In today's New Republic, as excerpted by the Columbia Journalism Review, TNR senior editor Michelle Cottle, and Amanda Fortini, a New Republic contributor who recently wrote about Clinton and feminism for New York magazine, discuss Clinton's historic run:
COTTLE: The thing that I worry about is that Clinton had certain advantages because of her celebrity that helped her to overcome certain other things—the charisma issue in particular. There are charismatic women, but when you’re talking about “presidential charisma,” or projecting both strength and warmth, overwhelmingly the people who tend to possess this are men…
FORTINI: Even if we had a female candidate who had this ineffable, intangible charisma, I think it would be perceived very differently than it would be in a man. When you think about the kind of ease with which Barack Obama conducts himself, I don’t know if it would be received as well if he were a woman. The “I want to have a beer with him” factor that we look for in our male candidates—I don’t think we necessarily want that from a woman. I don’t think we know what we want from our female candidates, frankly.
It's interesting that both Cottle and Fortini use the word "charisma".
Recently, a professor of history and women's studies suggested to me that I write a piece "on how charisma is gendered male – unless you are, maybe, mother Teresa. All these attractive men – Kennedy, Clinton (Bill), Obama, are “charismatic, “ -- which means that people want to follow them anywhere. It’s ok for women to fall in love with a male candidate, but it is not ok for men to fall in love with a female one."
She mentioned that Max Weber wrote about charisma, and that none of his examples of political charisma were female.
So why is charisma, and political charisma in particular, gendered male? Is this surmountable for a female presidential candidate? What would female political charisma look like?
Wednesday, May 28, 2008
Julia Keller on Hillary Clinton and Death Imagery
An article that Julia Keller published in the Chicago Tribune last week, "Devil in a Pantsuit or the demonization of Hillary Clinton," really resonated with me.
She write about the death imagery that repeatedly crops up in political commentators' references to Hillary Clinton, and puts it in the context of novels and films that similarly feature tropes and imagery of a monstrous woman. Keller sees behind this imagery a "notion of a powerful, driven, influential woman as a hideous threat—a threat that can be curtailed only with her death."
I find it fascinating how these old archetypes continue to reappear in cultural portraits of powerful women. There's the archetype of the "witch," which I wrote about once in Bust Magazine (I compared the prosecution of Martha Stewart to the Salem witch trials, finding similar imagery in both). There's the "Marie Antoinette" archetype, which I wrote about in a Chicago Tribune piece. Both are images of women who are wielding too much power. I hadn't thought about death imagery. What are some other old archetypes that are still with us today, still in our subconscious and seeping out into our media and other cultural texts?
She write about the death imagery that repeatedly crops up in political commentators' references to Hillary Clinton, and puts it in the context of novels and films that similarly feature tropes and imagery of a monstrous woman. Keller sees behind this imagery a "notion of a powerful, driven, influential woman as a hideous threat—a threat that can be curtailed only with her death."
I find it fascinating how these old archetypes continue to reappear in cultural portraits of powerful women. There's the archetype of the "witch," which I wrote about once in Bust Magazine (I compared the prosecution of Martha Stewart to the Salem witch trials, finding similar imagery in both). There's the "Marie Antoinette" archetype, which I wrote about in a Chicago Tribune piece. Both are images of women who are wielding too much power. I hadn't thought about death imagery. What are some other old archetypes that are still with us today, still in our subconscious and seeping out into our media and other cultural texts?
Washington Post's Ruth Marcus on Why Fewer Women than Men Run for Political Office
Marcus writes in an interesting op-ed in the Washinton Post today that women impose their own glass ceilings. She cites a study that shows that far fewer women than men feel they are qualified to run for political office. She doesn't address why this is so: why do we impose limits on ourselves and our qualifications, why are women less "cocky" than men?
Friday, May 23, 2008
Clinton's Mentioning "Assassination" isn't Racist at all
Now the headline popping up on Drudge and elsewhere on the blogosphere is that "Hillary Clinton is raising the assassination issue," but really, when you watch the video, that's not what Clinton is doing, far from it, in fact. Actually, she's calmly saying that it is "curious" that the media and Obama's camp has been urging her to drop out of the race since Iowa, when historically, that hasn't been the case. She cites her husband's 1992 campaign, saying that he only wrapped it up in California in June, and then she says, Robert Kennedy was assassinated in June, during his campaign. She's not suggesting that Obama is going to be assassinated, which is the implication of the headlines on the blogosphere, but she's citing examples of presidential campaigns that extended into June, without any criticism for tearing apart the party, as Hillary Clinton is being accused of, for continuing her candidacy.
But she's already apologizing....Here's a case where race had nothing to do with her statement, but race is read into her words, a context or is supplied that was not intended. This is an example of how, throughout the campaign for presidency, Hillary Clinton has been prevented from mentioning anything about gender, about the historic nature of her run for presidency, without being attacked for raising the gender card, and at the same time, she is often accused of raising the race card when she hasn't actually done so.
But she's already apologizing....Here's a case where race had nothing to do with her statement, but race is read into her words, a context or is supplied that was not intended. This is an example of how, throughout the campaign for presidency, Hillary Clinton has been prevented from mentioning anything about gender, about the historic nature of her run for presidency, without being attacked for raising the gender card, and at the same time, she is often accused of raising the race card when she hasn't actually done so.
Monday, May 19, 2008
Chelsea should have been more front and center in Clinton's campaign
I just re-read a January 10, 2008 draft of an op-ed I published in the Tribune about unfair media portrayals of Hillary Clinton. At the end of my draft, I made a prediction that my editor removed because he said that I wasn't in the prediction business. He was right, I'm not--but I have to say, my prediction was right (read these two paragraphs that were not in my published piece.) And, I have to say, I think if Hillary Clinton had relied on Chelsea more from the beginning, and framed her own image as a "mama bear," as a maternal figure, she would have been portrayed more positively in the press.
Here are the two paragraphs from my original draft:
"Hillary's challenge in the days ahead is going to be how to reach out to those postfeminist twenty and early thirtysomething women who haven't yet suffered much because of their gender. A prediction: the Clinton campaign will feature Chelsea more front and center, and allow her finally to talk to the press. We'll see a lot less of Bill, a lot more of Chelsea. We saw a glimpse of this at the end of Hillary's victory speech Tuesday night: she hugged Chelsea, then Bill, and then Chelsea again, and they gazed lovingly at each other: the shot of mother and daughter gazing lovingly and proudly at each other made the Drudge Report. (Usually the victory speech image is of husband and wife.) Many young women will see themselves in Chelsea in a way they never will in Hillary."
"Bill Clinton (with Gore by his side) could use his sex appeal as a way to attract young female voters in 1993. I remember Naomi Wolf on the Yale campus screaming that "These men are babes!" to the cheers of the co-eds. The “Obama Girl” YouTube video only strengthened Obama's appeal. Hillary can't capitalize on her sex appeal as a strategy. (When she innocently showed an inch of cleavage a female Washington Post reporter jumped all over her.) But maybe she can run on her maternal appeal."
Here are the two paragraphs from my original draft:
"Hillary's challenge in the days ahead is going to be how to reach out to those postfeminist twenty and early thirtysomething women who haven't yet suffered much because of their gender. A prediction: the Clinton campaign will feature Chelsea more front and center, and allow her finally to talk to the press. We'll see a lot less of Bill, a lot more of Chelsea. We saw a glimpse of this at the end of Hillary's victory speech Tuesday night: she hugged Chelsea, then Bill, and then Chelsea again, and they gazed lovingly at each other: the shot of mother and daughter gazing lovingly and proudly at each other made the Drudge Report. (Usually the victory speech image is of husband and wife.) Many young women will see themselves in Chelsea in a way they never will in Hillary."
"Bill Clinton (with Gore by his side) could use his sex appeal as a way to attract young female voters in 1993. I remember Naomi Wolf on the Yale campus screaming that "These men are babes!" to the cheers of the co-eds. The “Obama Girl” YouTube video only strengthened Obama's appeal. Hillary can't capitalize on her sex appeal as a strategy. (When she innocently showed an inch of cleavage a female Washington Post reporter jumped all over her.) But maybe she can run on her maternal appeal."
Friday, May 16, 2008
Barack calls reporter "sweetie"
Chicago Tribune's John Kass has a humorous column on Barack calling a female reporter, "sweetie," and not answering her question; there's also a link to the video.
Barack's official response is that he has a "bad habit" of "calling people sweetie." But, really, it's not "people" that get called this diminutive, only women. It's OK to call children "sweetie," but not for a presidential candidate to say that to a reporter asking a question. In this case, the reporter seems to yell out her question while Obama is doing a photo-op at a factory. She's disturbing the peace by asking her question, by putting him on the spot. So Obama's using this dimunitive is a macho way of not answering a question, or quieting a woman.
Barack's official response is that he has a "bad habit" of "calling people sweetie." But, really, it's not "people" that get called this diminutive, only women. It's OK to call children "sweetie," but not for a presidential candidate to say that to a reporter asking a question. In this case, the reporter seems to yell out her question while Obama is doing a photo-op at a factory. She's disturbing the peace by asking her question, by putting him on the spot. So Obama's using this dimunitive is a macho way of not answering a question, or quieting a woman.
Tuesday, May 13, 2008
Hillary Clinton Creates New Archetype for Powerful Women: the Fighter
Susan Faludi wrote an interesting op-ed on Hillary Clinton in the New York Times, May 9th.
She writes about how Clinton has remade her image from the typical female archetype of "hall monitor" who admonishes everyone to abide by the rules, to one of a "fighter" who is in the trenches--an archetype that is typically male, and one that's more appealing to white male voters.
Faludi writes that "[t]he specter of the prissy hall monitor is, in part, the legacy of the great female reformers of Victorian America. . . they were regarded by men. . .as reluctant trespassers in the public sphere who had left the domestic circle only to fulfill their duty as the morally superior sex, housekeepers scouring away a nation’s vice."
This archetype of woman as rule-regulator is repellent in the national imagination, she writes. "In that visceral subbasement of the national imagination — the one that underlies all the blood-and-guts sports imagery our culture holds so dear — the laurels go to the slugger who ignores the censors, the outrider who navigates the frontier without a chaperone."
Of this fighter image, Faludi writes, "Deep in the American grain, particularly in the grain of white male working-class voters, that is the more trusted archetype. Whether Senator Clinton’s pugilism has elevated the current race for the nomination is debatable. But the strategy has certainly remade the political world for future female politicians, who may now cast off the assumption that when the going gets tough, the tough girl will resort to unilateral rectitude. When a woman does ascend through the glass ceiling into the White House, it will be, in part, because of the race of 2008, when Hillary Clinton broke through the glass floor and got down with the boys."
I find it fascinating how women are held to certain standard archetypes, and how these are confining for women. I wrote about the Marie Antoinette archetype several months ago for the Chicago Tribune, and how this archetype of the spoiled rich woman who abuses her inferiors and controls her husband is applied to powerful women. There's also the archetype of the witch, which is also applied to strong women who are in charge of the purse strings: I wrote an article comparing the prosecution of the Martha Stewart trial to the Salem witch trials-the same tropes and themes and symbols arose in both. Faludi's point is interesting that Hillary Clinton has now hewed to a new archetype--the fighter--a traditionally male archetype. Perhaps Clinton has created a new archetype for powerful women, one that opens up new possibilities, new acceptable ways of behaving and being portrayed.
She writes about how Clinton has remade her image from the typical female archetype of "hall monitor" who admonishes everyone to abide by the rules, to one of a "fighter" who is in the trenches--an archetype that is typically male, and one that's more appealing to white male voters.
Faludi writes that "[t]he specter of the prissy hall monitor is, in part, the legacy of the great female reformers of Victorian America. . . they were regarded by men. . .as reluctant trespassers in the public sphere who had left the domestic circle only to fulfill their duty as the morally superior sex, housekeepers scouring away a nation’s vice."
This archetype of woman as rule-regulator is repellent in the national imagination, she writes. "In that visceral subbasement of the national imagination — the one that underlies all the blood-and-guts sports imagery our culture holds so dear — the laurels go to the slugger who ignores the censors, the outrider who navigates the frontier without a chaperone."
Of this fighter image, Faludi writes, "Deep in the American grain, particularly in the grain of white male working-class voters, that is the more trusted archetype. Whether Senator Clinton’s pugilism has elevated the current race for the nomination is debatable. But the strategy has certainly remade the political world for future female politicians, who may now cast off the assumption that when the going gets tough, the tough girl will resort to unilateral rectitude. When a woman does ascend through the glass ceiling into the White House, it will be, in part, because of the race of 2008, when Hillary Clinton broke through the glass floor and got down with the boys."
I find it fascinating how women are held to certain standard archetypes, and how these are confining for women. I wrote about the Marie Antoinette archetype several months ago for the Chicago Tribune, and how this archetype of the spoiled rich woman who abuses her inferiors and controls her husband is applied to powerful women. There's also the archetype of the witch, which is also applied to strong women who are in charge of the purse strings: I wrote an article comparing the prosecution of the Martha Stewart trial to the Salem witch trials-the same tropes and themes and symbols arose in both. Faludi's point is interesting that Hillary Clinton has now hewed to a new archetype--the fighter--a traditionally male archetype. Perhaps Clinton has created a new archetype for powerful women, one that opens up new possibilities, new acceptable ways of behaving and being portrayed.
Monday, May 12, 2008
Katha Pollitt op-ed in today's Tribune
Pollitt has a well-written op-ed in today's Tribune about how anti-feminism is on the rise.
This would explain the increase in penis references, both verbal and visual, in recent Hollywood comedies. These movies are all made for men, for the "male gaze." Not to say that the male nudity is homosexual at all, but it's all about appeasing male anxieties at seeing themselves naked onscreen, and it's also about asserting the power of the penis.
In "Forgetting Sarah Marshall," the Rachel character says to Jason Segel's character, "I can see your vagina from here," when he is being cowardly. There's a scene in "Baby Mama," in which Tina Fey's character and her new boyfriend acknowledge that for a man, being called a "dick," is a compliment, it means a man is strong and demanding.
As Pollitt mentions, Manohla Dargis wrote a great piece in the New York Times on May 4th, called "Is there a Real Woman in this Multiplex" on how movies are being made now solely with men in mind.
Why is anti-feminism on the rise?
This would explain the increase in penis references, both verbal and visual, in recent Hollywood comedies. These movies are all made for men, for the "male gaze." Not to say that the male nudity is homosexual at all, but it's all about appeasing male anxieties at seeing themselves naked onscreen, and it's also about asserting the power of the penis.
In "Forgetting Sarah Marshall," the Rachel character says to Jason Segel's character, "I can see your vagina from here," when he is being cowardly. There's a scene in "Baby Mama," in which Tina Fey's character and her new boyfriend acknowledge that for a man, being called a "dick," is a compliment, it means a man is strong and demanding.
As Pollitt mentions, Manohla Dargis wrote a great piece in the New York Times on May 4th, called "Is there a Real Woman in this Multiplex" on how movies are being made now solely with men in mind.
Why is anti-feminism on the rise?