2019
DOI: 10.1080/17530350.2019.1639529
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Agencing femininity: digital Mrs. Consumer in intra-action

Abstract: Social media is abound with women writing about consumption goods and practices associated with femininity and heterosexual nuclear family life, such as being married, dressing, cooking and home decoration. This article examines how the housewife ideal can be an attractive identity in the 2010s and, drawing on the post-humanist performativity by Karen Barad (2007), it maps the material-discursive agencies that enable the re-emergence of this figure. Building on in-depth interviews with women who refer to thems… Show more

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Cited by 26 publications
(19 citation statements)
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References 66 publications
(48 reference statements)
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“…Indeed, ‘entrepreneurialism has become a much vaunted ideal in the creative and digital media industries’ (Duffy and Hund, 2015: 2), supported by the proliferation of how-to resources and self-branding practices designed to help create empowered selves (Duffy and Hund, 2015; Marwick, 2015). The rising popularity of terms such as ‘mum-preneur’ (Ekinsmyth, 2011, 2013, 2014) or ‘blogger-preneur’ (Brydges and Sjöholm, 2019; Duffy and Hund, 2015; Petersson McIntyre, 2020) highlights the appeal of identity options that promise women the apparently seamless blending of the private and the professional. Media studies, in particular, have identified a number of dominant discourses in digital culture that to varying extents shape these new enactments of entrepreneurial identity on social media, including fashion blogs (Brydges and Sjöholm, 2019; Duffy, 2016; Pham, 2013, 2015), Twitter (Marwick and Boyd, 2013) and Instagram (Baulch and Pramiyanti, 2018; Brydges and Sjöholm, 2019; Duffy and Hund, 2015; Petersson McIntyre, 2020).…”
Section: Entrepreneur Identity Performances In Digital Culturementioning
confidence: 99%
“…Indeed, ‘entrepreneurialism has become a much vaunted ideal in the creative and digital media industries’ (Duffy and Hund, 2015: 2), supported by the proliferation of how-to resources and self-branding practices designed to help create empowered selves (Duffy and Hund, 2015; Marwick, 2015). The rising popularity of terms such as ‘mum-preneur’ (Ekinsmyth, 2011, 2013, 2014) or ‘blogger-preneur’ (Brydges and Sjöholm, 2019; Duffy and Hund, 2015; Petersson McIntyre, 2020) highlights the appeal of identity options that promise women the apparently seamless blending of the private and the professional. Media studies, in particular, have identified a number of dominant discourses in digital culture that to varying extents shape these new enactments of entrepreneurial identity on social media, including fashion blogs (Brydges and Sjöholm, 2019; Duffy, 2016; Pham, 2013, 2015), Twitter (Marwick and Boyd, 2013) and Instagram (Baulch and Pramiyanti, 2018; Brydges and Sjöholm, 2019; Duffy and Hund, 2015; Petersson McIntyre, 2020).…”
Section: Entrepreneur Identity Performances In Digital Culturementioning
confidence: 99%
“…Unlike any previous professional group, bloggers had turned their whole lives into commodifiable products and services (Pedroni, 2015; Titton, 2015). With sponsorship deals they are able to get paid to consume, thus dissolving the distinction between production and consumption (Pettinger, 2005), More specifically, their blogs relied on the relationship between consumption and their selves—on enabling the construction of a consuming self (Petersson McIntyre, 2020; Williams & Connell, 2012). Neoliberal and post‐feminist techniques of self‐surveillance and self‐improvement (Lewis et al., 2017) are intensified, but, as I will show, also diversified, with the use of social media.…”
Section: Lifestyle Influencersmentioning
confidence: 99%
“…This paper examines two relatively “new” professional groups of (mostly) women entrepreneurs, namely (i) lifestyle influencers and (ii) gender equality consultants that offered services that were entangled in a message of feminism, and/or feminine empowerment. The initial idea of comparing these two groups of entrepreneurs was inspired by my work on two different projects between 2014 and 2020 (Petersson McIntyre, 2020; Petersson McIntyre, 2021). Despite some obvious differences, I found that the professional activities that these two groups were engaged in were surprisingly similar.…”
Section: Introductionmentioning
confidence: 99%
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“…It authenticates one's curated profile and increases its relatability-a key trope and indeed requirement of successful social media self-branding (cf. Leaver et al, 2020;Petersson-McIntyre, 2020). The aim of "honest" posts, then, is not to disrupt Instagram's interaction order, but, paradoxically, to validate it.…”
Section: Balancing Acts and Minute Deviationsmentioning
confidence: 99%