from being a woman myself, is that we never seem to be able to, for lack of an academic term, catch a break.

Perhaps one might be of the opinion that the online world would be a safer opportunity for self-expression – as we are intangible and therefore out of reach to any potential perpetrators. Sadly, this could not be further from the truth. It is important to be absolutely clear: the issue with gender dynamics on social media isn’t about women posting pictures of themselves in a bikini while enjoying their holidays or showing off a new dress that falls above the knee. In doing so, they are showcasing their confidence, beauty, and pride in their own bodies – just as a man does when he posts a picture of himself shirtless at the gym. As a relatively well-rounded human, I fail to see the overarching problem with any of these scenarios. Returning to the former two examples, however, the problem lies entirely with those who choose to berate the woman for ‘showing too much skin’ or parading around as a ‘slut.’ Both men and women have been guilty of this offence. From observing myriad comments under these kinds of posts, I have drawn several rather unsurprising yet deeply prevalent conclusions as to their motives – conclusions that still allude my understanding as a social media, and, more importantly, as an all-round decent human.

More often than not, these comments are blatantly underscored with airs of jealousy, insecurity or intimidation. In many cases, it is a hideous integration of all three. And to be blunt, neither I nor any other social media user I’ve spoken to in relation to this essay have encountered comments of the same objectifying and nefarious nature under a shirtless man’s post. Therein lies one of the most terrifying and problematic social paradoxes in our community: there exists a certain social aversion, or rather a subconscious fear of female sexuality, or perhaps more specifically, a fear of a woman’s confidence in her own sexuality. The reason for this fear I cannot explain – it is not my job to do that. But as a feminist activist, it is my job to point out its dangerous and, in certain cases, fatal consequences.

From this fear of a woman’s confidence in her body and sexuality arises aggression and hostility towards its expression – particularly through social media posts. The search for evidence of this was unfortunately not a difficult one – this part of my research was far more enduring than enjoyable. In truth, I am not completely sure if ‘research’ is the correct word for it. All I had to do was scroll through my ‘For You’ page on Instagram, where a woman in a bikini or a shorter dress would appear, and open the comments section. The most common statements I discovered were along the lines of ‘put some clothes on,’ ‘wh0re,’ and ‘wasted goods.’ From here, I began to see and acknowledge the fact that there is, without any doubt, a war on women within the online world as well as the ‘real’ one.

Further proof of this can be examined through social media users who choose to exploit the platform as an opportunity to spout hate to and about women. I am sure many of you will be at least somewhat aware of the so-called ‘podcast bros’ or ‘alpha males’ who dominate many a young person’s social media feed with their preaching of shockingly degrading comments concerning women’s sexualities, bodies and life choices.

Many of these men have argued that it is the rise of ‘modern feminism’ that has enabled an insurgence of women showcasing their pride in their bodies and sexuality through social media and beyond – and I could not agree more. However, the crucial difference between myself and the social media users who I speak of – is that they choose to view it as an entirely negative phenomenon. The most problematic aspect of the label of ‘modern feminism’ lies in its suggestion that its definition has been somehow co-opted over time to suit the interests of misandrists and corrupt the values of femininity. Allow me to make one thing abundantly clear: the definition of feminism along with everything it stands for has always remained a constant. It has never changed. The aims and intentions of feminism has always been to advocate for the woman’s choice to make her own decisions concerning her body, her money, her education and her personal life, and to ensure that she both obtains and maintains access to the same human and civil rights as her male counterpart. Women who wish for a world where women are superior to men are misandrists, not feminists, even if they feel they identify as the latter. There are many people who may identify with a certain faith but repeatedly reject and contravene the laws and values of that same faith in their daily lives – perhaps at times without knowing it. The very same logic applies to this situation. There is an ocean between the world of feminism and misandry, just as there is an ocean between the world of feminism and misogyny.

Written by Caitlin Jones. 

 

 

Categories
Aesthetics, Philosophy, Theory Gender and Sexuality Medical Humanities

FOUCAULT 40 YEARS AFTER: WORKSHOP ON THE CULTURE OF THE SELF (CALL FOR PARTICIPATION)

By Alexander Giesen

As part of the World Congress “Foucault: 40 Years After”, doctoral researcher Alex Giesen is organising a workshop on Michel Foucault’s late ethico-political thought to commemorate the 40th anniversary of his death. Below is the call for participation.

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Creative Practice, Performance and Theatrical Culture Early Modern and Shakespeare Gender and Sexuality

Review: The Masks of Aphra Behn by Claire Amias

By Amalia Costa

The year is 1677, and Aphra Behn has gatecrashed her own play. Instead of a pre-scheduled performance of The Rover, Behn takes to the stage to tell the story of her life up until this point, in a one-woman show by Claire Amias, whose charismatic portrayal of Behn reveals a character study rich in humour and pathos.

Categories
20th - 21st Centuries Gender and Sexuality Long Read

The Female Character and French Aristocracy in Edith Wharton’s ‘The Custom of the Country’ and ‘The Reef’

By Samantha Seto

In Edith Wharton’s American novels, the heroines are part of the French aristocratic milieu. The American expatriates, Undine Spragg and Anna Leath, are situated in France and characterized by attributes that suggest French influence through literary elements such as narration and dialogue in The Custom of the Country (1913) and The Reef (1912). Wharton reveals an implicit feminism in a patriarchal society and thematic marital relations drive the plot, which indicates the conventional role for women dedicated to the social traditions of the aristocracy. The French have their own code of manners in society, idealised aesthetic of female beauty, and their honour resides in the social expectations of probity. In my narratological analysis of character identity, French cultural norms and the common French aesthetic blends into the portrayal of the primary female characters. Wharton interweaves a French theme into the narratives which shape the portraits representing aristocratic women and particularly their romantic conflicts that arise at the turn of the century. In the novels, Wharton establishes heroines characterised by attributes that belong to the French aristocracy.

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20th - 21st Centuries Aesthetics, Philosophy, Theory American Studies Culture, Text and History Gender and Sexuality Insights

2021 Ellen Craft Essay Prize Awarded to PhD Student Katie Arthur

By Professor Mark Turner, PGR Lead

It is a pleasure to announce to the KCL English community that the Scottish Association for the Study of America (SASA) has awarded the 2021 Ellen Craft Essay Prize to one of our PhD students, Katie Arthur, for her brilliant essay, ‘Arousing Disgust: Visceral Configurations of Obscenity through Literal, Literary, and Governmental Bodies in William S. Burroughs’ Naked Lunch (1959)’.