was launched in which "female literary radicals" stated "'we're interested in people now—not in men and women'", that "moral, social, economic, and political standards 'should not have anything to do with sex'", that it would "be 'pro-woman without being anti-man'", and that "their stance [is called] 'post-feminist'".
[6] One of the earliest modern uses of the term was in Susan Bolotin's 1982 article "Voices of the Post-Feminist Generation", published in New York Times Magazine.
[14][self-published source][15] Some contemporary feminists, such as Katha Pollitt or Nadine Strossen, consider feminism to hold simply that "women are people."
The constant surveillance and self policing of the series' protagonists depicts the performance of heterosexuality, hyperfemininity, and critical gaze forced upon girls.
According to her, this type of backlash is a historical trend, recurring when it appeared that women had made substantial gains in their efforts to obtain equal rights.
[22] Similarly, Amelia Jones claims that the postfeminist texts which emerged in the 1980s and 1990s portrayed second-wave feminism as a monolithic entity and were overly generalizing in their criticism.
She believed that postfeminism was most clearly seen on so-called feminist media products, such as Bridget Jones's Diary, Sex and the City, and Ally McBeal.
Female characters like Bridget Jones and Carrie Bradshaw claimed to be liberated and clearly enjoy their sexuality, but what they were constantly searching for was the one man who would make everything worthwhile.
[24] In an article on print jewelry advertisements in Singapore, Michelle Lazar analyses how the construction of 'postfeminist' femininity has given rise to a neoliberal hybrid "pronounced sense of self or 'I-dentity'".