Seductive Alienation: The American Way of Life Rearticulated in Occupied Japan

This article explores how the notion of American domesticity promoted by US occupation forces in postwar Japan was decoded and rearticulated by non-elite Japanese women, a social group that has been largely overlooked in studies of the global promotion of the American way of life during the early Cold War years. Specifically examined here is the case of Takehisa Chieko, an actress and the wife of an American officer, who enjoyed high visibility in popular women’s magazines as the embodiment of the idealised postwar American lifestyle. A reading of Takehisa’s magazine writings, interviews, and photographs suggests, however, that she was far from a passive recipient and transmitter of this cultural message. As such, a close unpacking of her rearticulation of the idea of American domesticity toward the particular socio-cultural fabric of postwar Japan reveals the particular nature of this supposedly universal American model. In demonstrating the various dilemmas that stemmed from confronting both the seductive and alienating features of the American way as promoted in occupied Japan, this study illuminates a point of rupture in the larger US global promotion of American domesticity as a means toward cultural hegemony and political containment in the early Cold War period.     

“Peace is Our Only Shelter”: Questioning Domesticities of Militarization and White Privilege

Abstract: This paper traces how Los Angeles peace activists tried to make visible the grave domestic effects of Cold War militarization. Women Strike for Peace went beyond a focus on the productive relations between the state, military and industry captured by the term “military–industrial complex” to analyze how reproductive spaces were part of this complex. In opposing war, they challenged what I am calling militarized domesticities: how war‐making shapes the ‘home front’ and home as the spaces national security states claim to protect. I build on feminist antiracist intersectionality theories to situate the military–industrial complex per se within broader processes of the militarization of society and daily life. The questions become how do gendered processes of militarization—that work in conjunction with relations of white privilege—produce and connect differently situated “private” spaces or home places? How might strategies for dismantling the military–industrial complex emerge from the contradictions of these processes?     

‘This is disco-wonderland!’ Gender,sexuality and the limits of gay domesticity on The Block

Gay men have been positioned as arbiters of ‘desirable’ domestic style—a domestic imaginary epitomised through their presence as designers and participants on lifestyle television. This paper offers a post-structural critique, examining how the intersections of gender and sexuality shape the contours of, and public responses to, gay domesticity. I scrutinise one telling example: commentaries on the domestic design created by a gay couple on The Block, an Australian lifestyle-reality programme. Applying discourse analysis to the public reception of their design, I argue the acceptability of gay domesticity is proscribed by norms of sexuality and gender, and consequently gay domesticity must be understood in both normatively feminine and masculine terms. While the desirability of gay domesticity reflects a feminisation of gay men, it is also constrained by processes of masculinisation that associate gay men's domestic tastes with Playboy-style bachelor domesticity. Through bachelor domesticity, tropes of partying and seduction undermine traditional feminine homemaking and the heteronormative ideology of home championing privatised nuclear family life. Scrutinising the intersections of gender and sexuality thus reveals limits to gay domesticity, with implications for the cultural politics around mainstream acceptance of gay masculinity: gay men and their homes are welcome when they reinforce heteronormative ideals.     

Crowded kitchens: the ‘democratisation’ of domesticity?

Building on previous work concerning the gendered nature of domestic space, this article focuses on the kitchen as a key site in which gendered roles and responsibilities are experienced and contested. As men have begun to engage more frequently in cooking and other domestic practices (albeit selectively and often on their own terms), this article argues that kitchens have become ‘crowded’ spaces for women. Drawing on evidence from focus groups, interviews and ethnographic observation of kitchen practices in South Yorkshire (UK), we suggest that men's entry into the kitchen has facilitated the expression of a more diverse range of masculine subjectivities, while also creating new anxieties for women. Specifically, our evidence suggests that family meals may be experienced as a site of domestic conflict as well as a celebration of family life; that convenience and shortcuts can be embraced by women without incurring feelings of guilt and imperfection; that cooking is being embraced as a lifestyle choice by an increasing numbers of men who use it as an opportunity to demonstrate competence and skill, while women are more pragmatic; and that kitchens may be experienced as ‘uncanny’ spaces by women as men increasingly assert their presence in this domain. Our analysis confirms that while the relationship between domestic practices and gendered subjectivities is changing, this does not amount to a fundamental ‘democratisation’ of domesticity with significantly greater equality between men and women.     

Twentysomethings and twentagers: subjectivities,spaces and young men at home

This article examines young men's (aged 18–25 years) meanings of home and practices of homemaking, comprising material and social relations. The discussion contributes to three areas of geographical interest: home, masculinities and youth. Both geographies of home and masculinities have begun to consider men's experiences and meanings of home, but young men's domestic practices remain largely unexamined. Geographical work on youth has examined housing transitions, but the gendered experiences of young men need further interrogation. To provide insight into young men's homemaking, this article presents qualitative case studies drawn from fieldwork that investigated relations between masculinities and domesticities in Sydney, Australia. Young men are arguably out-of-place at home in conventional discourses of gender and space, but homes are nevertheless crucial sites for shaping masculine subjectivities. Masculinities and homes are co-constituted through domestic practices, generating diverse intersectional subjectivities and spaces. In this article, three subjectivity-space, or masculine-domestic, relations are discussed, which also counter the centring of heterosexual couple family homes in domestic imaginaries: young men in parental homes, share-housing and ‘alternative’ family homes. I examine similarities and differences across and within these masculine domesticities. This multiplicity of ‘youthful masculine domesticities’ offers a set of qualitative examples for use in public rhetoric that seeks to redress uneven gender dynamics in contemporary domestic life.     

Domesticating Barbie: An Archaeology of Barbie Material Culture and Domestic Ideology

A systematic examination of Barbie fashions, accessories, and playsets produced since 1959 reveals several distinct phases in the domestic symbolism associated with Barbie. Today, Barbie grocery shops, cleans house, cares for her young siblings, and assumes careers which fill nurturing and protective roles like those championed in traditional domestic ideology. Yet in the late 1950s, Barbie was conceived and marketed as a single career girl who did not do rough housework. This paper examines the range of clothing and accessories marketed alongside Barbie as a mechanism to trace the changes in Barbie's domestic image over nearly 40 years.     

Domestic destinies: colonial spatialities,Australian film and feminist cultural memory work

Elsa and Charles Chauvel's 1955 film Jedda was the first Australian feature film to cast Aboriginal actors in lead roles. The film was also unusual in the context of Australian film of the time for its rural domestic setting. Because the film explored the experiences of its lead character – Jedda – as an Aboriginal child adopted by a white woman, it is also one of the few films of the period to deal with colonial legacies in its attention to policies and practices of assimilation. The twin processes of racialisation and gendering of space in Jedda have been responded to by Tracey Moffatt in her surrealist short film Night Cries. This article uses the notion of intimate geographies to examine the production of relationships of power within domestic space that both films explore. The temporal and spatial practices deployed by the female figures within each film make visible a set of possible transformations of, as well as continuities within, enduring colonial power relations. Moffatt's retelling and respatialising of the Jedda narrative, however, is ultimately understood as a specifically feminist practice of cultural memory work, suggesting that struggles over memory are also struggles over place.     

Oskar von Miller and the Art of the Electrical Exhibition: Staging Modernity in Weimar Germany

Within the larger framework of understanding how modernity wasframed within and through the domestic sphere, this articleconsiders the efforts of Bavarian electrical engineer Oskarvon Miller to electrify and modernize Germany against the backdropof Weimar reform movements. Unlike modernist reformers associatedwith such projects as the Bauhaus or the Werkbund, Miller wasa practical systems-builder who sought to encourage consumptionwithin traditional frameworks of home and Heimat. For Miller,exhibiting the benefits of technology was a key element in securingits success, and his reliance on consumers rested on a corporatistideal that would create a new kind of community centred on technology.Whereas in the Imperial era Miller focused on Handwerker andsmall machines as the guarantors of both progress and socialstability, in the Weimar era he turned to housewives and housework.Through his involvement in electrification schemes as well asin his work in founding the Deutsches Museum, one of the firstmuseums of science and technology in Europe, Miller createda powerful narrative of technological progress that was bothtraditional and modern.     

“Our Girls Have Grown Up in the Family”: educating German and Chinese girls in the nineteenth century

In this article, we examine and compare historical changes in girls’ home-based education in nineteenth-century Germany and China. In many ways, girls’ home-based education in these two historical contexts exhibited differences, including the relationship between formal schooling and home education, and the role that new genres played in shifting tradition and structuring girlhood. However, we argue that more commonalities between the German and Chinese cases emerge. By analyzing the relation between talent and virtue, the writing of exemplary lives, and family dynamics, we see that in both cases the home was the critical site for valorizing and reproducing the class-bounded ideology of domesticity and identification for girls as home-based education constituted the means by which knowledge, morality, and practical skills were produced and transmitted from generation to generation.     

Labours of land: domesticity,wilderness and dispossession in the development of Canadian uranium markets

This article examines the role played by gendered constructions and categories in Canadian cold war appropriations of Aboriginal lands for nuclear production. Focusing primarily on the ways in which gendered tropes were mobilized by wives and companions of uranium workers recently arrived in the Serpent River watershed (home of the Serpent River Anishinabe) at the end of the first global uranium boom in which uranium production in the watershed was severely threatened, I explore how gendered constructions and categories provided important cartographies and reference points with which to order and maintain possession of the lands of the Serpent River watershed as a singular, Canadian, nuclear space. Drawing on Kaika's (2004) work on the discursive production of ‘home’, I argue that representations of the watershed as home in the wilderness and as imperilled domestic space, as well as the important ways in which they worked to secure discursive rights to space within the broader registers of white Canadian post war gender difference, relied on the near-complete erasure of Aboriginal presence and culture from the land for continuity. I conclude that while this erasure facilitated (morally and practically) the further incorporation of the watershed into Canadian geographies of nuclear production, it also worked to obscure the ways in which the industry and uranium economy were able to capitalize on Aboriginal lands, labour and their subordinate position in Canadian society.