Jayne Raisborough

Women's leisure and auto/biography: empowerment and resistance in the garden.

This exploratory paper addresses prevailing conceptualisations of womens agency in leisure. It focuses on the reproduction/resistance framework characteristic of much feminist work. Realising the role of leisure in reproducing oppressive gender relations and the various ways that leisure can also resist them is vital to the continual politicisation of leisure, however we explore whether this framework can always adequately realise the complexities of womens lived relations to engendered power. We specifically focus on the conceptual relationship between empowerment and resistance. Using the illustration of one womans auto/biography lodged with the Mass Observation Archive, we question whether womens empowerment is derived from a contextual repositioning to gendered norms and an agency which neither resists nor straight-forwardly reproduces gender relations.

Getting onboard: women, access and serious leisure

This paper explores womens experiences of accessing serious leisure. It responds to a perceived tendency in contemporary feminist theories of leisure to celebrate womens ability to weave potentially empowering identities from discursive resources in leisure spaces and experiences. While this work creates much needed theoretical space for the exploration of womens agency and self determination within leisure, there is little critical attention given to how women may first negotiate the complexity of their gendered lives to gain access to these sites and experiences. By drawing on the accounts of forty women involved in the Sea Cadet Corps, a form of serious leisure, this paper argues that accessing leisure is still an important aspect of womens leisure experiences. Women cited here engage in active and conscious practices and performances to both justify their access to leisure and to enable their disengagement from demands associated with normative femininity. This paper concludes that to sideline questions of access serves to conceptually dislocate leisure from the wider patterns of womens everyday lives and limits our understanding of how women perceive, use and give meaning to their serious leisure participation.

Mockery and morality in popular cultural representations of the white working class

We draw on ‘new’ class analysis to argue that mockery frames many cultural representations of class and move to consider how it operates within the processes of class distinction. Influenced by theories of disparagement humour, we explore how mockery creates spaces of enunciation, which serve, when inhabited by the middle class, particular articulations of distinction from the white, working class. From there we argue that these spaces, often presented as those of humour and fun, simultaneously generate for the middle class a certain distancing from those articulations. The plays of articulation and distancing, we suggest, allow a more palatable, morally sensitive form of distinction-work for the middle-class subject than can be offered by blunt expressions of disgust currently argued by some ‘new’ class theorising. We will claim that mockery offers a certain strategic orientation to class and to distinction work before finishing with a detailed reading of two Neds comic strips to illustrate what aspects of perceived white, working class lives are deemed appropriate for these functions of mockery. The Neds, are the latest comic-strip family launched by the publishers of childrens comics The Beano and The Dandy, D C Thomson and Co Ltd.

Gender and serious leisure careers: a case study of women sea cadets.

A central defining feature of serious leisure is the career afforded to its participants. This paper adds to emerging challenges to prevailing conceptualizations of the career as linear and progressive by exploring the lived experiences of women involved in the Sea Cadet Corps (SCC). By focusing on the plays of gender relations within and beyond the serious leisure social world, this paper demonstrates that womens relations to their career are shaped by the overall meaning they give to their participation; gendered divisions of labor within the SCC; and by their successful distancing from the demands of normative femininity in other social worlds.

C’mon girlfriend Sisterhood, sexuality and the space of the benign in makeover TV

In the context of a purported shift from humiliation to the benign exemplified by the marked contrast between How to Look Good Naked and What Not to Wear, this article examines the cultural work performed by the ‘space of the benign’. We identify three main mechanisms — body appreciation, synthetic friendship and suspended sexuality — which manipulate existing constructions of female friendship and homosexuality to produce the host as the ‘gay best friend’. As such, the host sidesteps the heterosexual scopic economy while seeking to re-place women within it, and avoids the censure frequently directed at female presenters. At the same time, by coaxing women towards an acceptance of their body as is, How to Look Good Naked provides a ‘feel-good’ sense of empowerment while preserving individualistic framings of body problems and solutions. We conclude that the show rehabilitates women within the heteronormative scopic economy, and reinscribes them as neo-liberal consumers.

The self-control ethos and the ‘chav’: Unpacking cultural representations of the white working class:

This paper applies Joffe and Staerklé’s self-control ethos to cultural representations of the white working class. We initially follow their identification of three aspects of the self-control ethos — mind, body, and destiny — to show the explanatory value of the concept, before considering four possible avenues through which the self-control ethos may be developed: the extent to which it is the interrelationship between the separate aspects of the self-control ethos which lends them their visceral, emotional, and symbolic power; that gender differentiation is an important element in the specific content of stereotypes; that some stereotype content relates to issues of containment; and that a tighter contextualization is afforded to the self-control ethos by considering self and other relations in the terms of a consumer culture. These are offered as possible directions for the future development of a social representational approach sensitive to the contemporary cultural context.

Media and Class-making: What Lessons Are Learnt When a Celebrity Chav Dies?:

Class is often overlooked in sociological studies of death, just as studies of class overlook death. The controversial media coverage of the death of Jade Goody provides a useful focus for exploring contemporary class-making. Recent sociological analyses of class representations in popular culture have demonstrated how denigration and humiliation serve as mechanisms which position sections of the white, working class (chavs) as repositories of bad taste. We argue that these are not the only (or even the most prevalent) affective mechanisms for class-making. In this article, we explore how cultural imperatives for ‘dying well’ intersect with what could be perceived as more positive or even affectionate representations of Jade to produce ‘good taste’ as naturalised properties of the middle class. As such, we demonstrate that the circulation of inequalities through precarious and dynamic cultural representations involves more complex affective mechanisms in class boundary work than is often recognised.

Why we Should be Watching More Trash TV: Exploring the Value of an Analysis of the Makeover Show to Fat Studies Scholars

This article serves as a critical introduction to the genre of the “makeover show” as a way of encouraging the growth of a still nascent body of work. The article draws from a wider discourse analysis to argue that the makeover’s story of transformation not only enables but also depends on benevolent, sympathetic representations of fat individuals. Yet, an analysis of the makeover indicates the range and complexity of the cultural labors that continue to render fat a social and moral problem. This article concludes that fat has a current specificity within late capitalism, enabling the fat body to materialize as a key pedagogical site instructing all bodies in somatic, specifically active, citizenship in context of the “obesity epidemic.”

Stretching middle age: the lessons and labours of active ageing in the makeover show

This article responds to the claim that there is a critical neglect of age and ageing across media and television studies. It does so by arguing an exploration of the insights from the fields of critical gerontology/Age Studies and Media Studies allows critical scrutiny of the intersection between populist stereotyping of age, the pedagogic function of the makeover culture, and the prevailing public policy discourses that place responsibility on individuals, notably women, to hold back their old age. This article extends the argument that the pedagogical function of the makeover is to train us into culturally inhabitable bodies, to claim that age shapes what corporeal and cultural dwellings are currently intelligible.

Shame and pride in How to Look Good Naked: the affective dynamics of (mis)recognition

Most academic work exploring the makeover genre has argued that TV “experts” draw on a narrative of humiliation to push the participant to adopt more appropriate forms of feminine appearance. However, shows like How to Look Good Naked, while sharing the problematic logics of the makeover, are qualitatively different in tone and style from more aggressive shows. We extend emerging analyses which argue that makeover shows can be read as reflecting struggles for recognition by demonstrating that TV “experts” can also interrupt processes of mis-recognition by offering alternative symbolic systems of interpretation of the body by which the body can be recognised, visible and valued. We argue that humiliation is not the only point of affective engagement for audiences of these shows, while wanting to avoid the seductive illusion that this makes the shows more empowering or less malevolent. We conclude that in failing to embrace the wide variety of affective mechanisms by which we might be able to appreciate the popular appeal of reality TV, we do a disservice to female audiences and women participants, as well as limiting our own theoretical insights.