In this controversial national bestseller, feminist scholar Naomi Wolf argues that struggle for equality that women have yet to clear--the myth of female beauty. The Beauty Myth: How Images of Beauty Are Used Against Women by Naomi Wolf. Read online, or download in secure EPUB format. Editorial Reviews. hamhillfort.info Review. In a country where the average woman is 5-foot-4 and The Beauty Myth: How Images of Beauty Are Used Against Women by [Wolf, Customers reported quality issues in this eBook. . Feminist Naomi Wolf argues that women's insecurities are heightened by these .. Download.
|Language:||English, Spanish, Dutch|
|ePub File Size:||23.78 MB|
|PDF File Size:||9.80 MB|
|Distribution:||Free* [*Free Regsitration Required]|
Read "The Beauty Myth How Images of Beauty Are Used Against Women" by Naomi Wolf available from Rakuten Kobo. Sign up today and get $5 off your first. The Beauty Myth To read e-books on the BookShout App, download it on: . the women's movement, however, writer and journalist Naomi Wolf is troubled by . The beauty myth by Naomi Wolf, , Anchor Books edition, in English - 1st Anchor Books ed.
Click on the cover image above to read some pages of this book! Formatting may be different depending on your device and eBook type. The bestselling classic that redefined our view of the relationship between beauty and female identity. Every day, women around the world are confronted with a dilemma - how to look. In a society embroiled in a cult of female beauty and youthfulness, pressure on women to conform physically is constant and all-pervading. In this iconic, gripping and frank expose, Naomi Wolf exposes the tyranny of the beauty myth through the ages and its oppressive function today, in the home and at work, in literature and the media, in relationships between men and women, between women and women.
Not too long ago, we did not make these choices without a bit more trepidation. If women no longer think this way—or, if they at least know that there is something terribly wrong if they are forced to think this way—it is testimony to the power of an idea in the minds of a lot of women at once; proof of their ability to create lasting change and even a bit more freedom. You have the power to take that freedom further still.
I hope that you use this book in a whole new way—one that no one but you has thought of yet. At last, after a long silence, women took to the streets. In the two decades of radical action that followed the rebirth of feminism in the early s, Western women gained legal and reproductive rights, pursued higher education, entered the trades and the professions, and overturned ancient and revered beliefs about their social role. A generation on, do women feel free?
The affluent, educated, liberated women of the First World, who can enjoy freedoms unavailable to any women ever before, do not feel as free as they want to. And they can no longer restrict to the subconscious their sense that this lack of freedom has something to do with—with apparently frivolous issues, things that really should not matter. Many are ashamed to admit that such trivial concerns—to do with physical appearance, bodies, faces, hair, clothes—matter so much.
The more legal and material hindrances women have broken through, the more strictly and heavily and cruelly images of female beauty have come to weigh upon us. After years of much struggle and little recognition, many older women feel burned out; after years of taking its light for granted, many younger women show little interest in touching new fire to the torch.
During the past decade, women breached the power structure; meanwhile, eating disorders rose exponentially and cosmetic surgery became the fastest-growing medical specialty.
During the past five years, consumer spending doubled, pornography became the main media category, ahead of legitimate films and records combined, and thirty-three thousand American women told researchers that they would rather lose ten to fifteen pounds than achieve any other goal.
More women have more money and power and scope and legal recognition than we have ever had before; but in terms of how we feel about ourselves physically, we may actually be worse off than our unliberated grandmothers. It is no accident that so many potentially powerful women feel this way. It is the modern version of a social reflex that has been in force since the Industrial Revolution. As women released themselves from the feminine mystique of domesticity, the beauty myth took over its lost ground, expanding as it waned to carry on its work of social control.
The contemporary backlash is so violent because the ideology of beauty is the last one remaining of the old feminine ideologies that still has the power to control those women whom second wave feminism would have otherwise made relatively uncontrollable: It has grown stronger to take over the work of social coercion that myths about motherhood, domesticity, chastity, and passivity, no longer can manage.
It is seeking right now to undo psychologically and covertly all the good things that feminism did for women materially and overtly. This counterforce is operating to checkmate the inheritance of feminism on every level in the lives of Western women.
Patriarchal religion declined; new religious dogma, using some of the mind-altering techniques of older cults and sects, arose around age and weight to functionally supplant traditional ritual. Reproductive rights gave Western women control over our own bodies; the weight of fashion models plummeted to 23 percent below that of ordinary women, eating disorders rose exponentially, and a mass neurosis was promoted that used food and weight to strip women of that sense of control.
Women insisted on politicizing health; new technologies of invasive, potentially deadly cosmetic surgeries developed apace to re-exert old forms of medical control of women. Every generation since about has had to fight its version of the beauty myth.
It is very little to me, said the suffragist Lucy Stone in , to have the right to vote, to own property, etcetera, if I may not keep my body, and its uses, in my absolute right. In , Betty Friedan quoted a young woman trapped in the Feminine Mystique: Eight years after that, heralding the cataclysmic second wave of feminism, Germaine Greer described the Stereotype: In spite of the great revolution of the second wave, we are not exempt.
Now we can look out over ruined barricades: A revolution has come upon us and changed everything in its path, enough time has passed since then for babies to have grown into women, but there still remains a final right not fully claimed. The beauty myth tells a story: The quality called beauty objectively and universally exists.
Women must want to embody it and men must want to possess women who embody it. This embodiment is an imperative for women and not for men, which situation is necessary and natural because it is biological, sexual, and evolutionary: Strong men battle for beautiful women, and beautiful women are more reproductively successful. None of this is true. Beauty is a currency system like the gold standard.
Like any economy, it is determined by politics, and in the modern age in the West it is the last, best belief system that keeps male dominance intact. In assigning value to women in a vertical hierarchy according to a culturally imposed physical standard, it is an expression of power relations in which women must unnaturally compete for resources that men have appropriated for themselves.
Beauty is not universal or changeless, though the West pretends that all ideals of female beauty stem from one Platonic Ideal Woman; the Maori admire a fat vulva, and the Padung, droopy breasts. Nor is beauty a function of evolution: Its ideals change at a pace far more rapid than that of the evolution of species, and Charles Darwin was himself unconvinced by his own explanation that beauty resulted from a sexual selection that deviated from the rule of natural selection; for women to compete with women through beauty is a reversal of the way in which natural selection affects all other mammals.
Anthropology has overturned the notion that females must be beautiful to be selected to mate: Evelyn Reed, Elaine Morgan, and others have dismissed sociobiological assertions of innate male polygamy and female monogamy.
Female higher primates are the sexual initiators; not only do they seek out and enjoy sex with many partners, but every nonpregnant female takes her turn at being the most desirable of all her troop. And that cycle keeps turning as long as she lives. The inflamed pink sexual organs of primates are often cited by male sociobiologists as analogous to human arrangements relating to female beauty, when in fact that is a universal, nonhierarchical female primate characteristic.
Nor has the beauty myth always been this way. Though the pairing of the older rich men with young, beautiful women is taken to be somehow inevitable, in the matriarchal Goddess religions that dominated the Mediterranean from about 25, B. In every culture, the Goddess has many lovers…. Among the Nigerian Wodaabes, the women hold economic power and the tribe is obsessed with male beauty; Wodaabe men spend hours together in elaborate makeup sessions, and compete—provocatively painted and dressed, with swaying hips and seductive expressions—in beauty contests judged by women.
If the beauty myth is not based on evolution, sex, gender, aesthetics, or God, on what is it based? It claims to be about intimacy and sex and life, a celebration of women. It is actually composed of emotional distance, politics, finance, and sexual repression. The beauty myth is not about women at all. The qualities that a given period calls beautiful in women are merely symbols of the female behavior that that period considers desirable: The beauty myth is always actually prescribing behavior and not appearance.
Competition between women has been made part of the myth so that women will be divided from one another. Youth and until recently virginity have been beautiful in women since they stand for experiential and sexual ignorance. Aging in women is unbeautiful since women grow more powerful with time, and since the links between generations of women must always be newly broken: Older women fear young ones, young women fear old, and the beauty myth truncates for all the female life span.
Though there has, of course, been a beauty myth in some form for as long as there has been patriarchy, the beauty myth in its modern form is a fairly recent invention. The myth flourishes when material constraints on women are dangerously loosened.
Before the Industrial Revolution, the average woman could not have had the same feelings about beauty that modern women do who experience the myth as continual comparison to a mass-disseminated physical ideal. Before the development of technologies of mass production—daguerrotypes, photographs, etc.
Physical attraction, obviously, played its part; but beauty as we understand it was not, for ordinary women, a serious issue in the marriage marketplace. The beauty myth in its modern form gained ground after the upheavals of industrialization, as the work unit of the family was destroyed, and urbanization and the emerging factory system demanded what social engineers of the time termed the separate sphere of domesticity, which supported the new labor category of the breadwinner who left home for the workplace during the day.
The middle class expanded, the standards of living and of literacy rose, the size of families shrank; a new class of literate, idle women developed, on whose submission to enforced domesticity the evolving system of industrial capitalism depended. Most of our assumptions about the way women have always thought about beauty date from no earlier than the s, when the cult of domesticity was first consolidated and the beauty index invented. For the first time new technologies could reproduce—in fashion plates, daguerreotypes, tintypes, and rotogravures—images of how women should look.
In the s the first nude photographs of prostitutes were taken; advertisements using images of beautiful women first appeared in mid-century. Copies of classical artworks, postcards of society beauties and royal mistresses, Currier and Ives prints, and porcelain figurines flooded the separate sphere to which middle-class women were confined.
Since the Industrial Revolution, middle-class Western women have been controlled by ideals and stereotypes as much as by material constraints. This situation, unique to this group, means that analyses that trace cultural conspiracies are uniquely plausible in relation to them.
The rise of the beauty myth was just one of several emerging social fictions that masqueraded as natural components of the feminine sphere, the better to enclose those women inside it. Other such fictions arose contemporaneously: All such Victorian inventions as these served a double function—that is, though they were encouraged as a means to expend female energy and intelligence in harmless ways, women often used them to express genuine creativity and passion. The cloying domestic fiction of togetherness lost its meaning and middle-class women walked out of their front doors in masses.
So the fictions simply transformed themselves once more: Inexhaustible but ephemeral beauty work took over from inexhaustible but ephemeral housework. As the economy, law, religion, sexual mores, education, and culture were forcibly opened up to include women more fairly, a private reality colonized female consciousness. By using ideas about beauty, it reconstructed an alternative female world with its own laws, economy, religion, sexuality, education, and culture, each element as repressive as any that had gone before.
Since middle-class Western women can best be weakened psychologically now that we are stronger materially, the beauty myth, as it has resurfaced in the last generation, has had to draw on more technological sophistication and reactionary fervor than ever before. The modern arsenal of the myth is a dissemination of millions of images of the current ideal; although this barrage is generally seen as a collective sexual fantasy, there is in fact little that is sexual about it.
This frantic aggregation of imagery is a collective reactionary hallucination willed into being by both men and women stunned and disoriented by the rapidity with which gender relations have been transformed: The mass depiction of the modern woman as a beauty is a contradiction: Where modern women are growing, moving, and expressing their individuality, as the myth has it, beauty is by definition inert, timeless, and generic.
And the unconscious hallucination grows ever more influential and pervasive because of what is now conscious market manipulation: Societies tell themselves necessary fictions in the same way that individuals and families do.
Henrik Ibsen called them vital lies, and psychologist Daniel Goleman describes them working the same way on the social level that they do within families: The collusion is maintained by directing attention away from the fearsome fact, or by repackaging its meaning in an acceptable format. The costs of these social blind spots, he writes, are destructive communal illusions. Possibilities for women have become so open-ended that they threaten to destabilize the institutions on which a male-dominated culture has depended, and a collective panic reaction on the part of both sexes has forced a demand for counterimages.
The resulting hallucination materializes, for women, as something all too real. No longer just an idea, it becomes three-dimensional, incorporating within itself how women live and how they do not live: It becomes the Iron Maiden.
The original Iron Maiden was a medieval German instrument of torture, a body-shaped casket painted with the limbs and features of a lovely, smiling young woman. The unlucky victim was slowly enclosed inside her; the lid fell shut to immobilize the victim, who died either of starvation or, less cruelly, of the metal spikes embedded in her interior. The modern hallucination in which women are trapped or trap themselves is similarly rigid, cruel, and euphemistically painted.
Why does the social order feel the need to defend itself by evading the fact of real women, our faces and voices and bodies, and reducing the meaning of women to these formulaic and endlessly reproduced beautiful images?
The beauty myth ( edition) | Open Library
Though unconscious personal anxieties can be a powerful force in the creation of a vital lie, economic necessity practically guarantees it. An economy that depends on slavery needs to promote images of slaves that justify the institution of slavery.
Western economies are absolutely dependent now on the continued underpayment of women. An ideology that makes women feel worth less was urgently needed to counteract the way feminism had begun to make us feel worth more.
This action might not be possible to undo. Are you sure you want to continue? Upload Sign In Join.
Home Books Society. Save For Later. Create a List. The Beauty Myth: Leigh Bardugo. Not That Kind of Girl. Lena Dunham. This Changes Everything. Hidden Figures. Margot Lee Shetterly.
When Breath Becomes Air. Paul Kalanithi. Dan Harris. The Ministry of Utmost Happiness. Arundhati Roy. Lethal White. Robert Galbraith.
Why Not Me? Mindy Kaling. All the Birds in the Sky. Charlie Jane Anders. The Body Keeps the Score. Bessel van der Kolk. Born a Crime. Trevor Noah. The Heart Goes Last. Margaret Atwood. How to Be a Woman. Caitlin Moran. Virginia Woolf. Fates and Furies. Lauren Groff. The Girl with the Lower Back Tattoo. Amy Schumer. The Bees. Laline Paull. The Woman in the Window. J Finn. Becky Chambers. Still Me. Jojo Moyes. The Vagina Monologues.
Eve Ensler. Less Winner of the Pulitzer Prize. Andrew Sean Greer. The Sister. Louise Jensen. Big Magic.
1st Anchor Books ed.
Elizabeth Gilbert. Eleanor Oliphant Is Completely Fine. Gail Honeyman. The Keeper of Lost Things. Ruth Hogan. Mark Manson.
Yes Please. Amy Poehler. The Queen of the Tearling. Erika Johansen. Truly Madly Guilty. Liane Moriarty. The Witches of New York. Ami McKay. Not My Father's Son. Alan Cumming. Before the Fall. Noah Hawley. David Nicholls.
The Beauty Myth: How Images of Beauty Are Used Against Women
Rainbow Rowell. Yuval Noah Harari. The Fifth Season. A Room of One's Own. Salt Sugar Fat. Michael Moss. When Things Fall Apart. Pema Chodron. The Four Agreements: Don Miguel Ruiz. The Black Tides of Heaven. JY Yang. Fifteen Dogs. The Interestings. Meg Wolitzer. Station Eleven. Emily St. John Mandel. A Tale for the Time Being. Ruth Ozeki. Luckiest Girl Alive. Jessica Knoll. The Bell Jar. Sylvia Plath. Behind the Beautiful Forevers. Katherine Boo. Jen Sincero. Susan Cain.
Me Talk Pretty One Day. David Sedaris. All My Puny Sorrows. Miriam Toews.