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ABSTRACT This article draws on recent feminist work in the fields of queer theory, cultural studies and media studies to counter notions of a monolithic or homogeneous femininity. It offers a discursive analysis of two popular women's genres; the Aga-saga and the soap opera, to argue that these offer at least two possible modes of femininity which women can draw on in constructing and reconstructing their feminine identities. However, it then suggests that, whereas both forms offer models which can assist the negotiation of femininity, only the soap opera offers a paradigm which can assist a resistant femininity. An exploration of the fictional female character, the soap queen, reveals both her glamour and her resemblance to the drag queen. Whilst the glamour is posited as a further model for the negotiation of femininity, the similarities to the drag queen are offered as an indication of the possibility of resistance, since this resemblance can suggest the performativity of gender identity.
Introduction
In line with other recent feminist work, this article sets out to argue that there is no, `monolithic or homogeneous femininity' (McRobbie, 1996, p. 189). A similar argument is made, for example, by Celia Kitzinger (1990) as part of her critique of a particular type of feminism which she terms `matriarchal. She considers that feminists such as Mary Daly (1979) universalise femininity by venerating, `the power of women's all women's creative and nurturing bodies, of our uniquely female connectedness with Mother Nature' (Kitzinger, 1990, p. 24). Additionally, Liesbet van Zoonen critiques the definition of femininity found in media content where: `submission, availability and compliance are ... held up as ideals and consumption is presented as the road to self fulfilment' (Zoonen 1994, p. 30). More recently, Ien Ang has countered notions of, `immutable definitions of femininity', arguing that, `women construct and reconstruct their feminine identities' (Ang, 1996, p. 94) and Angela McRobbie's (1996) work has noted the diversity of female subjectivities found in women's and girls' magazines. Here, I take a similar approach to McRobbie's, to suggest that, `a series of different, sometimes complementary and sometimes contradictory, female subjectivities' co-exist in two forms of contemporary fiction: the Aga-saga and the soap opera (McRobbie, 1996, p. 189). The purpose is not to compare these two...