From the historical roots of second-wave feminism to current debates about feminist theory and politics. This introduction to Anglo-American feminist thought provides a critical and panoramic survey of dominant trends in feminism since 1968. Feminism is too often considered a monolithic movement, consisting of an enormous range of women and ideologies, with both similar and different perspectives and approaches. The book is divided into two parts, the first of which takes a close look at the most influential strands of feminism: (...) liberal feminism, Marxist/socialist feminism, radical feminism, lesbian feminism, and black feminism. In later chapters, Whelehan ties these complexities of, and conflicts within, feminism. The role and relationship of men to feminism, and feminism's often thorny relationship to postmodernism, are also the subject of chapter length treatment. Concluding with a provocative discussion of the much-heralded advent of post-feminism and the rise of the new feminist superstars such as Camille Paglia, Naomi Wolf, Susan Faludi, and Katie Roiphe, Modern Feminist thought is an ideal text for students and a book no feminist teacher or activist should be without. (shrink)

When the term “postfeminism” entered the media lexicon in the 1990s, it was often accompanied by breathless headlines about the “death of feminism.” Those reports of feminism’s death may have been greatly exaggerated, and yet contemporary popular culture often conjures up a world in which feminism had never even been born, a fictional universe filled with suburban Stepford wives, maniacal career women, alluring amnesiacs, and other specimens of retro femininity. In _Feminism and Popular Culture_, Rebecca Munford and Melanie Waters consider (...) why the twenty-first century media landscape is so haunted by the ghosts of these traditional figures that feminism otherwise laid to rest. Why, over fifty years since Betty Friedan’s critique, does the feminine mystique exert such a strong spectral presence, and how has it been reimagined to speak to the concerns of a postfeminist audience? To answer these questions, Munford and Waters draw from a rich array of examples from contemporary film, fiction, music, and television, from the shadowy cityscapes of _Homeland _to the haunted houses of _American Horror Story_. Alongside this comprehensive analysis of today’s popular culture, they offer a vivid portrait of feminism’s social and intellectual history, as well as an innovative application of Jacques Derrida’s theories of “hauntology.” _Feminism and Popular Culture_ thus not only considers how contemporary media is being visited by the ghosts of feminism’s past, it raises vital questions about what this means for feminism’s future. (shrink)