Titlebook: Reading Lena Dunham’s Girls; Feminism, postfemini Meredith Nash,Imelda Whelehan Book 2017 The Editor(s) (if applicable) and The Author(s) 2

GUILE

All Postfeminist Women Do: Women’s Sexual and Reproductive Health in Television Comedynutiae of characters’ lives, including women’s reproductive and sexual health: pregnancy scares, PMS, clinic visits, abortion, STI tests, and more. These programmes simultaneously reproduce the postfeminist sensibility of the late 1990s television programming and interpellate viewers into the same neoliberal values.

extemporaneous

Why , Why Now?,ea and highlights important new areas of investigation. With a helpful introduction to the work of each contributor, it responds to . as a millennial text with an important gendered message, whilst anticipating and foregrounding important criticisms of its blind spots, and the perils of putting feminism into popular culture.

浪費物質

From , to ,: Paving the Way for ‘Post? Feminism’presenting young women’s lives, re-articulating and re-mobilising previous conceptualisations of postfeminism. To conclude, the term ‘post? feminism’ is proposed to describe Dunham’s ‘new’ version of postfeminism for the millennial generation.

enhance

Reading the Boys of ,ith the mandates of hegemonic masculinity, thereby revealing the various ways that men deal with such an impossible yet legitimated identity position. As such, . shows that although men in contemporary US society embody some form of inclusive masculinity, they are still confronted with a hegemonic masculinity governing their gender identities.

雜色

ENACT

‘I Have Work … I Am Busy … Trying to Become Who I Am’: Neoliberal , and Recessionary Postfeminismhat authorises entitlement and self-absorption. This neoliberal logic takes on a specifically gendered, postfeminist form of self-branding that promotes (sexual) authenticity as an affective commodity in a dwindling, recessionary market.

CRUC

Hating Hannah: Or Learning to Love (Post)Feminist Entitlementships are simultaneously supplanted and affirmed by the presence of strong and nurturant female friends; what if in . friends, too, are displaced in favour of the greatest love/hate relationship of them all: a love affair with oneself?

Judicious

inclusive

‘, Voice of , Generation’: , and the Problem of Representationpromises for equality these engender. This chapter suggests a rethinking of representational demands, to consider the underlying material inequalities that give rise to concern for diversity in the first instance.

Melodrama

‘Doing Her Best With What She’s Got’: Authorship, Irony, and Mediating Feminist Identities in Lena Donal selves in ., as well as her use of commercialised sites such as Instagram and Lenny Letter, this chapter draws attention to Dunham’s (re)negotiation of such mediated spaces, offering a revision of current understandings of feminism as shaped by celebrity.