Tag Archives: gender: feminism/activism

2011 International Women’s Day Round-Up Post

As a number of readers emailed us to point out, yesterday was International Women’s Day, designed to highlight both women’s accomplishments and the persistence of gender inequality worldwide. Ben Buursma noticed an ad in an Indonesian newspaper celebrating International Women’s Day and marketing “Books to empower all women,” though it turns out what they empower women to do is “look into the minds of men” and “find, keep, and understand a man”:

Emma M. H. sent in a link to the the White House Council on Women and Girls report on the status and well-being of U.S. women on a variety of social indicators. Interestingly, while both men and women are waiting longer to get married, the gender gap in age at first marriage has remained relatively constant for decades:

Men are more likely to be either married and never-married, while women currently more likely than men to be divorced or widowed:

Over time, the percent of women who have never given birth has gone up, particularly for the 25-29 age group, though in the last decade there has been a slight downward trend for women aged 30-44:

One note about that graph: the report uses the phrase “had a child” and “childbearing,” so I think this data would include women who have adopted children but never given birth.

I was surprised to see that rates of Cesarean sections have gone up in the past decade:

Women are now outperforming men in terms of educational attainment, earning the majority of bachelor’s degrees, though notice the number of degrees in engineering/computer science earned by women hasn’t increased since 1998:

However, women still make less than men at each level of educational attainment:

The report has lots more data on family life, work, education, health, crime, and so on. I’ll post on other topics in the future.

Finally, Ben N., Kay C., Gregory S., and Dave Z. all sent in this video starring Daniel Craig that highlights global gender inequality (though unfortunately I can’t find any reference that provides sources for the statistics in the video, so take it for what it’s worth):

Facets of the Women’s Suffrage Movement

The décor in my childhood home was unusual. Interspersed with photographs of my sister and me were vintage political posters, inherited from my late grandparents. The most startling of these were the posters promoting women’s right to vote: as I grew up, I realized that the viewpoints they depicted contrasted starkly with the narrative of women’s suffrage that I had learned in my history classes.

This poster supports women’s right to vote not by asserting their equality with men, but by appealing to their ability to bear children:

By contrast, this poster actively highlights woman’s ability to contribute to society beyond stereotypically female roles: women were not only nurses and mothers, but doctors and mayors. Yet at the same time, the image disparages the mentally and physically ill by painting men with these conditions as inherently lesser.

Lastly, a picture that speaks for itself.  Women should have suffrage, says the poster, but they must always remember where they truly belong.

Although the right to vote politically empowered the women of Western society, many of the proponents of the women’s suffrage movement espoused ideologies that would not be considered feminist or politically correct today. My history classes dwelt only briefly on these unpalatable schools of rhetoric, but the images in my home allowed me to glimpse a debate that was just as complex and fragmented as the political disputes we face today.

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Alison Marqusee is a high school senior from Massachusetts.  In addition to sociology, her interests include linguistics, psychology, and physics.  She looks forward to attending Haverford College.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.


Women’s Media Visiblity in Egypt’s Protests

(source)

Coverage of the Egyptian protests this week disproportionately interviewed and photographed male protestors, occasionally using the terms “Egyptian men” and “protestors” interchangeably (excellent example here).  What images we did receive of women depicted them as separate from the demonstrations if not dependent on male guardianship.  The paucity of images or stories about women activists excludes them from the national uprising and silences their protests.

The caption is this example caption reads ” A woman crosses a street as demonstrators flee from tear gas in Suez, on Jan. 27″ (Foreign Policy):

Outside of the mainstream media a widely circulated photo album, available to anyone with Facebook, collected over a hundred pictures of Egyptian women demonstrating. Curation of this album during the internet blackout, when nearly all images were filtered through the media, serves as a testament to the value of diaspora and transnational networks.  Additionally, placing these images side by side becomes a powerful counter to women’s media invisibility and highlights diversity of backgrounds, opinions, and forms of protest undertaken by Egyptian women.

It might be worth nothing that we’re seeing more stories about women since a You Tube video (below) of a woman calling for people to join her in protest on January 25th caught the attention of the media.  Namely this excellent NPR story and an AFP article.  Lastly, anyone interested in social media should visit this Facebook group.

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April Crewson is completing her masters in Gender Studies at the School of Oriental and African Studies, University of London.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Myth-Making and the “We Can Do It!” Poster

A polished version of this post was published in Contexts. You can download it here.

Most of our readers are probably familiar  with the now-iconic “We Can Do It!” poster associated with Rosie the Riveter and the movement of women into the paid industrial workforce during World War II:

It is, by this point, so recognizable that it is often parodied or appropriated for a variety of uses (including selling household cleaners). The image is widely seen as a symbol of women’s empowerment and a sign of major gender transformations that occurred during the 1940s.

In their article, “Visual Rhetoric Representing Rosie the Riveter: Myth and Misconception in J. Howard Miller’s ‘We Can Do It!’ Poster,” James Kimble and Lester Olson argue that our current interpretations of the poster don’t necessarily align with how it was seen at the time.

While the poster is often described as a government recruiting item (Kimble and Olson give many examples in the article of inaccurate attributions from a variety of sources), it was, in fact, created by J. Howard Miller as part of a series of posters for the Westinghouse Electric and Manufacturing Company — the Westinghouse logo is clearly visible just under the woman’s arm, and the badge on her shirt collar is the badge employees wore on the plant floor, including an employee number. The War Production Co-ordinating Committee was an internal Westinghouse committee, similar to those created by many companies during the war, not a government entity.

The assumption of current viewers of the image is usually that it was meant to recruit women into the workforce, or to rally women in general — an early example of girl power marketing, if you will — and was widely displayed. But the audience was actually only Westinghouse employees. The company commissioned artists to create posters to be hung in Westinghouse plants for specific periods of time; this poster specifically says, “Post Feb. 15 to Feb. 28″ [1943] in small font on the lower left. There’s no evidence that it was ever made available to the public more broadly. For that matter, the poster doesn’t identify her as “Rosie,” and it’s not clear that at the time she would have been immediately identifiable to viewers as “Rosie the Riveter”.

The image that was more widely seen, and is often conflated with the “We Can Do It!” poster, was Norman Rockwell’s May 29, 1943, cover for the Saturday Evening Post:

Here, the woman is clearly linked to the idea of Rosie the Riveter, through both the name on her lunchbox and the  equipment she’s holding. She is more muscular than the woman in Miller’s poster, she’s dirty, and her foot is standing on a copy of Hitler’s Mein Kampf. Rockwell’s image presents the woman as a vital part of the war effort; her work helps defeat the Nazis. The image also includes fewer details to make her look conventionally attractive than Miller’s, where the woman has emphasized eyelashes and visibly painted fingernail.

Most interestingly, Kimble and Olson question the female empowerment message presumed to be the point of the “We Can Do It!” poster. We see the poster on its own, through the lens of a narrative about World War II in which housewives left the kitchen in droves to work in factories. But Westinghouse workers would have seen it in a different context, as one of a series of posters displayed in the plant, with similar imagery and text. When seen as just one in a series, rather than a unique image, Kimble and Olson argue that the collective “we” in “We can do it!” wouldn’t have been women, but Westinghouse employees, who were used to seeing such statements posted in employee-access-only areas of the plant.

Of course, having a woman represent a default factory employee is noteworthy. But our reading of the poster as a feminist emblem partially rests on the idea that this female worker is calling out encouragement to other women. The authors, however, point out a much less empowering interpretation if you think of the poster not in terms of feminism, but in terms of social class and labor relations:

…Westinghouse used “We Can Do It!” and Miller’s other posters to encourage women’s cooperation with the company’s relatively conservative concerns and values at a time when both labor organizing and communism were becoming active controversies for many workers… (p. 537)

…by addressing workers as “we,” the pronoun obfuscated sharp controversies within labor over communism, red-baiting, discrimination, and other heartfelt sources of divisiveness. (p. 550)

One of the major functions of corporate war committees was to manage labor and discourage any type of labor disputes that might disrupt production. From this perspective, images of happy workers expressing support for the war effort and/or workers’ abilities served as propaganda that encouraged workers to identify with one another and management as a team; “patriotism could be invoked to circumvent strikes and characterize workers’ unrest as un-American” (p. 562).

And, as Kimble and Olson illustrate, most of Miller’s posters included no women at all, and when they did, emphasized conventional femininity and the domestic sphere (such as a heavily made-up woman waving to her husband as he left for work).

Of course, today the “We Can Do It!” poster is seen as a feminist icon, adorning coffee cups, t-shirts, calendars, and refrigerator magnets (I have one). Kimble and Olson don’t explain when and how this shift occurred — when the image went from an obscure piece of corporate war-time propaganda, similar to many others, to a widely-recognized pop cultural image of female empowerment. But they make a convincing argument that our current perceptions of the image involve a significant amount of historical myth-making that helps to obscure the discrimination and opposition many women faced in the paid workforce even during the height of the war effort.

[The article appears in Rhetoric & Public Affairs 9(4): 533-570, 2006.]

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Dove’s Social Construction of Chocolate

Lauren S. sent us a fun illustration of the social construction of chocolate. She writes:

Dove Promises, as it happens, contain a printed message beneath their individual foil wrappings—a message which, according to the cloying copy on the back of the package, “is filled with thoughts of joy and strength, along with positive reflections that will inspire you each day”. Fair enough. Mine was some tripe about rainbows. My boyfriend’s, on the other hand, was an amusing bit of gender assumption:

So in case the name “Dove Promises,” the cursive writing, and the heart shapes didn’t give it away, Dove brand chocolate is FOR GIRLS ONLY. Notice also that Dove is commandeering pseudo-feminist notions of girl power.

Lauren also observes the interesting marketing effort in the second phrase, “You deserve this!”

I immediately thought of Jean Kilbourne’s Can’t Buy My Love… and its emphasis upon the seductive marketing of indulgent food specifically to women… the “inspiring” message was a tired re-tread of that same old idea in which food advertisers so often seem to engage: these are “women’s” foods, and the “joy and strength” you’re missing in your life can be found right here in this bit of dark, rich chocolate, so go ahead, girl, indulge. You can always throw your money at the diet industry afterward.

Thanks Lauren!

For more on the social construction of chocolate: a gender-reversed vintage ad, a contemporary gender-”reversal” in Japan, cupcakes for men, and chocolates in the tampon aisle.

Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.

On the Anniversary of Suffrage for California’s Women

On this day in 1911, suffragettes in California squeaked out a victory, making the state the sixth to give women the vote and doubling the number of female voters in the U.S.  See David Dismore’s great summary at Ms.

Campaign poster reproduction (c. 1896-1910, from David Dismore’s collection):

The New York Times reports:

Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.

Is Cathy a Feminist Heroine?

This month cartoonist Cathy Guisewite will retire her infamous Cathy cartoon strip.

(source)

Today many people might argue that the character — who was obsessed with chocolate, dieting, and dating — is anything but a feminist heroine.  But Jessica Wakeman at Ms. helps put Cathy in perspective:

When the “Cathy” comic strip started in 1976, some victories of the women’s movement were still fresh on people’s minds. The birth control pill had been around for over a decade. Yale University had begun admitting women seven years earlier. Ms. had been on newsstands for five years. Abortion had been legalized three years before. All this is to underscore the point that at the time the “Cathy” strip first appeared, it was an exciting and liberating time to be a single woman.

A single women, I might add, with a job at which she wore a suit and made money:

(source)

At the time, as Wakeman points out, the idea that a life like that was even “worth exploring” was rather new.  However antiquated Cathy seems now, we still very rarely see any cultural product led entirely by a female protagonist.  Cathy, however stereotypically girly, offered us something rather unusual, then and now.

Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.

Gentle, Public Activism: Magnusson’s I-75 Project

Don Waisanen at Thick Culture highlighted Norm Magnusson’s I-75 project.  The project involves installing historical markers with a primarily political instead of historical message.  Some examples:


About the project, Magnusson writes:

…unlike most artworks on social or political themes, these markers don’t merely speak to the small group of viewers that seek out such work in galleries and museums; instead, they gently insert themselves into the public realm.  “Are they real?” is a question viewers frequently ask, meaning “are they state-sponsored?”  I love this confusion and hope to slip a message in while people are mulling it over.

These markers are just the kind of public art I really enjoy: gently assertive and non-confrontational, firmly thought-provoking and pretty to look at and just a little bit subversive.

Waisanen concludes:

That the project is as much about the use of wide-open public spaces as it is about the carefully crafted messages speaks volumes about how innovation may best work in our age. With so little room to communicate messages of social conscience in our message-dense environment, these signs are apt demonstrations of how to pick and choose a context for sociological critique.

Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.