By Maria Pini

This paintings explores the importance which modern membership cultures could have for girls at a time whilst femininity is present process radical reconstruction. The publication focuses upon the experiential bills given by way of a number of 'raving' and clubbing girls and illustrates how new (and, in a few respects, extra applicable to our instances) fictions of femininity are generated inside of those debts. membership cultures can, it truly is argued, come to supply vital websites for the exploration of recent methods of being women-in-culture. concentration upon those extra subjective and experiential points unearths that contemporary dance cultures have a lot to supply ladies, and much more to claim approximately femininity than is mostly stated. this means the constraints of a lot modern membership tradition feedback which concludes that simply because males are likely to dominate on the degrees of creation and organization, ultra-modern membership cultures sign a sexual-political step backwards.

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Extra info for Club Cultures and Female Subjectivity: The Move from Home to House

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Indeed, in this respect, there is often a clear ‘feminist’ edge, or what McRobbie calls a ‘semi-structure of feminist feeling’ (1997b) evident within raving women’s accounts of their contemporary club cultural involvement. Many of these women talk, for example, of clubs and raves being ‘cool’ because they can go to these alone and because unaccompanied women are not viewed as unusual, or as sexual ‘prey’. Narratives of a sexual-political ‘progress’ thus frequently underpin their definitions of ‘cool’ clubs to a far greater degree than do narratives structured around subcultural capital accumulation.

All of the present interviewees for example, when asked about the experience of raving, speak at once about sensations of ‘loss’ and an ongoing awareness of their sex and their sexual safety. The sensations of which they repeatedly speak are intensely physical and they are about an acute awareness of their bodies, their cultural markings, and their interrelations with other bodies – rather than about any kind of disappearance from embodied identity. Something else is lacking from such ‘loss of identity’ arguments.

Even though such ‘worlds’ may well be as much the product of ‘imagination’ as they are of material, this does not undermine their significance as meaningful sites for the development of alternative stories of being, and hence, for the alternative identities which can arise through connection to such stories. (ii) Disappearance, loss and post-identity If concentrating, as Thornton does, upon the ‘cool’ veneer of club cultures and the people who represent this, tells us very little about 46 Club Cultures and Female Subjectivity the location and experiences of clubbing women, then one particular ‘postmodern’ approach to these cultures leaves questions about femininity equally untouched.

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