Ariel Levy, a staff writer at the New Yorker, and author of the article “Female Chauvinist Pig” has brought up a very interesting topic about Raunch Culture. Now, what particularly is raunch culture? Raunch culture, in my own words, I can say is defined as a culture which allows a woman to participate in male-dominant cultures of raunch that deals a lot with sex in a way that is meant to be funny. Women who participate in this culture have to reject some of the things women are known to do, which they consider “girly-girl”. Although some things that they wear or do are considered “girly-girl”, women still have to embrace, acknowledge and accept certain male stereotypes in order to participate in raunch culture.
Anne Roiphe’s “Confessions of a Female Chauvinist Sow” first appeared in the magazine New York in 1972. In this essay Roiphe aims to convince her readers that women must put faith in the idea that they are equal to men, not superior. “Women who want equality must be prepared to give it and believe in it . . . .” Personal anecdotes, contrast, and comparison are techniques Roiphe skillfully uses to create a strong, convincing essay.
The documentaries Dream World 3 and Killing Us Softly 4 examine the exploitation of women within the media. The media, such as advertisement and the music video industry, relies heavily on the seductive image of female sexuality. Evident in not only every genre of music, but also every form of advertisement, the videos and advertisements expose and, subsequently sexualize the female body. Such sexualization inevitable leads to
Starting off by addressing the noticeable prevalence of “[b]lack men...surrounded by dozens of black and Latina women dressed in bathing suits...in strip clubs, some at the pool, at the beach, or in hotel rooms” (Perry 1), Perry attempts to parallel such imagery with pornography and female objectification. By painting such an explicit, arousing picture in the minds of the audience, she immediately explains the effects of “pornography [being] increasingly mainstreamed” (1). She relates this phenomenon almost as a causation, and underlies her implicit position that pop culture is
“Rape is as American as apple pie,” says blogger Jessica Valenti. She and other feminists describe our society as a “rape culture” where violence against women is almost invisible. According to feminists, films, magazines, fashion, books, music, and humor cooperate in conveying the message that women are there to be used, abused and exploited.(Kitchens, 2015)
Although Female Chauvinist Pigs can be feminist they mainly viewed as anti-feminist in this society. Anti-feminists argued that the alteration of a women’s roles is a destructive force that can be detrimental to women. Also the exaggeration of women not having equality in this society is incorrect and they believe women have enough rights as it is. Antifeminists also argue that the feminist movement, despite espousing equality, ignores the rights unique to males. By working towards gender equality the Anti-feminists believe it is harmful to society. Female Chauvinist Pigs are successful women that have their own culture advocating their post-feminist views. This is shown in Levy’s article, “Raunch culture is an over-sexualized culture which promotes women stepping out of their gender role and comfort zone” (Levy 269). These Female Chauvinist Pigs possessed higher education and prestigious careers. The culture has these women encouraging other women to accept pornography, stripping, and nudity in advertising. According to Levy’s article Female Chauvinist Pigs are not “disgusted of the female image being degraded they are taking part in the act” (Levy 268). These successful women often report that they felt some aspect of their appearance prevented them from reaching their goals. There are two strategies a Female Chauvinist Pig can use to redefine her sexuality or femaleness. She can act like a cartoon male that brags about having the biggest cock in the room or a cartoon
Ariel Levy accuses women of being female chauvinist pigs in her article “Women and the Rise of Raunch Culture.” They are countless women who degrade themselves and other women in this society. Yes, I do consider women in today’s entertainment industry (music, movies, television, etc.) portray themselves as sexual objects. It all comes down to money, raunchiness sells therefore that’s what we are going to see. For instance the women in the music industries and the TV shows all are going to do what it takes to make as much money as they can even if they have to degrade themselves. This world is all about money that’s why most people want to see the raunchiness and
Throughout history, women have been abused, controlled, and belittled by men. Even today there are some subtle differences seen between a man and a woman’s standing, such as pay salary, job promotions, and physical and mental state. Modern feminism tries to solve these types of issues, but typically this only stirs the pot and creates more of a problem than any of it is worth. Lately, modern feminists over exaggerate dilemmas in the country and complain about things that in no way compare to the struggles of the oppressed women in past, specifically in the 1890s to the 1960s, and this is why it is no longer needed in society. Some of the major battles that women faced during this time period can be seen in the book Their Eyes were Watching
Second, Bartky claims that women are victims of cultural domination. She argues that the history and culture of women are that those of men (Bartky, p. 107). They have no alternative culture or identity to refer to and are forced to accept male supremacy as the norm: there is no cultural autonomy. Third, Bartky claims that women are sexually objectified. By this, she means that women’s sexual function and parts are reduced to an instrument and extended to all areas of life separate from their personality and capabilities. She points to examples such as catcalls and whistles that humiliate and objectify women. As a result, women are forced to see themselves as men see them. The objectified become the ones who objectify themselves while attempting to conform to images of a perfect woman (Bartky, p. 109). Consequently, Bartky argues that these forms of oppression are dehumanizing and depersonalizing because it targets personhood (Bartky, p. 110). The oppressed are unable to exercise their autonomy and qualities of being a person and believe it is the fault of their incapability of being a person. Specifically, they are alienated from the construction of their personhood and abilities as a human (Bartky, p. 111).
Women have always had a history with oppression and gender role. Traditionally, the female stereotype was to marry young to bear children of the next generation. She was to be completely submissive to her husband; she had to maintain a welcoming home, she had to completely care for their children. Children of which she didn’t even have rights to if her husband died. Domestic duties were her entire world and her sole purpose was to make her husband’s life as
Ariel Levy’s commentary “Female Chauvinist Pigs” ponders the thought of female chauvinist and what they are exactly. Levy tries to convince the reader that women chauvinist pigs are trying to outdo the male chauvinist pigs. Throughout the text Levy claims that through the use of pop culture society adopted the new meanings of “liberation” and “empowerment” and uses raunchy outfits or clothing to show how “liberated” and “empowered” they are which is the exact opposite. After reading and analyzing the commentary I came to the conclusion that Levy uses the correct techniques and rhetorical concepts to help present her ideas. Levy starts the commentary off by recalling the events for which have led to her reasons of writing this commentary.
Feminists that approach analyzing popular culture proceed from a variety of theoretical positions that carry with them a deeper social analysis and political agenda. Popular culture has been a critical part of feminist analysis. “Cultural politics are crucially important to feminism because they involve struggles over meaning” (Storey, Intro 136). Analyzing a piece of pop culture through a feminist viewpoint, whether it be a music video or any sort of media, opens up a broader discussion about the structure of our patriarchal society and the ways in which politics are constantly portrayed and