This paper was written for Carrie West's Qualitative Research Methods class at Schreiner University. It placed as one of the top papers at the Schreiner Pop Culture Symposium.
http://blog.une.edu/2015youthculture1988/the-ladies-of-the-90s/feminism-
today-female-youth-empowerment-or-a-marketing-scheme/
Abstract
In this research paper, I researched the definitions of feminism as they are commonly understood in today’s society, and how Beyoncé Knowles, a household name in the United States, has come to redefine the word and successfully remove some of its negative stigma in comparison to traditional feminism. I did this by using an online database provided by Schreiner University to research modern feminism and its definitions, then doing an inductive coding of Beyoncé’s lyrics on her most recent self-titled album. After an initial look at the lyrics, I decided there were examples that both supported and did not support the criteria to be considered feminist ideals. The “positive” themes I coded for were women’s empowerment and social commentary, while the “negative” theme was desire to please men. After executing a complete coding of the lyrics, I determined Beyoncé’s album represents modern feminist ideals, while not representing traditional feminist ideals.
Beyoncism; A Look at Modern Feminism as Portrayed by Queen B
Feminism is a common topic for discussion amongst sociologists and communication scholars alike in addition to others who are concerned with social justice and promoting equality for everyone. This school of thought affects everything from social practices to economic factors, and everything in between. But how does this phenomenon fit into popular culture? Surprisingly, quite well. It is necessary for beliefs and practices to become relevant to pop culture in order for them to become the norm for a society. If this does not happen, the public will decide these phenomena only affect scholars and people in developing countries, not them. In order for these theories to flourish, they must be accepted into everyday life. And the easiest way to accomplish this is to allow it to seep into the media.
Many celebrities have been “coming out” as feminists in the past few years and one of the most noteworthy examples is Beyoncé. At the 2014 VMAs, she performed her song “Flawless” with the word “FEMINIST” in bold letters behind her. Critics said that it was not possible for her to identify as a feminist while she sang pop songs about pleasing men while also being a devoted wife and mother. This paper is my attempt to sort out this controversy while using her music, her main connection to the world, as an artifact.
Literature Review
Defining feminism
Merriam-Webster’s dictionary defines ‘feminism’ as “the belief that men and women should have equal rights and opportunities” (Merriam-Webster Incorporated, 2015). While some believe gender roles are set in stone and cannot be transcended whether it would benefit the masses or not, Virginia Sapiro argues that gender is a social construct, meaning gender roles can be changed (as cited in Farnham, 1996, p. 6). Although there are several people that claim to strive for equality between the sexes, they have made the decision to not identify as feminists due to the negative connotation the word has gained in recent times. These people, “nonfeminists,” have significantly different views on every type of feminist ideology besides cultural and socialist feminism (Durham, 2012, p. 35-49). It could even be said that due to the varying associations and “baggage” the word is accompanied by in today’s society that the word “feminism” is undefinable (Cimitile, 2002, p. 237).
Feminism in pop culture
But ultimately, the general public has gone as far to assign one meaning to the word; “male bashing” (Farnham, 1996, p. 6). This is even reflected in pop culture. Several stars, such as Shailene Woodley, star of the popular blockbuster “The Fault in Our Stars,” have said they do not identify as feminists. But how could they not when their peers, such as Rihanna, are found beat up in their boyfriend’s car only to sing the chorus to a song glorifying domestic violence months later (Keeling, 2014)? Enter Beyoncé. Although she has been in the public eye for many years, she has only recently “come out” as a feminist. On her most recent self-titled album, Beyoncé includes songs addressing women as family members, sexual beings, and empowered individuals. While some people believe this is not what being a feminist entails, no one can argue that Beyoncé certainly identifies herself as one. And she has started a revolution of other stars to do the same. Miley Cyrus and Pharell have each followed suit and identified themselves as feminists as well (Alter, 2014). Even though society has pushed back some in these specific stars using this label, it must be admitted that anyone in the public eye making attempts to “reclaim the F-word” are going to benefit the cause (Bennet, 2014).
Theory
The two theories I applied to this research were Mead’s symbolic interactionism and Burgoon’s expectancy violation theory. Mead’s symbolic interactionism theory states that humans react to everything based on the specific meanings they assign to them (Blumer, 1969). This relates to my research due to the fact that Beyoncé identifying herself as a feminist means she is a feminist. Using that specific language creates the reality that she herself prescribes to a certain set of ideals. The question is if her audience decides to accept her reality as their own. Which leads to Burgoon’s expectancy violation theory. This theory states that sometimes, doing the unexpected is superior to doing the expected (Knapp, 1978). Beyoncé is one of the most well-known individuals on the planet (Pointer, 2014), so her going against the norm and identifying as a feminist was received better than if she had a lower level of popularity. But since she is extremely famous, her backing this movement created quite a buzz, overall helping the feminist movement broaden its horizons.
RQ1: “Using her most recent album, Beyoncé, do Beyoncé Knowles’ lyrics represent the feminist ideology she has recently become associated with?”
H1: I predict the outcome of my research will prove that while her actions and successes exhibit her as a good feminist, her lyrics do not.
http://blog.une.edu/2015youthculture1988/the-ladies-of-the-90s/feminism-
today-female-youth-empowerment-or-a-marketing-scheme/
Abstract
In this research paper, I researched the definitions of feminism as they are commonly understood in today’s society, and how Beyoncé Knowles, a household name in the United States, has come to redefine the word and successfully remove some of its negative stigma in comparison to traditional feminism. I did this by using an online database provided by Schreiner University to research modern feminism and its definitions, then doing an inductive coding of Beyoncé’s lyrics on her most recent self-titled album. After an initial look at the lyrics, I decided there were examples that both supported and did not support the criteria to be considered feminist ideals. The “positive” themes I coded for were women’s empowerment and social commentary, while the “negative” theme was desire to please men. After executing a complete coding of the lyrics, I determined Beyoncé’s album represents modern feminist ideals, while not representing traditional feminist ideals.
Beyoncism; A Look at Modern Feminism as Portrayed by Queen B
Feminism is a common topic for discussion amongst sociologists and communication scholars alike in addition to others who are concerned with social justice and promoting equality for everyone. This school of thought affects everything from social practices to economic factors, and everything in between. But how does this phenomenon fit into popular culture? Surprisingly, quite well. It is necessary for beliefs and practices to become relevant to pop culture in order for them to become the norm for a society. If this does not happen, the public will decide these phenomena only affect scholars and people in developing countries, not them. In order for these theories to flourish, they must be accepted into everyday life. And the easiest way to accomplish this is to allow it to seep into the media.
Many celebrities have been “coming out” as feminists in the past few years and one of the most noteworthy examples is Beyoncé. At the 2014 VMAs, she performed her song “Flawless” with the word “FEMINIST” in bold letters behind her. Critics said that it was not possible for her to identify as a feminist while she sang pop songs about pleasing men while also being a devoted wife and mother. This paper is my attempt to sort out this controversy while using her music, her main connection to the world, as an artifact.
Literature Review
Defining feminism
Merriam-Webster’s dictionary defines ‘feminism’ as “the belief that men and women should have equal rights and opportunities” (Merriam-Webster Incorporated, 2015). While some believe gender roles are set in stone and cannot be transcended whether it would benefit the masses or not, Virginia Sapiro argues that gender is a social construct, meaning gender roles can be changed (as cited in Farnham, 1996, p. 6). Although there are several people that claim to strive for equality between the sexes, they have made the decision to not identify as feminists due to the negative connotation the word has gained in recent times. These people, “nonfeminists,” have significantly different views on every type of feminist ideology besides cultural and socialist feminism (Durham, 2012, p. 35-49). It could even be said that due to the varying associations and “baggage” the word is accompanied by in today’s society that the word “feminism” is undefinable (Cimitile, 2002, p. 237).
Feminism in pop culture
But ultimately, the general public has gone as far to assign one meaning to the word; “male bashing” (Farnham, 1996, p. 6). This is even reflected in pop culture. Several stars, such as Shailene Woodley, star of the popular blockbuster “The Fault in Our Stars,” have said they do not identify as feminists. But how could they not when their peers, such as Rihanna, are found beat up in their boyfriend’s car only to sing the chorus to a song glorifying domestic violence months later (Keeling, 2014)? Enter Beyoncé. Although she has been in the public eye for many years, she has only recently “come out” as a feminist. On her most recent self-titled album, Beyoncé includes songs addressing women as family members, sexual beings, and empowered individuals. While some people believe this is not what being a feminist entails, no one can argue that Beyoncé certainly identifies herself as one. And she has started a revolution of other stars to do the same. Miley Cyrus and Pharell have each followed suit and identified themselves as feminists as well (Alter, 2014). Even though society has pushed back some in these specific stars using this label, it must be admitted that anyone in the public eye making attempts to “reclaim the F-word” are going to benefit the cause (Bennet, 2014).
Theory
The two theories I applied to this research were Mead’s symbolic interactionism and Burgoon’s expectancy violation theory. Mead’s symbolic interactionism theory states that humans react to everything based on the specific meanings they assign to them (Blumer, 1969). This relates to my research due to the fact that Beyoncé identifying herself as a feminist means she is a feminist. Using that specific language creates the reality that she herself prescribes to a certain set of ideals. The question is if her audience decides to accept her reality as their own. Which leads to Burgoon’s expectancy violation theory. This theory states that sometimes, doing the unexpected is superior to doing the expected (Knapp, 1978). Beyoncé is one of the most well-known individuals on the planet (Pointer, 2014), so her going against the norm and identifying as a feminist was received better than if she had a lower level of popularity. But since she is extremely famous, her backing this movement created quite a buzz, overall helping the feminist movement broaden its horizons.
RQ1: “Using her most recent album, Beyoncé, do Beyoncé Knowles’ lyrics represent the feminist ideology she has recently become associated with?”
H1: I predict the outcome of my research will prove that while her actions and successes exhibit her as a good feminist, her lyrics do not.
http://www.conceiveeasy.com
Method
Artifacts
I did a qualitative analysis of the lyrics of all of Beyoncé Knowles’ songs on her most recent album, Beyoncé. As far as theories go, I chose to simply use the Merriam-Webster dictionary definition of the word “feminism” since dictionaries are the most common source of definitions and are typically accepted as the correct definition of the word. Webster’s dictionary defines feminism as “the theory of the political, economic, and social equality of the sexes” (Merriam-Webster Incorporated, 2015). Incidentally, this is the same definition Chimamanda Ngozi Adichie recites in her TED talk, We Should All Be Feminists, which Beyoncé later used as a bit in her single off the album, Flawless (Adichie, 2013). I also decided to use Beyoncé’s most recent self-titled album as the artifact I would use to conduct my research since this was the album in which Beyoncé “came out” as a feminist. I decided an inductive qualitative analysis of the research would be the most effective due to the various themes present that could potentially correlate with feminist behaviors (Lindlof, 1995).
Procedure
I conducted an inductive qualitative analysis of the lyrics to Beyoncé Knowles album, Beyoncé. The themes I coded for were demonstrations of intelligence, expressions of sexuality, mentions of money, submissiveness, mentions of family life, and political references, which I ultimately combined to three themes; women’s empowerment, social commentary, and desire to please men. I then did a careful reading of the lyrics and looked up the translations for the lyrics in French and where these concepts are used in order to investigate the meaning of these examples in the context of the songs they are used in. This process aided in pinpointing whether or not Beyoncé is an accurate portrayal of a modern feminist.
Design format
I used qualitative coding in order to account for all of the examples that might not necessarily fit into a predetermined theme. In doing this, I could adjust my themes to fit the artifact instead of the other way around, which could have led to biased results. From my first look at the lyrics, I came up with several themes which included demonstrations of intelligence, expressions of sexuality, mentions of money, submissiveness, mentions of family life, and political references, but then combined them into three more broad themes which were women’s empowerment, social commentary, and desire to please men. I broadened my themes in order to make it easier to identify either a positive or negative connotation with the values of feminism.
Results
H1 predicted that the lyrics on Beyoncé Knowles’s album, Beyoncé, would not reflect the principals of modern feminists. But what I found is that this question is more difficult to answer than it first would seem. The strongest example I found of women’s empowerment was a line from “Flawless” which said,
“I know when you were little girls
You dreamt of being in my world
Don’t forget it, don’t forget it
Respect that, bow down bitches (Crown!)
I took some time to live my life
But don’t think I’m just his little wife
Don’t get it twisted, get it twisted
This my shit, bow down bitches.”
(Knowles, 2013)
This lyric exemplifies Beyoncé’s desire to inspire young girls to be successful like she is, in addition to pointing out that just because she’s married does not mean that’s all she does now. She’s continuing to be successful and releasing albums. Both of these ideals align with the traditional values of feminism. Another example of women’s empowerment is found in the entirety of “Blow.” This track is stock full of euphemisms for oral sex, such as, “keep me coming, keep me humming”, “can you eat my skittles”, and “turn that cherry out” (Knowles, 2013). The song is about encouraging women to ask for their own sexual needs to be met as well, stating, “I’m about to get into this girls, this is for all my grown women out there” (Knowles, 2013). Yet another goal of modern feminism. As far as social commentary, there was an example on the first track, “Pretty Hurts”,
“Pretty hurts, we shine the light on whatever's worst
Perfection is a disease of a nation, pretty hurts, pretty hurts
Pretty hurts, we shine the light on whatever's worst
We try to fix something but you can't fix what you can't see
It's the soul that needs the surgery.”
(Knowles, 2013)
This lyric is Beyoncé’s way of calling out the media for their attempts to make a joke of celebrities and placing women’s worth on the way that they look. Although she does not outright say it, Beyoncé is shining a light on the idea that a woman’s looks should not define who she is. Once again, a call to arms to participate in feminist thinking. Another piece of social commentary was from the second track of the album, “Ghost/Haunted”, which said, “Cat-calls on cat-walks, man these women getting solemn” (Knowles, 2013). Although brief, this lyric shows Beyoncé’s feeling towards men giving women unwanted attention and how that feels for them. This is a stance feminists have taken over the past few years as well. There is a great deal of evidence to go against my original hypothesis, and these are simply a few examples, but there’s more to the album just that. While a great deal of the album is about encouraging women, a noteworthy portion of the songs show the desire to please men. One track in particular, track six “Partition,” is proof of this. One lyric states, “Boy, this all for you just walk my way, just tell me how it’s lookin’ babe. I do this all for you, baby, just take aim, and tell me how it’s lookin’ babe” (Knowles, 2013). While another says, “Take all of me. I just want to be the girl you like, the kind of girl you like” (Knowles, 2013). These lyrics show Beyoncé’s actions in the context of the song are not for her own pleasure and enjoyment, but instead to make a man happy and make herself more desirable to him. This idea is more or less the number one thing feminists are opposed to, so this example would prove my hypothesis correct if it were not for one other lyric in this song. The only problem was this specific lyric was in French. Originally, I thought I would just leave this lyric out, because the majority of her listeners do not speak French. But then it occurred to me that adding this lyric in another language could potentially cause listeners to be intrigued and lookup its translation. So that’s what I did. The translated lyric, which is actually a quote from the Big Lebowski, is, “Sex. I mean, the physical activity. Coitus. Do you like it? You're not interested in sex? Men think that feminists hate sex, but it's a very stimulating and natural activity that women love” (Knowles, 2013). This example changes the dynamic of the entire song. In adding this, the song becomes about a feminist engaging in a sexual activity with a man she is interested in. So while her goal is to please the man in the song, there is the possibility the man is planning to do the same for her, which is an example of a healthy sexual partnership. Once again, an example of something modern day feminists encourage.
Discussion
Although Beyoncé does not fit the mold for the traditional suffragettes of the 1900s, a case can be made that she lives into the ideals of a modern day feminist, and her lyrics reflect this. Critics have said that a woman who has a husband and a daughter, while also spending her days dancing suggestively to her songs about sexuality cannot be a feminist, but this album proves otherwise. The lyrics of Beyoncé include examples of empowering women, stark social commentary about the ways society treats women and young girls, and allowing room for women to be sexual beings. All in all, Beyoncé is a superb example of a modern day feminist. And she lives into this role in every way, including her music.
Limitations
The only limitations I had were a short amount of time and the lack of a second set of eyes to assess the lyrics as well.
Practical Implications
My research takes strides to prove that a woman constantly in the eyes of the media, with a family, who spends her time writing songs about explicit things, can be just as much of a feminist icon as anyone. It also shows that one does not have to be perfect to support equality for everyone, but instead it is okay to falter and stray from the goal occasionally.
Future Research
I would like to assess all of Beyoncé’s albums in the same way I did this one to see if she has changed since first beginning in music and compare this to what she has said in interviews and such pertaining to feminism.
Conclusion
In conclusion, the lyrics of the twelve tracks found on Beyoncé Knowles’s self-titled album serve as an accurate reflection of her efforts to live as a modern day feminist. Even though critics may disagree, Beyoncé seems to pay them no mind, and instead continues to empower young girls to demand their equality with men through her music, which in itself is a fierce feminist optimum.
Artifacts
I did a qualitative analysis of the lyrics of all of Beyoncé Knowles’ songs on her most recent album, Beyoncé. As far as theories go, I chose to simply use the Merriam-Webster dictionary definition of the word “feminism” since dictionaries are the most common source of definitions and are typically accepted as the correct definition of the word. Webster’s dictionary defines feminism as “the theory of the political, economic, and social equality of the sexes” (Merriam-Webster Incorporated, 2015). Incidentally, this is the same definition Chimamanda Ngozi Adichie recites in her TED talk, We Should All Be Feminists, which Beyoncé later used as a bit in her single off the album, Flawless (Adichie, 2013). I also decided to use Beyoncé’s most recent self-titled album as the artifact I would use to conduct my research since this was the album in which Beyoncé “came out” as a feminist. I decided an inductive qualitative analysis of the research would be the most effective due to the various themes present that could potentially correlate with feminist behaviors (Lindlof, 1995).
Procedure
I conducted an inductive qualitative analysis of the lyrics to Beyoncé Knowles album, Beyoncé. The themes I coded for were demonstrations of intelligence, expressions of sexuality, mentions of money, submissiveness, mentions of family life, and political references, which I ultimately combined to three themes; women’s empowerment, social commentary, and desire to please men. I then did a careful reading of the lyrics and looked up the translations for the lyrics in French and where these concepts are used in order to investigate the meaning of these examples in the context of the songs they are used in. This process aided in pinpointing whether or not Beyoncé is an accurate portrayal of a modern feminist.
Design format
I used qualitative coding in order to account for all of the examples that might not necessarily fit into a predetermined theme. In doing this, I could adjust my themes to fit the artifact instead of the other way around, which could have led to biased results. From my first look at the lyrics, I came up with several themes which included demonstrations of intelligence, expressions of sexuality, mentions of money, submissiveness, mentions of family life, and political references, but then combined them into three more broad themes which were women’s empowerment, social commentary, and desire to please men. I broadened my themes in order to make it easier to identify either a positive or negative connotation with the values of feminism.
Results
H1 predicted that the lyrics on Beyoncé Knowles’s album, Beyoncé, would not reflect the principals of modern feminists. But what I found is that this question is more difficult to answer than it first would seem. The strongest example I found of women’s empowerment was a line from “Flawless” which said,
“I know when you were little girls
You dreamt of being in my world
Don’t forget it, don’t forget it
Respect that, bow down bitches (Crown!)
I took some time to live my life
But don’t think I’m just his little wife
Don’t get it twisted, get it twisted
This my shit, bow down bitches.”
(Knowles, 2013)
This lyric exemplifies Beyoncé’s desire to inspire young girls to be successful like she is, in addition to pointing out that just because she’s married does not mean that’s all she does now. She’s continuing to be successful and releasing albums. Both of these ideals align with the traditional values of feminism. Another example of women’s empowerment is found in the entirety of “Blow.” This track is stock full of euphemisms for oral sex, such as, “keep me coming, keep me humming”, “can you eat my skittles”, and “turn that cherry out” (Knowles, 2013). The song is about encouraging women to ask for their own sexual needs to be met as well, stating, “I’m about to get into this girls, this is for all my grown women out there” (Knowles, 2013). Yet another goal of modern feminism. As far as social commentary, there was an example on the first track, “Pretty Hurts”,
“Pretty hurts, we shine the light on whatever's worst
Perfection is a disease of a nation, pretty hurts, pretty hurts
Pretty hurts, we shine the light on whatever's worst
We try to fix something but you can't fix what you can't see
It's the soul that needs the surgery.”
(Knowles, 2013)
This lyric is Beyoncé’s way of calling out the media for their attempts to make a joke of celebrities and placing women’s worth on the way that they look. Although she does not outright say it, Beyoncé is shining a light on the idea that a woman’s looks should not define who she is. Once again, a call to arms to participate in feminist thinking. Another piece of social commentary was from the second track of the album, “Ghost/Haunted”, which said, “Cat-calls on cat-walks, man these women getting solemn” (Knowles, 2013). Although brief, this lyric shows Beyoncé’s feeling towards men giving women unwanted attention and how that feels for them. This is a stance feminists have taken over the past few years as well. There is a great deal of evidence to go against my original hypothesis, and these are simply a few examples, but there’s more to the album just that. While a great deal of the album is about encouraging women, a noteworthy portion of the songs show the desire to please men. One track in particular, track six “Partition,” is proof of this. One lyric states, “Boy, this all for you just walk my way, just tell me how it’s lookin’ babe. I do this all for you, baby, just take aim, and tell me how it’s lookin’ babe” (Knowles, 2013). While another says, “Take all of me. I just want to be the girl you like, the kind of girl you like” (Knowles, 2013). These lyrics show Beyoncé’s actions in the context of the song are not for her own pleasure and enjoyment, but instead to make a man happy and make herself more desirable to him. This idea is more or less the number one thing feminists are opposed to, so this example would prove my hypothesis correct if it were not for one other lyric in this song. The only problem was this specific lyric was in French. Originally, I thought I would just leave this lyric out, because the majority of her listeners do not speak French. But then it occurred to me that adding this lyric in another language could potentially cause listeners to be intrigued and lookup its translation. So that’s what I did. The translated lyric, which is actually a quote from the Big Lebowski, is, “Sex. I mean, the physical activity. Coitus. Do you like it? You're not interested in sex? Men think that feminists hate sex, but it's a very stimulating and natural activity that women love” (Knowles, 2013). This example changes the dynamic of the entire song. In adding this, the song becomes about a feminist engaging in a sexual activity with a man she is interested in. So while her goal is to please the man in the song, there is the possibility the man is planning to do the same for her, which is an example of a healthy sexual partnership. Once again, an example of something modern day feminists encourage.
Discussion
Although Beyoncé does not fit the mold for the traditional suffragettes of the 1900s, a case can be made that she lives into the ideals of a modern day feminist, and her lyrics reflect this. Critics have said that a woman who has a husband and a daughter, while also spending her days dancing suggestively to her songs about sexuality cannot be a feminist, but this album proves otherwise. The lyrics of Beyoncé include examples of empowering women, stark social commentary about the ways society treats women and young girls, and allowing room for women to be sexual beings. All in all, Beyoncé is a superb example of a modern day feminist. And she lives into this role in every way, including her music.
Limitations
The only limitations I had were a short amount of time and the lack of a second set of eyes to assess the lyrics as well.
Practical Implications
My research takes strides to prove that a woman constantly in the eyes of the media, with a family, who spends her time writing songs about explicit things, can be just as much of a feminist icon as anyone. It also shows that one does not have to be perfect to support equality for everyone, but instead it is okay to falter and stray from the goal occasionally.
Future Research
I would like to assess all of Beyoncé’s albums in the same way I did this one to see if she has changed since first beginning in music and compare this to what she has said in interviews and such pertaining to feminism.
Conclusion
In conclusion, the lyrics of the twelve tracks found on Beyoncé Knowles’s self-titled album serve as an accurate reflection of her efforts to live as a modern day feminist. Even though critics may disagree, Beyoncé seems to pay them no mind, and instead continues to empower young girls to demand their equality with men through her music, which in itself is a fierce feminist optimum.
http://abcnews.go.com/Entertainment/photos/photos-celebrities-makeup-4577149/image-gwen-stefani-barefaced-selfie-39097478
References
Adichie, C. (2013, April 12). Why We Should All be Feminists. Lecture presented at TED Talk.
Alter, C. (2014). “The TIME 100 Music Stars Prove This Was the Year of Pop Feminism.” 2.
Bennet, J. (2014). “How to Reclaim the F-Word? Just Call Beyonce.” Time.com, 1.
Blumer, H. (1969). Symbolic interactionism; perspective and method. Englewood Cliffs, N.J.: Prentice-Hall, 2.
Cimitile, A. M. (2002). “Feminism Today”. European Journal of English Studies, 6(3), 237.
Durham, A. (2012). “Check On It”. Feminist Media Studies, 12(1), 35-49. doi:10.1080/14680777.2011.558346
Farnham, C. (1996). Male bashing or what's in a name? Feminism in the United States today. Journal Of Women's History, 8(2), 6.
Feminism Def. 1]. (n.d.). In Merriam Webster Online, Retrieved September 28, 2015, from
http://www.merriam-webster.com/dictionary/citation.
Keeling, K. (2014). “Electric Feel”. Cultural Studies, 28(1), 49-83.
Knapp, M. (1978). Nonverbal communication in human interaction (2d ed.). New York: Holt, Rinehart and Winston.
Knowles, B. (2013, December 13). Blow. On Beyoncé.
Knowles, B. (2013, December 13). Flawless. On Beyoncé.
Knowles, B. (2013, December 13). Ghost/Haunted. On Beyoncé.
Knowles, B. (2013, December 13). Partition. On Beyoncé.
Knowles, B. (2013, December 13). Pretty Hurts. On Beyoncé.
Lindlof, T. R. (1995). Qualitative communication research methods.
Pointer, A. (2014). Beyonce: Running the world : The biography.
Adichie, C. (2013, April 12). Why We Should All be Feminists. Lecture presented at TED Talk.
Alter, C. (2014). “The TIME 100 Music Stars Prove This Was the Year of Pop Feminism.” 2.
Bennet, J. (2014). “How to Reclaim the F-Word? Just Call Beyonce.” Time.com, 1.
Blumer, H. (1969). Symbolic interactionism; perspective and method. Englewood Cliffs, N.J.: Prentice-Hall, 2.
Cimitile, A. M. (2002). “Feminism Today”. European Journal of English Studies, 6(3), 237.
Durham, A. (2012). “Check On It”. Feminist Media Studies, 12(1), 35-49. doi:10.1080/14680777.2011.558346
Farnham, C. (1996). Male bashing or what's in a name? Feminism in the United States today. Journal Of Women's History, 8(2), 6.
Feminism Def. 1]. (n.d.). In Merriam Webster Online, Retrieved September 28, 2015, from
http://www.merriam-webster.com/dictionary/citation.
Keeling, K. (2014). “Electric Feel”. Cultural Studies, 28(1), 49-83.
Knapp, M. (1978). Nonverbal communication in human interaction (2d ed.). New York: Holt, Rinehart and Winston.
Knowles, B. (2013, December 13). Blow. On Beyoncé.
Knowles, B. (2013, December 13). Flawless. On Beyoncé.
Knowles, B. (2013, December 13). Ghost/Haunted. On Beyoncé.
Knowles, B. (2013, December 13). Partition. On Beyoncé.
Knowles, B. (2013, December 13). Pretty Hurts. On Beyoncé.
Lindlof, T. R. (1995). Qualitative communication research methods.
Pointer, A. (2014). Beyonce: Running the world : The biography.