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In Just Like Us: Digital Debates on Feminism and Fame, Caitlin E. Lawson examines the rise of celebrity feminism, its intersections with digital culture, and its complicated relationships with race, sexuality, capitalism, and misogyny. Through in-depth analyses of debates across social media and news platforms, Lawson maps the processes by which celebrity culture, digital platforms, and feminism transform one another. As she analyzes celebrity-centered stories ranging from \"The Fappening\" and the digital attack on actress Leslie Jones to stars' activism in response to #MeToo, Lawson demonstrates how celebrity culture functions as a hypervisible space in which networked publics confront white feminism, assert the value of productive anger in feminist politics, and seek remedies for women's vulnerabilities in digital spaces and beyond. Just Like Us asserts that, together, celebrity culture and digital platforms form a crucial discursive arena where postfeminist logics are unsettled, opening up more public, collective modes of holding individuals and groups accountable for their actions.

No Permanent Wavesboldly enters the ongoing debates over the utility of the \"wave\" metaphor for capturing the complex history of women's rights by offering fresh perspectives on the diverse movements that comprise U.S. feminism, past and present. Seventeen essays--both original and reprinted--address continuities, conflicts, and transformations among women's movements in the United States from the early nineteenth century through today.A respected group of contributors from diverse generations and backgrounds argue for new chronologies, more inclusive conceptualizations of feminist agendas and participants, and fuller engagements with contestations around particular issues and practices. Race, class, and sexuality are explored within histories of women's rights and feminism as well as the cultural and intellectual currents and social and political priorities that marked movements for women's advancement and liberation. These essays question whether the concept of waves surging and receding can fully capture the complexities of U.S. feminisms and suggest models for reimagining these histories from radio waves to hip-hop.

The past twenty years have witnessed a renewal of interest in feminist activism on both sides of the Atlantic. In part this has been a response to neoliberal and neoconservative attacks, both implicit and explicit, on the gains made by feminists during the 1960s and 70s. This study adds a comparative dimension to the ongoing analysis of feminism and feminist activism by mapping, analysing and theorising third wave feminisms in the US and Britain. A key addition to Gender and Politics literature, it explores third wave feminisms by situating them within a specific political context, neoliberalism, and in relation to feminist theories of intersectionality, both of which present radical opportunities and practical challenges for feminism and the feminist movement. Elizabeth Evans is Lecturer in Politics at the University of Bristol. Her research focuses on gender and politics, including engagement with formal processes and political activism. She has published widely on aspects of feminism, gender and politics, and her previous book, Gender and the Liberal Democrats, was published in 2011.

Second Wave feminism collapsed in the early 1980s when a universal definition of women was abandoned.At the same time, as a reaction to the narcissism of white middle class feminism, 'intersectionality' led to many different feminisms according to race, sexual preference and class.

\"No matter how wise a mother's advice is, we listen to our peers.\" At least that's writer Naomi Wolf's take on the differences between her generation of feminists -- the third wave -- and the feminists who came before her and developed in the late '60s and '70s -- the second wave. In Not My Mother's Sister, Astrid Henry agrees with Wolf that this has been the case with American feminism, but says there are problems inherent in drawing generational lines. Henry begins by examining texts written by women in the second wave, and illustrates how that generation identified with, yet also disassociated itself from, its feminist \"foremothers.\" Younger feminists now claim the movement as their own by distancing themselves from the past. By focusing on feminism's debates about sexuality, they are able to reject the so-called victim feminism of Catherine MacKinnon and Andrea Dworkin. Rejecting the orthodoxies of the second wave, younger feminists celebrate a woman's right to pleasure. Henry asserts, however, that by ignoring diverse older voices, the new generation has oversimplified generational conflict and has underestimated the contributions of earlier feminists to women's rights. They have focused on issues relating to personal identity at the expense of collective political action. Just as writers like Wolf, Katie Roiphe, and Rene Denfeld celebrate a \"new\" feminist (hetero)sexuality posited in generational terms, queer and lesbian feminists of the third wave similarly distance themselves from those who came before. Henry shows how 1970s lesbian feminism is represented in ways that are remarkably similar to the puritanical portrait of feminism offered by straight third-wavers. She concludes by examining the central role played by feminists of color in the development of third-wave feminism. Indeed, the term \"third wave\" itself was coined by Rebecca Walker, daughter of Alice Walker. Not My Mother's Sister is an important contribution to the exchange of ideas among feminists of all ages and persuasions.

While third-wave feminists do not have an entirely different set of issues or solutions to long-standing dilemmas, the movement does constitute, more than simply a rebellion against second-wave mothers. What really differentiates the third wave from the second is the tactical approach it offers to some of the impasses that developed within feminist theory in the 1980s. Third-wave feminism continues the efforts of second-wave feminism to create conditions of freedom, equality, justice, and self-actualization for all people by focusing on gender-related issues in particular, even as it offers a different set of tactics for achieving those goals. Here, Snyder explores a wide array of popular and academic literature on third-wave feminism in an attempt to make sense of a movement that on its face may seem life a confusing hodgepodge of personal anecdotes and individualistic claims.

New Bloodoffers a fresh interdisciplinary look at feminism-in-flux. For over three decades, menstrual activists have questioned the safety and necessity of feminine care products while contesting menstruation as a deeply entrenched taboo. Chris Bobel shows how a little-known yet enduring force in the feminist health, environmental, and consumer rights movements lays bare tensions between second- and third-wave feminisms and reveals a complicated story of continuity and change within the women's movement.Through her critical ethnographic lens, Bobel focuses on debates central to feminist thought (including the utility of the category \"gender\") and challenges to building an inclusive feminist movement. Filled with personal narratives, playful visuals, and original humor,New Bloodreveals middle-aged progressives communing in Red Tents, urban punks and artists \"culture jamming\" commercial menstrual products in their zines and sketch comedy, queer anarchists practicing DIY health care, African American health educators espousing \"holistic womb health,\" and hopeful mothers refusing to pass on the shame to their pubescent daughters. With verve and conviction, Bobel illuminates today's feminism-on-the-ground--indisputably vibrant, contentious, and ever-dynamic.

This new directions essay traces the most recent trajectory in the field of hip-hop feminism. To that end, we map the current terrain of hip-hop feminist studies, first by identifying challenges and tensions, then by reviewing current literature and its engagement with these issues, and finally by identifying new and emergent areas for further development of the field. We argue that hip-hop feminism has effectively made space for itself in the broader fields of black and women-of-color feminisms and remains deeply invested in the intersectional approaches developed by earlier black feminists. We also insist that women and girls of color remain central to our analyses, particularly in light of the proliferation of critical masculinity studies within the broader field of hip-hop studies. Furthermore, our discussion of hip-hop feminism contends that within hip-hop feminist studies, hip-hop and feminism act as discrete but constitutive categories that share a dialogic relationship. Rather than treating feminism as though it lends a certain intellectual gravity to hip-hop, we consider how creative, intellectual hip-hop feminist work invites new questions about representation, provides additional insight about embodied experience, and offers alternative models for critical engagement.

Girlhood (It’s complicated) is an exhibition at the National Museum of American History (NMAH), part of the Smithsonian Institution, which opened in October of 2020. Created with federal funding as part of the American Women’s History Initiative (AWHI), the exhibition commemorates the centennial of women’s suffrage. To put a fresh spin on this anniversary and draw attention to larger, intertwining issues of gender and politics in the United States, the exhibition team chose to explore the history of girlhood and girls as political actors as the focus of the show. Drawing on the rich, interdisciplinary literature of girlhood studies and inspired by zines as a form of identity creation and political self-expression, the show aims to create a public history of girlhood that unveils the public lives of girls in the past and showcases the many ways in which they, even without the vote or formal political power, have had a political voice in American history. The exhibition is open at the NMAH from October 2020 to January 2023, and will travel with the Smithsonian Institution Traveling Exhibition Service through 2026.