By Leslie Heywood, Shari L. Dworkin
The sculpted velocity of Marion Jones. The grit and agility of Mia Hamm. The slam-dunk sort of Lisa Leslie. The ability and finesse of those activities figures are greatly trendy, now not inflicting the puzzlement and ache directed towards prior generations of athletic ladies. outfitted to Win explores this rather fresh phenomenon-the convinced, empowered woman athletes came upon in all places in American pop culture. Leslie Heywood and Shari L. Dworkin learn the position of woman athletes via interviews with basic- and excessive school-age boys and girls; cautious readings of advert campaigns through Nike, Reebok, and others; discussions of films like struggle membership and Girlfight; and explorations in their personal activities reports. They ask: what, if any, dissonance is there among well known pictures and the particular stories of those athletes? Do those photographs relatively "redefine femininity" and give a contribution to a better inclusion of all girls in recreation? Are sexualized photos of those ladies destructive their quest to be taken heavily? Do they motivate younger boys to admire and appreciate woman athletes, and may this finally make a distinction within the methods gender and tool are developed and perceived? presenting a paradigm shift from moment- to third-wave feminism, Heywood and Dworkin argue that, within the years because the passage of name IX, gender stereotypes were destabilized in profound methods, and so they assert that girl athletes and their imagery are doing very important cultural paintings as a result. very important, clean, and engrossing, equipped to Win examines recreation in all its complexity. Leslie Heywood is professor of English at Binghamton collage. She is the writer of lovely stable for a woman: An Athlete's tale (Minnesota, 2000), Bodymakers (1998), and coeditor of 3rd Wave schedule (Minnesota, 1997). A former tune and cross-country runner who's at the moment a aggressive powerlifter, Heywood is a vp of the Women's activities origin. Shari L. Dworkin is a sociologist and works as a study fellow on the HIV heart for medical and Behavioral reviews at Columbia college.
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Extra resources for Built to Win: The Female Athlete As Cultural Icon (Sport and Culture Series, V. 5)
As Toby Miller puts it, the present moment of change is a radical one—and I guardedly welcome it. Sportsex is both intensely discriminating in its identiﬁcation of commodities and consumers and increasingly attuned to diﬀerence . . the urgent drive toward the creation of markets to deal with overproduction has turned the Sportsex body to the forefront of contemporary capitalism. 24 Given this change in popular imagery and the gender expectations to which it is linked, and the way it has inﬂuenced female athletes within what might be deemed the post–Title IX generation, it is clear that we need new critical frameworks to accommodate that change.
Men’s water-polo team, all shot with the same conventions—the human body as an art form—as those used in the naked portraits of female fencer Sharon Monplaisir, diver Mary Ellen Clark, sprinters Gwen Torrance and Gail Devers, heptathlete Jackie Joyner-Kersee, volleyball player Holly McPeak, and Margo Thien and Nathalie Schneyder from synchronized swimming. The photographs, by Joe McNally, were gorgeous studies of erotic beauty, athleticism, and artistic form: macho men and porno princesses these weren’t.
And at what price, to whom? The 1996 Olympics marked a positive turning point for a number of activist struggles. The American women came through in part because of more industry support and the greater allocation of resources for which feminists have long argued and won gold medals in basketball, soccer, softball, synchronized swimming, and gymnastics, serving as the catalyst for, in the ﬁrst three cases, the later development of women’s professional sport leagues. The women’s 4ϫ100-meter relay team won gold in track, while Amy Van Dyken won four medals in swimming.