Feminist expression in American country music a case study of Taylor Swift

Authors

  • Jingwei Li

DOI:

https://doi.org/10.61173/0gtege84

Keywords:

Taylor Swift, feminism, American country music, social gender, female empowerment

Abstract

This article employs a feminist theoretical perspective and utilizes textual analysis to examine the feminist expressions within the music of American female musician Taylor Swift. Through analyzing the lyrical content of several songs imbued with typical gender themes such as “Fearless,” “Speak Now,” “Miss Americana & The Heartbreak Prince,” “The Man,” and “All Too Well,” this study reveals that Taylor Swift’s music explores themes of female autonomy and advocates for increased awareness of gender inequality issues. In her feminist discourse, Taylor’s songs integrate emotional nuances from personal experiences alongside critiques of societal gender oppression.Through these analyses, this study aims to uncover the expression of gender consciousness in musical compositions and elucidate the interactive relationship between musical works and feminist discourse and construction. Additionally, this research provides insights into feminist expressions within American country music through Taylor Swift’s compositions, thereby contributing significantly to the exploration of music’s influence on gender identity and women’s rights.

References

[1] Caroline, Yohanna Pebrianti, et al. (2023). “A FEMINIST- STYLISTIC ANALYSIS OF THE TAYLOR SWIFT SONG ENTITLED THE MAN.” KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) 7.2: 115-124.

[2] De Beauvoir, S. (1949). The Second Sex.

[3] Ellis, I. (2010). Resistance and relief: The wit and woes of early twentieth-century folk and country music.

[4] Lorber, Judith. (2018). “The social construction of gender.” Inequality in the 21st Century. Routledge. 347-352.

[5] Oliveros, Pauline, and Fred Maus. (1994). “A conversation about feminism and music.” Perspectives of New Music: 174- 193.

[6] Putri, Cindy, Shanty AYPS Duwila, and Maria Sabriana.

[2022] . “Representation of feminism in Taylor Swift’s songs.” Seminar Nasional dan Call For Paper 2023 dengan tema” Penguatan Kapasitas Sumber Daya Manusia Menuju Indonesia Emas 2045” PSGESI LPPM UWP. Vol. 9. No. 01.

[7] Stone, Alison. (2017). “Feminism, Gender, and Popular Music.” The Bloomsbury Handbook of Religion and Popular Music: 54.

[8] Vaid-Menon, A. (2020). Beyond the gender binary. Penguin.

[9] Whiteley, Sheila. (2013). Women and popular music: Sexuality, identity, and subjectivity. Routledge.

[10] Guo, A., & Ye, H. (2001). Western Patriarchal Culture and Feminist Psychology. Women’s Studies Review, 6, 25-31.

[11] Breaking gender stereotypes in advertising, letting children be themselves. (n.d.). United Nations Children’s Fund. https:// www.unicef.cn/csr/break-the-gender-bias-in-advertisement.

[12] Li Wu. (2014). Taylor Swift: I Will Dance in the Storm. Global People, (32), 90-92.

[13] Zheng Kelu. (2008). Insight and introspection on women’s issues - An interpretation of the feminist classic ‘The Second Sex.’ Study and Exploration, (3), 186-189.

[14] Lv Changteng. (2023). Considering women’s rights protection from a social gender perspective. Taste·Classic(23), 37-40. doi:CNKI:SUN:PWJD.0.2023-23-012.

[15] Dai Xuehong. (2009). ‘The Second Sex’ and Misogyny. Yuehai Feng, (1), 63-64.

[16] Zhang Peixin, & Du Xueyuan. (2008). Examining Female Education under Patriarchal Culture. Chuan Cheng, (24), 70-71.

[17] Beardsley, R., & Miller, M. H. (2002). Revisioning the process: A case study in feminist program evaluation. New Directions for Evaluation. https://doi.org/10.1002/ev.66.

Downloads

Published

2024-10-29