Abstract
Can you hear the revolution? When talking about pop feminism, the first associations that pop into our minds might look something like this: loud, rhetorical, shiny, pink, depoliticized, devoid of meaning, shallow. Especially from an academic point of view, pop feminsim might seem not critical enough and thus unnecessary for, or even harmful to feminist struggles. Using Antonio Gramsci’s political theory, this article argues against these accusations. Pop feminism is understood to be part of the force relations within the State. It therefore plays an active part in the struggle for hegemony within civil society and can tie in with the common sense of subaltern groups. It can therefore develop subversive character—and at the very least builds necessary bridges between theory and praxis.
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Notes
- 1.
“Broad audience” is an understatement. Literally everybody knows who Beyoncé is. I admit to not having scientific proof of this claim, but just ask around. There is not getting past Queen B!
- 2.
The term intersectionality was introduced by professor of law Kimberlé Crenshaw. She describes how, in antidiscrimination struggles, Black women have the choice to either position themselves along the axis of gender (focussing on white women), or along the axis of race (focussing on Black men), and are therefore erased in their specific position as Black women. Crenshaw argues instead for an approach that understands the intersections and overlappings of different forms of oppression (cf. Crenshaw 1989).
- 3.
Another fun perk of changing to a more colloquial language once in a while: It exposes academics to a feeling they might have forgotten: What it is like to be confronted with scientific text and not understand the half of it.
- 4.
Social Justice Warrior (cf. Merriam-Webster Dictionary 2021). As this term is nowadays mostly used in a derogatory way, I am ironically reclaiming it here.
- 5.
I will cite the prison notebooks as follows: (Gramsci vvvv, p. xx, Q yy, § zz), v being the year and thus the edition as listed in the bibliography, x being the page number of said edition, y being the number of the notebook (Q for “quaderno”), and z being the paragraph in question.
- 6.
To my utter dismay, I could not find a full translation of the prison notebooks in English. I therefore had to translate some of the quotes in this article myself. Since my Italian sadly never reached the point of being able to read Gramsci, I translated from German (Gramsci 1991–2002), cross referencing with the Italian original (Gramsci 1929–1935). I apologize in advance.
- 7.
Obviously not only all men as in “male”, but as in “people”. Even language is affected by the patriarchy. Who would have thought.
- 8.
So basically your philosophy is random af, Horatio!
- 9.
Short for Trans Exclusive Radical Feminist, although I personally would not call them either radicals or feminists.
- 10.
Spoiler alert: through pop culture. Obviously.
- 11.
This term—albeit normatively neutral—is in no way unproblematic even in Italian, and the nuances get lost even more in translation. The English word that first springs to mind—“simple”—is not necessarily the best in my opinion. “Semplici” can mean a variety of things, including “ordinary, naïve”, but also “modest”, and in German “gutbürgerlich”.
- 12.
Having said this, I want to stress that not all is well just because people are finally represented in pop culture. There is still a long way to go!
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Protte, M. (2022). “When She Talks, I Hear the Revolution”: Pop Feminism Between Hegemony and Subalternity. In: Gaupp, L., Barber-Kersovan, A., Kirchberg, V. (eds) Arts and Power. Kunst und Gesellschaft. Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-37429-7_8
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