I promised more posts, but I didn’t promise that they’d be about history or that they’d be any good. As well as writing a book I’ve been watching some rubbish 80s TV. You can see some complete episodes of He-Man and She-Ra on YouTube. On one level this is harmless fun that you don’t have to think about, but there are also plenty of Fedex arrows that can be spotted without having to try too hard. Obviously with something called He-Man there are going to be gender issues, and there are going to be even more gender issues when they make what is basically (and almost certainly intended to be) ‘He-Man for girls’. The very existence of She-Ra signifies that He-Man itself wasn’t for girls and they weren’t supposed to be interested in it. That’s already a big ideological assumption, because why shouldn’t girls be interested in violent hypermasculine men, and conversely, why should boys be interested in that? There’s a whole other post that could be written on how the writers mistreated Teela, but for now let’s take it for granted that this is all ‘just how it was’ in the early 80s. Taking He-Man as a starting point, what does the realization of a ‘He-Man for girls’ tell us about how gender ideology was (or wasn’t) contested in that period?

The first thing to note is that the creators were really trying to avoid some of the more obvious stereotypes. He-Man was a very stereotypically muscular hypermasculine man, like a cross between Conan and Superman. A similarly hyperfeminine mirror image would be something like Barbie, but She-Ra is usually as strong, active and violent as He-Man (when I say violent I should point out that being 80s cartoon series aimed at fairly young children, the violence is quite gentle, but they’re still a whole lot more violent than My Little Pony or the Care Bears). The devil is in the detail. If we carefully compare the standard opening sequences of an episode of He-Man and an episode of She-Ra, we can see the subtle semiotics of gender differences at work.

First of all, the music is noticeably different. He-Man has a stirring orchestral theme but She-Ra gets some cheesy synth-pop that could have been produced by Stock, Aitken and Waterman.

Almost immediately we can see that She-Ra most definitely isn’t equal to He-Man:

I am Adam, prince of Eternia…

Adam/He-Man is an important person in his own right.

I am Adora, He-Man’s twin sister…

Adora/She-Ra is defined in relation to a man.

Fabulous secret powers were revealed to me…

Adam/He-Man has powers, which is not altogether surprising considering that he’s a superhero. Presumably his sister has the same powers too.

Fabulous secrets were revealed to me…

Oh no, she only has secrets. Despite the full title of the series being She-Ra: Princess of Power, the writers go out of their way to avoid Adora/She-Ra using the word ‘power’ during the opening sequence. The emphasis on secrets also connects with the stereotype that women are mysterious and impossible for men to understand.

the day I held aloft my magic sword and said: BY THE POWER OF GRAYSKULL!

He-Man has power and Castle Grayskull serves him.

the day I held aloft my sword and said: FOR THE HONOR OF GRAYSKULL!

She-Ra doesn’t have power, and she serves Castle Grayskull.

When Adam turns into He-Man he gets struck by lightning and looks active and confident.

When Adora turns into She-Ra she’s surrounded by swirls of sparkly glitter and looks more passive and slightly bemused.

Then they shout:

I HAVE THE POWEEERRRRR!

He-Man’s still got the power.

I AM SHE-RAAAAAAA!

She-Ra still doesn’t got the power.

Then each one points hir sword at hir pet to transform it into a war mount.

He-Man points the tip of the sword at Cringer, and the magical beam shoots out of the tip. How much more phallic can you get? (Quite a bit more in Thundercats actually, where the Sword of Omens grows in size as Lion-O shouts ‘Thunder… thunder… thunder… thundercats HOOOOOOO!)

She-Ra holds her sword upright with the tip out of the top of the shot. The magical beam comes from an oval stone set into the hilt, which kind of resembles a vagina. (But then so does the Eye of Thundera, so I’m not sure what to make of that.)

He-Man rides an armoured tiger, which he describes as ‘the mighty Battlecat’. He then says ‘and I became He-Man, the most powerful man in the universe’ and punches the camera (just like Jack Regan in the titles of the fourth series of The Sweeney) before telling us who else shares his secret and who his enemies are.

She-Ra rides a winged unicorn with pink trappings. She doesn’t say or do anything between the pet transformation and telling us who shares her secret and who her enemies are.

So before the story even starts we’re primed to see She-Ra as more feminine and less powerful. In fact the stories make it fairly clear that She-Ra is just as physically strong as He-Man. And she gets some extra powers too. But wait, these extra powers are healing and empathy, which are stereotypically feminine and would probably be seen as emasculating if He-Man had them. The paradox is that having more powers effectively makes She-Ra appear inferior. (We can also infer that she has the supernatural power to stop anyone from ever seeing up her absurdly tiny and strangely physics-defying skirt, but that’s probably not ‘canon’.)

It could be worse (just google for the feminist reaction to the horrendous misogyny in the recent DC comics reboot) but it could be better. Looking at the relatively recent past should remind us that gender and patriarchy aren’t fixed or natural, but that we’re not making inevitable progress against them either.

More filler this week as I’m too busy to write anything intellectual. As it’s Remembrance Sunday, here’s a selection of WW1 pictures from my random ebay acquisitions. Click the thumbnails to see full size versions at Flickr. First of all I bought another photo of the frisky horse that I posted here. Not much need for an epic Errol Morris style investigation as I think it’s pretty obvious what order they go in.

Before:

After:

London Division horse show, Overath, Germany, 1919. Even during the war divisions and corps often held horse shows to encourage the men to look after their horses as well as possible. This was important because infantry and artillery depended very heavily on draught horses throughout the war. This one’s really worth viewing at full size as there’s so much detail.

This looks like two women in the uniform of the Scottish Horse. It apparently wasn’t unusual for women to dress up in men’s uniforms to have their photos taken.

A mounted artillery driver, photographed in Edinburgh. Photos like this cause lots of confusion because people get the idea that their ancestors were in the cavalry and then go off looking in the wrong places and asking the wrong questions.

Girls on ponies watching a Royal Artillery column. Not strictly WW1 as it looks like it was taken in the 1920s or 1930s. The Royal Field Artillery wasn’t fully mechanized until 1939. This photo captures the period when horses were making the transition from useful work in the army and economy to a hobby seen as mostly for girls.

It’s now four years since I started blogging. Last year I said I might stop today, but I’m not going to now. I need a blog to promote my forthcoming book, I’m not ready to do anything completely different yet, and blogging is still a useful way of trying out new ideas and keeping in touch with people. I’ve somehow gone for nearly three months without posting anything because I’ve been so busy. Before I can even start writing the book I have to work on a chapter for an edited collection and also finish building a roof. And there’s an article which is probably going to get revise and resubmit soon. Posts should get more regular from now on, but in the meantime, here are some links and news:

• Bench Grass is a new military history blog, with some great posts on armoured warfare. One of the few people who really gets cavalry.
• At Airminded Brett Holman has finished (for now) post-blogging the Battle of Britain and the Blitz. One of the many surprises thrown up by his experiment is that there wasn’t a clear division between the two at the time. The press seem to have been more optimistic than the present myth of The Few would suggest (and it was a big shock to discover that Churchill was mostly talking about bombers in that speech), and some people wanted the Germans to try and invade Britain because they knew it would fail. Despite knowing that German bombs wouldn’t defeat them, the British seem to have massively over-estimated the effectiveness of their own bombing of Germany. Meanwhile Daily Mail readers, then as now obsessed with impractical and morally dubious solutions to exaggerated problems, demanded more reprisal bombings of German civilians.
• The Institute of Historical Research has launched a digital consultancy service and announced a digital editing system called ReScript.
• PhDork at The Pursuit of Harpyness looks at “An Anti-Suffrage Monologue”, in which American suffragette Marie Jenney Howe mercilessly exposed anti-feminist hypocrisy by putting contradictory arguments against equal voting rights next to each other, ostensibly so that readers could pick the one they preferred. This kind of hypocrisy hasn’t gone away. Early-modern women’s historians are faced with Lawrence Stone’s objection that elite women are not worth studying because they’re not typical, and David Starkey’s objection that ordinary women are not worth studying because they had no power. Opponents of women serving in combat roles say that a woman wouldn’t be strong enough to drag her wounded male comrades to safety, and that male soldiers would spend too much time looking after their female comrades instead of fighting.
• Pink Parts is a webcomic set in a strip club and written by Katherine Skipper, who used to work as a stripper. It’s intelligent, honest, funny and really has something to say. Good to see a stripper’s point of view being put across in a medium which is far too dominated by privileged white men. It ties in well with Catherine M. Roach’s book about stripping, which I reviewed last year.
• Comic genius Kate Beaton gives her own interpretations of courtly love and King Lear.
• PEP! is a magazine about comics, music, politics, Doctor Who and other things, edited by my friend Andrew Hickey. It even includes some articles by me. I tried to push myself do something different from my blogging and academic writing, which wasn’t entirely successful but I’m all about failing better. In issue 1 (available as free PDF download or expensive print on demand) I gave an argument in favour of political extremism (from a feminist and postmodern angle) which made some good points and one bad point which went up a blind alley to do with Zeno’s paradoxes, but since it provoked a rebuttal from the editor I must have done something right. In issue 2 (PDF; print version available soon) I took a long and exhausting (but nowhere near exhaustive) look at lazy journalism, bad science and gender ideology relating to spatial reasoning abilities. Since I wrote it in March it’s been superseded by some other things (especially Cordelia Fine’s new book Delusions of Gender, and a new report which disproves gender differences in maths ability) but I’m still pleased that I managed to write something outside my comfort zone.
• Andrew has also written a book about the Beatles. I found the blog posts that this grew out of really interesting, even though I don’t like the Beatles.
• And finally, you can have minutes of fun looking for film and TV locations on Google Streetview. Here are Baywatch headquarters near Santa Monica and Baywatch Hawaii headquarters at Haleiwa.

There’s a meme going round which involves picking a theme tune for your blog. I decided to do it because I’ve got so much other writing to finish before I can do a proper post with words in it. So I choose “Our Daughters Will Never Be Free” by The Indelicates. It’s the second song in the video below (starts about 3:50). Being a live version the words aren’t always easy to make out, but take it from me, this is a scathing attack on postfeminist complacency.

8th March is International Women’s Day, and March is National Women’s History Month in the US (it would be nice if there were more of them in a year, otherwise we have 11 men’s history months and 364 men’s days by default, but you can’t have everything, especially if you’re a woman…). The theme of this year’s Women’s History Month is Writing Women Back Into History. I’ll probably write some posts about women’s and gender history later in the month. But right now seems like a good time to announce a new website/blog:

They Really Do Exist “aims to be a directory of women who are active in traditionally male arenas”, “for all those people who are sick of hearing ‘But there ARE no women in that sector!’ when they ask why the media or other publicity downplays the role played by women in any given area”. The site was the idea of Jennie Rigg, a female political blogger who is, in her own very apt words, “FUCKING SICK” of being told that there are no female political bloggers. What I find most striking about this situation is that many male political bloggers (even liberal ones) try to delegitimize feminism by claiming that it isn’t really politics. In contrast, anti-feminist academics are more likely to delegitimize feminist history by asserting that it is political and therefore doesn’t meet their standards of (false) neutrality. This double standard gives patriarchy the best of both worlds and makes things even more difficult for feminists. Maybe part of the problem of patriarchal equilibrium is that feminists are intellectually honest and abhor hypocrisy, whereas patriarchy thrives on it. Anyway, if you know of a woman who should be included in the list, leave a comment at the submit page.

Inspired by Jennie’s example, I’ve expanded the scope of the War and Gender Zotero group to include works on any aspect of military history written by women. There are now two sub-collections in the group library: one called “About Gender” which includes any works about the intersections of gender and sexuality with war written by anyone (which is what the group was originally limited to), and one called “By Women” which includes anything relating to wars and armed forces written by women. The new collection is still in its early stages. So far it only contains works by women that were already in the group library. There are lots more items in my personal library which need to be added. I’ve almost certainly made some embarrassingly wrong assumptions about people’s gender based only on their forenames, despite being trained by the Cambridge Population Group not to do that. [ETA 13 May 2011: I stopped doing this because it was too much trouble!]

And finally, here’s a photo of a nurse and some “munitions girls” from the First World War:

Someone just found this blog by Googling for “What happened to Lady Brilliana Harley in the English Civil War”. Well, Lady Brilliana Harley is famous for taking charge of the defence of her home when it was besieged by the king’s soldiers. This was something she did. She wasn’t a passive object that things just happened to. This is only one example, but I suspect that it’s not unusual to ask what happened to a woman during a war and to ask what a man did during a war. Actually both women and men do things and and have things done to them in war and peace. This is basic empirical fact. But language and culture bias us to think of men as active and women as passive.

This is a selection of First World War photos from my collection, mostly bought from ebay. I’ve posted some horse photos over at The horse in history and culture. The ones here have more of a gender theme. Click on the thumbnails to see bigger versions.

Four male prisoners of war, two in drag. This was taken in the theatre at Cottbus PoW camp, where my great-grandad was held from 1917 to 1918. He performed in the theatre but there’s no evidence that he dressed as a woman. One of the paradoxes of the hyper-masculine environment of the 20th century British Army was that it often forced men into stereotypically feminine roles in order to stand in for the women who were excluded.

Royal Army Medical Corps group, taken in France, 1919. It clearly shows how uniforms reinforced gender roles. The men are wearing army service dress, just like combat soldiers, although their role is to provide medical care. The women are wearing long skirts and big head-dresses. Also notice that some of the men are very short. The man on the left of the middle row, standing between the corporal and the nurse with a dog at their feet, looks shorter than some of the women. If you look very closely you can see that some of the group are holding puppies.

A man and woman called Fred and Kitty, but I don’t know their surnames. Fred is a sergeant in the Army Service Corps, and Kitty is in civilian clothes. The poses reinforce the differences in dress, suggesting male dominance and female submission.

Territorial Royal Field Artillery corporal with a small boy. Probably taken in Cardiff or Pontypridd. Like the Sergeant in the previous photo, the corporal is wearing spurs. These were standard equipment for troops classed as mounted, which included field artillery and service corps because they relied on horses for transport. I love the little boy’s pose. Although man and boy are both male, they illustrate the hierarchy of masculinity: the corporal is more of a man because of his age, independence and military service.

A group of female munitions workers. The unprecedented expansion of both the British Army and the arms industry in the First World War, along with the assumption that women couldn’t or shouldn’t fight, led to more women working in munitions factories. This temporarily gave some women increased pay and freedom, but 90 years on women as a group still earn less than men as a group. Although the uniforms make some concessions to the practicalities of working in a factory, they also signify femininity.

I’ve been reading Stripping, Sex and Popular Culture by Catherine Roach, which is really good and has made me think about lots of things. These are some random observations about it or inspired by it.

The book is mostly about female strippers, although it does include a bit on male stripping. Male and female stripping seem to be vastly different cultures with hardly any overlap. Knowing about one doesn’t tell you much about the other, but comparing them says a lot about gender ideology in general. From here on you can assume that when I used the words “stripper” or “dancer” I’m talking about a woman, not a man.

Strippers subvert and resist patriarchal norms at the same time as replicating them. The whole book is about rejecting false dichotomies and recognising that something can be two or more contradictory things at the same time. “Is stripping empowering or demeaning?” is a stupid question. The only answer is “it’s more complicated than that”.

The seats right at the front of the stage near the tipping rail are often called “pervert row” by the dancers. I’m fascinated by the ways that the concept of perversion can used to delegitimize almost any form of sexuality or interest in sex, no matter how unperverted it is. What could be more heteronormative than a man looking at a naked woman? And yet this can commonly be labelled as “perving”. Men generally get a much better deal out of sexual double standards than women do, but their sexual freedom is still limited by those standards.

Susan Griffin’s Woman and Nature (which I’m going to have to read – I got a copy off Amazon for only 1p!) includes a chapter on woman as show horse, which is very relevant to some of my ideas about how patriarchy blurs boundaries between women and horses. Roach contrasts this with a burlesque song called “Pony Girl”, in which the dehumanizing misogyny is ironically subverted by being both reduced to absurdity and reclaimed as a source of submissive pleasure. I’m not sure if Roach realized that this is an actual fetish which people really do, but its existence only strengthens her point. Men and women actually do find freedom and fulfilment by roleplaying ponies, and they can swap gender as well as species. I’ll probably have to write more posts about pony play at some point because it’s really interesting in terms of gender, sexuality, animal-human boundaries, subversion, resistance etc.

Pole dancing requires serious upper body strength. This is interesting because even Joshua Goldstein considered upper body strength to be one of the main limiting factors on women in combat roles. But some dancers prefer not to train in advanced pole tricks because the muscles they develop can be perceived as unfeminine and even intimidating by male clients. Just another way that patriarchal ideology makes women’s bodies conform to stereotypical ideals. Culture influences not only perceptions of reality, but reality itself. The stripper’s body is “clearly not natural, but is a construction and artefact of the culture” (p. 45).

Many dancers say they like wearing dangerously high heels because the shoes make them feel sexy, confident and powerful. (But could there be a difference between feeling powerful and actually being powerful? How does their experience compare with other women who are required to wear high heels at work?) This feeling seems to come mostly from the added height that they gain. Most women are shorter than most men (Goldstein’s figures, based on American 18 year olds, show that on average men are 8% taller than women, and that only 15% of women are taller than the shortest man). Being able to look down on them is a new and exciting experience. This ties in with Peter Edwards’s point that in early-modern England horses helped to reinforce authority because a man on a horse could literally look down on people on foot. Dancers would only ever wear their stripper shoes at work, and consider it “sluttish” for non-strippers to wear them in other contexts. Double standards manifest themselves in unexpected ways. Strippers can be patriarchal collaborators at the same time as challenging patriarchy by looking down on men. The dancers interviewed generally tend to define themselves in opposition to prostitutes. One of them describes a foot fetishist as “sick”. Not much sex-positive solidarity here, but this shows how patriarchy puts strippers in a position where they have to distance themselves from other kinds of sex workers, and from non-mainstream sexualities, in order to claim some legitimacy for stripping. It looks like a win-win situation for patriarchy. Closing down strip clubs isn’t going to end patriarchal equilibrium, but keeping them open isn’t either.

The need for dancers to play a role while interacting with clients can be alienating, leading to a false self. Having read Stephen Greenblatt, I’m not convinced that there is such a thing as an authentic self against which a “false” self can be judged. Following Judith Butler, Roach does emphasise that gender is always a performance, and that the gender performed by strippers is a hypersexualised, hyperfeminine version of an ideal woman. Stripping does seem to have an emotional/psychological cost, but is this caused by the ideology of authenticity and sincerity as much as by the falseness of the performance? Might Holden Caulfield have been happier if he admitted that “we are all phoneys”? If a performance in a strip club can be as good as the real thing, why not everywhere else too? And how can we know the difference? Is it that the stripper’s performance is too hyperreal to be real?

The “popular culture” in the title refers to the way that stripping has gone mainstream as what Roach calls “stripper culture”. Poledancing lessons are popular with lots of women, the stripper look is all over mainstream fashion, and stripper thongs are being marketed to pre-teen girls. One thing that struck me about this, which Roach doesn’t go into much detail about, is that by appropriating some aspects of stripping and taking them out of their previous context, the mainstream has effectively made stripper culture more patriarchal and misogynistic. Girls can go out dressed like strippers, but they don’t get the benefit of tips, bouncers, or no touching rules. They assume the semiotics of hypersexualized hyperfeminine availability, but without the protection, empowerment or profit that some strippers can get in well run clubs. Maybe that’s another reason why the real strippers call them sluttish.

Consent to work in the sex industry can be compromised by poverty. Consent is less meaningful when there is a limited range of choices on offer. Sex-positive feminism is not about complacently saying that sex work is OK, but about increasing the range of choices available and improving working conditions for those who do choose to do sex work. Carol Leigh: “the problems of prostitution don’t get solved until the problems of poverty get solved” (p. 131). Maybe the problem of patriarchy should be added to that, but patriarchy and poverty go together.

As a final thought, I wonder what would happen if a man went to a strip club in drag? How would it affect the gender dynamics? How would the dancers and other clients react? Would he even be allowed in?

Last week I watched The Incredible Journey of Mary Bryant. There’s not much I can say about it as a historical drama as I’m not familiar with the true story that it’s supposed to be based on. In general terms there are some things which I thought it got right and which you don’t necessarily see so much in more traditional costume dramas. Oppression and inequality were shown working as a system which dominated everyone rather than being the fault of individuals. There were no pantomime villains. The governor, lieutenant and marines had varying degrees of power and privilege, but they weren’t really free and clearly wanted to be somewhere else. Women were shown making patriarchal bargains to survive in difficult circumstances. Everyone from the governor to Mary made perfectly rational decisions to do really horrible things. As Marx said, we don’t choose the circumstances in which we have to make our choices.

But what really struck me was how similar it was to 70s science fiction series Blakes 7 (like Dexys Midnight Runners it shouldn’t have an apostrophe – Wikipedia is wrong!). A disparate group of convicts is transported to a penal colony and escapes in a boat/spaceship. None of them is unambiguously good or bad. They don’t like or trust each other but necessity forces them to work together. The only thing they have in common is a need to be free from an oppressive empire. You probably get that in lots of stories, but there were some more specific things. The scene on the beach where Will gets shot was very, very similar to the final scene of Blakes 7. Cox says almost the same things that Vila says about being forced to join the convicts. Will even has Avon’s smile! And Mary deciding to leave Sam is not too different from Avon deciding to kill Dr Plaxton by turning the engine on before she can get clear – in both cases their ruthlessness saves everyone else and proves them to be capable leaders but not nice people. So I wonder if the makers of the Mary Bryant series were consciously or unconsciously influenced by Blakes 7. Obviously it can’t all be a Blakes 7 rip-off because it’s also based on history. Which leads me to wonder whether Terry Nation knew about and was influenced by the story of the real Mary Bryant when he came up with Blakes 7. That would be an interesting case of intertextual relationships: a science fiction series influenced by historical events which goes on to influence a historical drama based on the same history. Intertextuality can be complicated like that.

Following on from my last post about ideology, I want to introduce a new concept which I’ll probably be mentioning a lot in the future: the FedEx Arrow. I got this from yukie1013 via Debi Linton. The basic idea is that the FedEx logo has an arrow in it. Some people notice it and some people don’t, but once you’ve seen it you can’t unsee it. This is analogous to ideological assumptions in texts (and for the historian this applies whether those texts are fiction, primary sources, or secondary works; it also applies to films, comics, art and any other cultural artefact you can think of). Some people notice ideology in a text, and some people don’t. Once you’ve noticed it you can’t make it go away, and that changes the meaning for you.

Probably my first major experience of this effect was the film The Spitfire Grill. Maybe it was never a great film but I used to really like it. It was kind of like Twin Peaks re-imagined as a chick flick, which somehow appealed to me. But then I read somewhere on the internet that it was anti-abortion propaganda funded by the Catholic Church. That wasn’t particularly obvious from the film itself. Although it was obviously very sentimental and manipulative, Percy’s situation was so far removed from reality that I didn’t connect it with real women having real abortions. It doesn’t really matter whether the rumour is true or not, because once the possibility was there in my head it wouldn’t go away and I started to notice things in the film which were definitely there but which I hadn’t noticed before. Suddenly it became unwatchable because it seemed so misogynistic. The message I get from it now is not only that if you have an abortion you’re a murderer who deserves to die, but that if someone rapes you and gets you pregnant, and you decide that you definitely won’t have an abortion, but the rapist beats you up until you have a miscarriage, that you’re still a murderer and deserve to die. Now it doesn’t quite say that explicitly. Percy doesn’t actually get tried and executed for the death of her unborn baby. But it’s strongly implied that she has an unbearable burden of guilt that won’t ever go away until she dies. No-one ever tells her it’s not her fault. Yes, I’ve spoilt it now, but spoilers or not, just don’t watch it. I’m never going to watch it again.

But as Debi says, seeing the arrow doesn’t have to ruin something completely. It’s still possible to enjoy something while seeing the arrows in it. I really like old TV action series like The Sweeney and The Professionals even though they’re full of casual racism, misogyny and homophobia. Actually, having watched every single episode of both of them earlier this year (there’s a limited range of things you can do when you’re recovering from RSI) I think they’re not quite as bad as they’re often assumed to be, but there are still lots of problems with them. I can still be influenced by Nietzsche even though I can see that he had some very dodgy ideas about race and inadvertently encouraged the Nazis. The Smiths will probably always be my favourite band despite Morrissey’s blatantly horrible misogyny in songs like “Pretty Girls Make Graves” (and the fact that it’s such a great song probably just makes it all the more dangerous).

So that’s the FedEx arrow. Try and spot some. They’re everywhere even if you don’t realise it.