Femininity Literature Review

INTRODUCTION

The following is a literature review of theories regarding femininity and emotions as well as a qualitative semi structured interview conducted with a fifty year old female generating primary data on the consumption of cosmetics. This analysis of existing concepts and theories as well as our own data generation we hope will result in an insight into how and why contemporary women consume cosmetic products. The central femininity theorists used are Judith Butler, Raewyn Connell, Liz Frost and Roseland Gill. The central theorists of emotions used were Schachter and Singer and James Lange.

LITERATURE REVIEW

How Femininity is constructed

Clarke & Griffin (2007) propose that women learn gender in

(2012) discuss contemporary femininity in the context of today's drinking cultures and the difficulties that its contradictions create for the modern woman. They explore if and how it is possible for women to inhabit this new contemporary femininity. Today respectability is a central part of femininity. Women are encouraged to be strong, independent, appear well groomed and ‘sexy’ while distancing themselves from undesirable traits such as a feminist or a ‘slut’. (Griffin et al. 2012). From their research they discovered that women are aware that the promises of freedom as well as the promise that double standards for men and women have been removed are only illusionary. The women however act as if they are unaware of this illusion and as a result succeed in finding a presence retaining respectable femininity and embodying the freedom of the new contemporary femininity. (Griffin et al.

For example upon finding out I have failed my project I cry, realising I am crying I now know I’m sad. (Cannon 1927) The Schachter-Singer (1962) Theory of emotions is more developed and slightly more complex. This theory brings together both the physical response and the event which has just taken place. This theory recognises the limitations of the James Lange theory as many different emotions cause the same physical response. For example upon failing my project I cry. However, when my brother arrives home unexpectedly from New Zealand after two years I also cry. By considering both the situation and the physical response I know I am joyful. (Schachter, S. & Singer, 1962)

Some major cosmetics companies use emotions as an approach to marketing their products. L’Oreal uses ads with the slogan “because I’m worth it” showing a conventionally attractive model portraying seduction and success. It creates a need for greater self-esteem by consumers and encourages them to consume L’Oreal to achieve this (L’Oreal