HYPER FEMININE PROFESSIONAL

(p.12) Riviere’s theory of the feminine ‘mask’ as a way in which to avert anxiety and retribution feared from the man is interesting since it raises questions regarding the categorisation of sexuality in to gendered stereotypes today, in particular the idea of femininity as a construct.

With an increased pressure in contemporary society for women to conform to ‘heterosexualised femininities’, a ‘flight from masculinity’ is observed as connected to fear. (p.177) Similarly, Paechter (2010) regards ‘girly’ identity as relating to a ‘flight from masculinity’. Riviere refers to the ‘mask’ of femininity where ‘feminine’ is taken up as a choice in order to conceal the ‘woman’s masculinity’. There appears to be something about the woman and her sexual identity, about the need to appear ‘feminine’ as opposed to ‘masculine’ that raises certain questions regarding sexuality. where the female body in all its sexual ambiguity is a vessel to communicate something in correlation with the hyper – feminine woman as the temptress, mother, wife and daughter. This has become a platform for where images reflecting ‘womanly stage props’ (Paechter, 2006) are regularly posted on Instagram, Snapchat, etc. As a model, a designer, a television personality, a mobile game app designer (Kim Kardashian: Hollywood) as well as wife and mother, evidence of this ‘feminine’ image within these roles is shared with the world daily via the medium of social media. She has established herself as a business woman, building an empire based around this ‘womanly’ construction of femininity. For example mainstream celebrity figures who resemble this ‘category’ of femininity – she is famous for her ‘womanliness’, or ‘womanly curves’- as observed in the famous ‘Break the Internet’ images featuring Kim Kardashian suggestively posing in an array of various nude images for GQ Magazine, (“Woman of the year: Kim Kardashian West”, 2014). Hyper – femininity has been studied in various gender and feminist theories regarding sexuality and can be encountered in various settings – the realm of popular celebrity culture being one. Paechter regards the body and physical appearance as being indirectly used by feminine attitudes as a canvas by which a ‘construction’ of what it is to be a feminine woman is related. (Gillespie, 2000).) Within this dynamic lies a type of ‘hyper femininity’ which is defined by Paechter (2006) as ‘a particularly exaggerated, emphasised and ideal performance of femininity’ in which certain Western women within the sphere of contemporary society attempt to present themselves according to an aim of being ‘sassy, sexy, and successful’ (Allan, 2009) It observes a ‘performance’ involving certain ritualistic apparatus such as posture, make-up, clothes, hairstyle as well as the body – what Goffman (1959), refers to as ‘stage props’ – that focus on an exaltation of femininity based on a distinct type of ‘womanliness’ that is distinct from what might appear androgynous or ‘masculine’. Historically as well as presently, there exists a way of thinking regarding the sexes in which gender binaries seem to have become part of social discourse, which involves the opposition between what it is to be ‘masculine’ and ‘feminine’ what it is to be a man and what it is to be a woman. This is a quote taken from Riviere’s paper Womanliness as Masquerade yet what is interesting is that had the date not been known, this excerpt could have easily have passed as a piece reflecting the role of woman in today’s contemporary society. At the same time they fulfil the duties of their profession at least as well as the average man. in their personal appearance, and when called upon they can still find time to play the part of devoted mother substitutes, among relatives and friends. They are excellent wives and mothers capable housewives they maintain social life and assist culture they have no lack of feminine interests, e.g. In University, life, in scientific professions and in business, one constantly meets women who seem to fulfil every criterion of complete feminine development.

HYPER FEMININE PROFESSIONAL

Of all the women engaged in professional work today it would be hard to say whether the greater number are more feminine or masculine in their mode of life and character.

Hyper feminine