By Ana Sofia Elias, Rosalind Gill, Christina Scharff
This quantity ways questions on gender and the politics of visual appeal from a brand new point of view by means of constructing the suggestion of aesthetic labour. Bringing jointly feminist writing concerning the ‘beauty delusion’ with fresh scholarship approximately new kinds of paintings, the booklet means that during this second of ubiquitous images, social media, and 360 measure surveillance, girls are more and more required to be 'aesthetic entrepreneurs’, preserving a relentless kingdom of vigilance approximately their visual appeal. the gathering exhibits that this paintings isn't just at the floor of our bodies, yet calls for a metamorphosis of subjectivity itself, characterized via notions of non-public selection, risk-taking, self-management, and person accountability. The ebook comprises analyses of on-line media, attractiveness carrier paintings, woman genital plastic surgery, educational type, self-help literature and the seduction neighborhood, from a number of nations.
Discussing good looks politics, postfeminism, neoliberalism, labour and subjectivity, the e-book might be of curiosity to students and scholars with an curiosity in Gender, Media reports, Cultural reviews, Sociology, Social Psychology and administration Studies.
“This hugely enticing, clever, and wide-ranging assortment analyzes how, lower than the self-governing mandates of neoliberalism, the calls for that women and girls control and keep watch over their our bodies and visual appeal have escalated to new, unforgiving degrees. a unique energy of the publication is its emphasis at the upward thrust of ‘aesthetic labour’ as a world, transnational and ever-colonizing phenomenon that seeks to comb up ladies of all races, a while and locales into its disciplinary grip. hugely recommended.”
-Susan J Douglas, University of Michigan, USA
the inherited accountability that continues to be women’s specific burden to manage.”
-Melissa Gregg, Intel company, USA
“This e-book incisively conceptualizes how neo-liberalist and postfeminist trends are ramping up pressures for glamour, aesthetic, type, and physique paintings within the normal public. In a second whilst YouTube ‘makeup the way to’ video clips obtain hundreds of thousands of hits; what to put on and the way to put on it blogs clock sizeable followings; and staying ‘on model’ is offered to us because the key to non-public and fiscal good fortune, ‘aesthetic entrepreneurship’ is certain to turn into a go-to suggestion for somebody trying to comprehend the profound shifts shaping exertions and lifestyles within the 21st century.”
-Elizabeth Wissinger, City college of recent York, USA
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Extra resources for Aesthetic Labour: Rethinking Beauty Politics in Neoliberalism
Meredith Nash’s (2014) research on experiences of pregnancy notes a correlate in terms of fear of fat and pregnancy weight gain among women. Moreover, Rachel O’Neill’s research undertaken with and among men who participate in the London seduction community shows how sexual desires of heterosexual men are shaped in relation to and through relations with normative feminine beauty ideals (this volume, Chap. 19). A second form of extension of beauty pressure is to be found in the expansion of areas of the body requiring product-service solutions.
A growing body of research is concerned with aesthetic labour in the workplace. Irene Grugulis et al. (2004, p. 7) argue that ‘there is an increasing tendency for organisations to manage the way their employees feel and look as well as the way they behave, so that work is emotional and aesthetic as well as (or instead of ) productive’ (see Hochschild 1983; Warhust and Nickson 2001). This development is seen particularly in interactive service industries, such as retailing, where recruitment and training focus on the emotions and appearance of the labour force deployed to deliver the service (Thompson et al.
2) dubs ‘bodily capacities to affect and be affected’ in a way that ‘is linked to the self-feeling of being alive - that is, “aliveness” or “vitality”’. The body here is not singular but multiple, and it ‘experiences and gives off intensities’ which do 18 A. Elias et al. 195). Affective flows show the potential of things to be otherwise. A significant feature of this perspective is its rejection of the traditional notion of ‘body image’. Riffing on the Deleuzian notion of a ‘body without organs’, Brian Massumi (2002) suggests a ‘body without image’.