Theory as Liberatory Practice

Philosopher Amanda Cawston’s essay Are Feminism and Competition Compatible? (2016) on competition and feminism resembles most to scholar bell hooks’ Theory as Liberatory Practice (1991) are the crucial points both authors make, including exclusory practices and lack of solidary in communal spaces. 

hooks empathize on how and why activist-scholars should communicate with laypersons through ideas that both parties can understand; for instance, hooks mention how men in prison sent her letters, thanking her for helping them to let go of patriarchal values (9). She realizes how conceptualizing a theory is a tool for healing, as she can see what is happening in her surroundings and herself. hooks mention a woman thanking her for giving her a voice, making her feel like she was heard, by hooks sharing her thoughts and feelings in ways people can understand, including the woman herself (10-11). Individuals feel they must surrender to speak up in social spaces that support oppressive ideas, like classism. These individuals want to avoid conflicts, stress, embarrassment, or ostracization, regardless of what the social space promises in debating issues. They feel like they cannot achieve what they desire, that is, to lessen the social restrictions. People choose silence in the public sphere by a social force. They sense restrictions throughout their lives, such as hooks did in childhood (1). The restrictions are visible and invisible barriers normalized through practices and communal beliefs, such as competitions.

Cawston’s essay best resembles hooks’ essay by critically examining competition as an obstacle for marginalized groups regarding feminism. She argues that both feminism and competitions are incompatible in their results, definitions, and attitudes (Cawston, 2016; 207-208, 216-217). Cawston even quotes hooks’ definition of feminism, in which Cawston highlights hooks’ argument on the intersectionality between marginalized groups’ oppressions (205-206). Cawston examines the complexity of competition regarding feminism, including what does competition means precisely and how can we conduct changes in improving life conditions? Cawston notes that competitions include examinations on activities in which we limit people by giving them prestige and advantages. Thus, people feel more hostile to striving for or preserving their privileges (209-210). Take competitiveness in academia for an example; liberal feminists have argued that women in fields like academia can achieve gender equality by establishing bourgeois titles and awards along with men. However, the issue also underlines how traits deemed masculine, including aggressiveness and selfishness, are more socially accepted than traits considered feminine, such as thoughtfulness or sympathy (206-207). Cawston, like hooks, argues that white women can gain access to institutional spaces by following the rules, thus more likely to win (218). The problem is that they can participate by having certain advantages, including being white and upper-class. Certain women have more advantages than others by their resources, including performing tasks in ways that institutions require. An example is white upper-class women’s academic abilities compared to lower-middle-class Women of Color. White upper-class women can enter by the given resources, including affording educational resources such as books, constructing norms and socialized behavior, such as how they speak and write, and how people, particularly white men, interpret their abilities. Marginalized groups cannot dominate the competition if the rules rely on Eurocentric, capitalistic, and paternal values, thus enabling social hierarchy and making feminism less available to the public.  

Resources

Cawston, A. (2016). Are Feminism and Competition Compatible? Hypatia, 31(1), 204–220.

hooks, b. (1991). “Theory as liberatory practice.” Yale Journal of Law and Feminism, 4(1)

Semiotic Analysis Time: A Slice of Sensual Pizza

A Slice of Sensual Pizza

The printed advertisement is for a pizza brand called Daiya, which the name Daiya sounds closer to the word dairy. According to babynamewizard.com, the name Daiya is also a Polish feminine name for “gift” or “present”; the product Daiya is a ‘gift’ for the consumer. The ad is from a website called Adsoftheworld.com and published in July 2016 in the United States. I do not know if the ad exists elsewhere. The advertisement’s audience seems general, except its for those want dairy-free, like vegans and lactose-intolerant consumers. The message suggests that the taste of the pizza is exceptional good, by expressing humor. The socio-historical context of the text is that it is part of contemporary consumerism. Cultures differ from each other in advertisements by its signifiers. The ads may focus more on text rather than the image. Some ads may inform readers about the product by its advantages. Other ads may use aesthetic approaches to attract consumers. Ads can use humor or reflective storytelling to get consumers’ attention. It involves using a discourse with dominant ideas. Researchers can use a visual method as a communication tool as “border crossers” (Liebenberg 2009). We can deconstruct the semiotics by searching for its meanings, such as ironies or casual relations. The metaphors can serve as an analogy while metonymy as an association. The relevance of analyzing the ad is to understand what social groups are represented and hailed and their mythologies. Mythology involves associating a product with cultural meaning, as part of the strategy (Tolson 1996). The people representing in advertisements disclose cultural implications through gestures, traits, and fashion. The messages in advertisements reveal implicitly or explicitly cultural values or mythologies.


Syntagmatic Analysis
The connotation is a romance novel, and the subject is pizza. The important signifiers are the people, location, and text. The ad seems to be a parody of an actual romance novel called The Princess and her Pirate by Lois Creiman. The couple is holding each other in a romantic pose. The man is feeding his partner a slice of pizza. The woman appears astonished as cheese is stretching from her mouth. The woman is holding a man passively while the man is holding the woman more assertively. They are on the cover of a book, hinting they are fictional people. The book appears to be on a marble table. The title of the book said, “A Yearning Supreme” Below, the book states, “CHEESIER THAN EVER” and features the brand logo, Daiya. The book with the title “Supreme” hints what type of pizza Daiya is advertising to the consumer.
The cultural codes refer to romance novels and the medieval era. Romance novels are known to depict covers featuring a heterosexual couple. Romance novels written for and by heterosexual women tend to depict male heroes as hypermasculine, such as expressing dominance in relationships (Allan 2016). The woman appears feminine. Her dressing codes are long hair, white dress, and make-up. The man appears masculine. He has short hair, five-o-clock shadow, muscular, and wears a vest that exposes his chest. He also carries a sword around his waist, indicating protection for the woman. The ad reminds readers of heteronormativity by featuring a heterosexual couple following traditional gender roles. If the roles were switched, such as a muscular woman holding man assertively, the readers might interpret the couple’s gender roles as part of the message, likely humor. The couple appears white and physically fit; it also erases people of color and various body types. Humor is suggested by an ad based on its image and text. The line “CHEESIER THAN EVER” refers to the term cheesy. The term cheesy refers to inadequate quality. Romance novels are often mocked in culture for their book covers and contents. Many romantic covers tend to depict a couple with exaggerated gender expressions. An example is a man having large muscles and the woman expressing passive gestures. The theme of the book is medieval. The clothes and background suggest the book is about a medieval era. The man’s sword symbolizes the era. The castle is shown in the background. The woman’s dress appears medieval due to its sleeves and corset.


Paradigmatic Analysis
The central oppositions suggested in the text are the brand and advertisement. Readers can see the logo of the product below the novel. The fonts of the novel appear Edwardian Script, and it is glowing white. The fonts represent the binary of the novel and logo. The font of the novel represents fantasy, while the font below the novel is reality. The couple’s outfits suggest history while outside of the novel is present. History involves the concept of what was then versus now. The realism of the image is subjective to readers. The book cover appears to be a digital drawing rather than a photo and appears hyper-realistic. The logo includes an image of pizza; the image appears to be photo rather than a drawing. Many pizza products feature a photo of pizza as part of the box cover.
The oppositions have importance by its symbolic meanings. The pizza in the novel represents the commercial itself. The readers are aware they are looking at an ad. We are reminded that reading fiction is to escape reality. People enjoy reading fiction to relax and experience emotions by its story. The pizza in the book cover signals to readers that eating pizza can be part of our leisure. The cheese dripping out of the woman’s mouth represents how sensual eating pizza can be for people, like kissing. Readers can see the logo, which is also a box cover for the pizza. The image hints readers what the box cover looks like so that they can remember it when they are shopping.
If the ad presents its product differently, like just an image of the product within the book cover while a fictional couple is reading the book together, it may not get the reader’s attention. It could indicate pizza as part of daily life, and it could tell readers what they can do if they want pizza by showing them a couple reading about Daiya pizza. A book about Daiya pizza could suggest how the product is interesting enough for people to read a book about it.


Reading Against the Grain
The ideological messages endorsed by the advertisement is its simplistic meanings. The ad gives readers simple messages. The image has few lines of words, mainly on humor. Although the pizza states it is dairy-free, with “cheesier than eveR”, implying that its has more cheese than cheese itself, by the brand logo below the novel, the ad lacks further information about the product. I do not know what the exact ingredients nor health benefits of the product presents. The image seems to explicitly encourage readers to only focus more on taste through symbolic messages. The ad also wants readers to associate pizza with romance through a parody of romance novels. Some consumers enjoy romance novels as a form of escapism, as novels allow readers to escape bleak reality by focusing their fantasy. The ad reminds readers how pizza can associate with love life, even it is still fictional. The pizza seems to represent exceptional food by presenting it as a love potion. The woman’s facial and body gestures suggest that she is amazed by its taste. The slice of pizza seems to serve as a kiss from the man. People enjoy reading or watching romantic genres for various reasons. People may desire an ideal partner or sensual moments of stories.
The aspect of the reality is that the novel hides are the relationships of the couple. The reader knows the couple as fictional characters in the novel, but we do not know how they met or what happens exactly in the story afterward. The novel subtly reminds readers that it is fictional. The novel itself is not a real novel to buy. It is a fictional-fictional work of art.
As the reader, I am looking at the novel lying on the table. The text below the book suggests for me to interpret the novel as cheesy. The term cheesy also makes me think about the cheese itself besides its metaphorical meaning. The social implication of the ad is that I am a savvy consumer. My role in the advertisement is that I am someone looking for healthy food and better cultural taste than those reading those sorts of novels. Enjoyment. The psychological implication of the ad is that the humor of the ad will make me curious about the product. The image also suggests that the quality of food, particularly its cheese, will be part of my motivation to buy it.
The camera position I see as a reader is that I am looking at a book. The book is centered, as well as the slice of pizza. The pizza seems to be the main aspect of the image. The pizza appears brighter and seems unusual in a setting like the novel. The pizza appears strange because pizza does not represent the medieval period as caste or sword does. The couples are looking at each other, ignoring the reader. They seem more fixated on each other. The message may be that they are just fictional characters. The reader is focusing on the slice of pizza of the book cover, which is between the couple.

References


Allan, Jonathan A. “The Purity of His Maleness.” The Journal of Men’s Studies, vol. 24,
no. 1, 2016, pp. 24–41., doi:10.1177/1060826515624382.
Liebenberg, Linda. “The Visual Image as Discussion Point: Increasing Validity in
Boundary Crossing Research.” Qualitative Research, vol. 9, no. 4, 2009, pp. 441–467., doi:10.1177/1468794109337877.
Tolson, Andrew. Mediations Text and Discourse in Media Studies. TPB, 1996.

The Pronoun Go-Round

Is the Pronoun Go-Round helpful for the Trans* Community?

I’m glad that I was able to share my thoughts in class on topics like
sharing pronouns in public. I was given the assignment to explain my thoughts.
Here’s what I wrote for class, except that this is an edited version of my
answer:

The pronoun go-round breaks traditional gender order rather than reinforcing
it. However, we should consider the ramification of coming out as trans* in
public spaces. Professor Reis maintains that pronoun go-round evokes
transphobia by risking people’s vulnerabilities, such as how her student, a
trans*woman, felt frightened to publicly state her pronouns and see other
students staring at her because of her masculine appearance (2016). The pronoun
go-round risks discrimination by singling people out as trans*.

On the other hand, Professor Jen Manion expounds how they felt invalidated
when people assume they are a cisgender woman despite how they describe
themself as a gender outlaw (2019). Through acknowledgment, the pronoun go-round symbolizes a welcoming
gesture for the trans* community in group settings, such as conferences or
classrooms (Spade 2018). The actions of invalidating a
person’s identity create a transphobic culture by normalizing traditional
gender order, especially by threatening against or denying trans* identity.
People assume the objectivity of being a woman requires having a specific body,
heterosexuality, and femininity, along with other subliminal cultural
components, unless we deconstruct them to distinguish its subjectivity, such as
realizing how Eurocentrism influences our notion of gender. An example is our
beauty standards; we internalize the notion of hyper-femininity as someone with
long hair, make-up, pink, and dresses or high-heels. The cultural component of hyper-femininity
is not universal; it is culture and history that influence our notion of
femininity. Pink is a classic example of culture changing an object’s meaning
over time, as pink is used to represent masculinity (as blue is used to represent
femininity for the Virgin Mary).

Femininity is subjective since there is no absolute truth on what is truly
feminine. In fact, femininity and masculinity are both plurals: Masculinities
and femininities. Sociologist R.W Connell coined masculinities to describe how
masculinity is plural and includes four forms: hegemonic (socially dominant),
complicit (not hegemonic but does not challenge the concept), marginalized
masculinity that is unable to follow hegemonic masculinity (like Black men who
struggle to follow white masculinity, as they are stereotyped as
hyper-masculinity through racism) The concept of femininities depends on
objects deemed feminine or not, comparing femininities to masculinities and
vice versa. The cultural context of determining someone’s gender identity by
their appearance is widely accepted, consciously or subconsciously, into mainstream
culture by everyday actions, such as assigning pronouns by a person’s
femininities or masculinities. The hegemonic interpretation that gender is
binary and unchangeable makes it difficult for individuals to come out to
themselves and others as trans*, thus leaving transphobia unchallenged.
The public sphere must acknowledge and accept the existence of the trans*
community. Accepting the trans* community enables us to accept more
marginalized groups, such as Black, Indigenous, and People of Color, by
comprehending the intersectionality and the ramifications of social inequality.

Overall, the pronoun-go-round is helpful for people to come out as
non-binary, and it represents a form of acceptance of the trans* community.
However, we must consider the negative outcomes of pronouns-go-round, as the
group may not entirely accept the trans* community, especially by cisnormativity,
such as shaming a trans*woman who cannot pass as a cisgender woman. The
pronoun-go-round may function as a gesture for a group to promote liberal
beliefs rather than critically understanding how it is risky for the
trans*community, as some trans* people struggle to come out about their gender
but feel uncomfortable continuing to present themselves as cisgender. Every
action we take is political, no matter how trivial it appears. Understanding why every action and word can impact culture through a collective
form is critical.

Questions

  1. What are other methods of sharing pronouns should people encourage?
    • I am considering privately telling people your pronouns or hinting at what your pronouns are.
  2. Why do you believe pronouns are significant in culture? What if everyone has the same pronoun in the future?

References

Manion, Jen. “The Performance of Transgender Inclusion.” Public Seminar, 30 Sept. 2019,

publicseminar.org/essays/the-performance-of-transgender-inclusion/.

Reis, Elizabeth. “Pronoun Privilege.” The New York Times, The New York Times, 25 Sept.

2016, http://www.nytimes.com/2016/09/26/opinion/pronoun-privilege.html.

Spade, Dean. “We Still Need Pronoun Go-Rounds.” Dean Spade, 1 Dec. 2018,

deanspade.net/2018/12/01/we-still-need-pronoun-go-rounds/