Дипломная работа на тему "ТЮМГУ | «Я (не) просто Бимбо»: теоретизирование амбивалентности красоты"

Работа на тему: «Я (не) просто Бимбо»: теоретизирование амбивалентности красоты
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МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)
РЕКОМЕНДОВАНО К ЗАЩИТЕ В ГЭК

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
"I АМ (NOT) JUST А ВIМВО": TНEORIZING ТНЕ AМВIVALENCE OF BEAUTY / "Я (НЕ) ПРОСТО БИМБО": ТЕОРЕТИЗИРОВАНИЕ АМБИВАЛЕНТНОСТИ КРАСОТЫ

50.03.01 Искусства и гуманитарные науки Профиль «Культурные и следования»

Тюмень 2023

MINISTR У OF SCIENCE AND HIGНER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of Нigl1er Professional Education
«UNIVERSITY OF TYUМEN» SCHOOL OF ADVANCED STUDIES

RECOММENDED FOR А DEFENSE IN SEC

UNDERGRADUATE THESIS
"I АМ (NOT) msт А ВIМВО": TНEORIZING ТНЕ AМВIVALENCE OF BEAUTY / «Я (НЕ) ПРОСТО БИМБО»: ТЕОРЕТИЗИРОВАНИЕ АМБИВАЛЕНТНОСТИ КРАСОТЫ

50.03.01 Arts and Humanities Major "Cultural studies"

Tyumeп 2023

TABLE OF CONTENTS INTRODUCTION 4
СHAPTER 1. BIMBO – THE BEGINNING AND THE PRESENT 7
CHAPTER 2. BIMBO – THE DENATURALIZATION AND THE RECONTEXTUALIZATION 12
CHAPTER 3. BIMBOMETHODOLOGY 15
3.1 OBJECT OF ANALYSIS 16
3.1 SOURCE OF DATA 17
3.2 METHODS OF ANALYSIS 18
3.3 APPROACH 22
BIMBO – THE ANALISYS: CHAPTERS 4, 5, AND 6 24
CHAPTER 4. TEXT ANALISYS 24
4.1. DOLL 24
4.2 POSITIVITY 25
4.2.1 POWER 27
4.2.2 SOCIAL CONNECTIONS 36
4.3 UNPLEASURE 37
4.3.1 STIGMA 37
CHAPTER 5. PROCESSING ANALYSIS 39
5.1 PINK 39
5.2 BODY MODIFICATION 39
CHAPTER 6. SOCIAL ANALYSIS 40
CONCLUSION 42
BIBLIOGRAPHY 43
APPENDIXES 1-4 49
APPENDIX1 49
APPENDIX 2 50
APPENDIX 3 51
APPENDIX 4 52

INTRODUCTION
Feminist and gender studies have repeatedly highlighted the mutually complementary relationship between capitalism and patriarchy, the key target of which is a woman. Judith Butler, in turn, in the book Gender Trouble: Feminism and the Subversion of Identity reflecting on the problems of unified feminism and power relations, in addition to the intersectional view, offers an examination of both verbal and nonverbal discourses around women. [Butler, p. 8-12] This work, as well as many researchers of gender and feminism, have formed my reverent and attentive attitude to my main academic passion, beauty and fashion industry, to how a person looks and what appearance “says.” Perhaps for these reasons, when choosing a cultural object from the world of fashion and beauty, I was in search of a non-trivial, controversial example of power practices and verbal (oral) and non-verbal (visual) discourses from above and about a woman. Enough works have also been written about daily imperious “female” beauty practices, for example, one of the most popular book is The Beauty Myth by Naomi Wolf. [Wolf] Oral and visual discourses of sexist perception of woman are also reflected and highlighted in many gender studies’ papers. For example, the analysis of sexist image of a stupid blonde girl, which become quite firmly embedded in the Western (and not only) media space through Hollywood bestsellers of the 1920s, like the legendary movie Gentlemen Prefer Blondes with Marilyn Monroe. [Hegeman, p. 525] Or a study of anecdotes about political leaders such as Hillary Clinton, where authors agreed that stereotypes and jokes about blondes and their stupidity are they are firmly sewn into the identity of almost every woman. [Thomas, p. 290]
My research interest fell on the so-called "bimbo movement" originated about 5 years ago by Alicia Amira, professing hyperfeminity and hypersexuality.1 Which in turn is an interesting, controversial and ambivalent area of research, both from the point of view of the study of beauty and feminism. The Bimbo (as a person from
bimbo movement) and the construction of a stupid blonde girl have one thing in common - the dualism between sexuality and intelligence. [Shifman, Lemish] At the same time, while retaining the characteristics of a stupid blonde girl, bimbo has a number of differences. Firstly, the image of bimbo has a fairly clear visual outline: “Young, white, beautiful blondes with huge boobs and slim bodies dressed in designer clothes, pink and glitter. We called them Bimbos.” [Hjermind, p.5] Feline Hjermind comes to such a general picture in the result of analyzing the bimbo representation in the mass media. A similar imagery comes from another article exploring bimbo from the social network TikTok – bimbo is broadly described as hyper-feminine. [Pierce, p.207] (this term is also used by the aforementioned researcher of the bimbo image. [ Hjermind, p.24,26,27]) Secondly, an important point about bimbo is that many bimbos actively broadcast feminist statements, as Hjermind claims [Hjermind], as well as raising the problems of subversion and the problems of post-feminism. [Pierce, p.206-211] Despite the fact that these two only studies mentioned above explore bimbo (and bimbo movement) and raise important and key questions, scientific works have not found answers to the contradictions of bimbo from the point of view of feminism and beauty. My assumption about the lack of answers is based on the fact that both studies analyze separate and partial (only selected examples) visual and oral discourses, ignoring the general and whole picture. These facts influenced the object of research chosen by me, the selection of research methods and the asking of research questions, as will be shown below.
The object of my research is Alicia Amira’s gender performance, as she is a founder of the bimbo movement and a self-proclaimed “Bimbo Queen.”2 My choice of considering the actions of Alicia Amira was deliberately determined from the point of view of performance, which allows me to analyze visual and oral discourses, which, in turn, will be explained in my methodology. My research
2 Alicia Amira, ‘The Bimbo Queen’, TikTok, n.d. According to the Roskomnadzor, TikTok is violating the requirements of the Russian law and it is prohibited on the territory of the Russian Federation question is what are the discursive origins and contradictions of Alicia Amira 's gender performance?
My research work will consist of an Introduction and a Conclusion, as well as the following Chapters. The Chapter Bimbo - The Beginning and the Present includes a literary review consisting of mentions of Bimbo in English dictionaries and scientific papers, as well as a review of two key studies about bimbo and descriptions of what these studies miss. The Chapter Bimbo - denaturalization, recontexialization - reveals the issues of gender recotetualization referring primarily to the works of Judith Butler. The chapter - Bimbomethodology - includes a description of the selected research methods and the adaptation of these methods to the analysis of Alicia Amira's gender performance. The Chapter Bimbo – The Analysis provides a three-stage critical discourse analysis combining data from visual and oral discourses of Alicia Amira's gender Performance. The results of the analysis lead me to conclude that the bimbo studies mentioned above misinterpret the subversiveness of Alicia Amira's actions. A feature of Alicia Amira's gender performance is the contradictory reflection of femininity using male visual discourse and the dispute with the post-feminist gender contract rising the problem of stigmatization of bimbos.
Despite the versatility and fruitfulness of Bimbo for research, in this thesis, I am skipping topics that could be related. In particular, the problems of commodification, the problems of disembodyness and the problems of ecofeminism, as well as the analysis of other examples of Bimbo (and bimbo movement,) like Himbo, for instance,) or in general an examples of non-Western (consumeristic) beauty.

BIBLIOGRAPHY
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*According to the Roskomnadzor, TikTok is violating the requirements of the Russian law and it is prohibited on the territory of the Russian Federation.
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