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In exploring ways to speak about perception and feeling within the framework of a deconstructive cultural analysis, the article contributes to a narration of methodologies for research so as to better their capacity for engaging with the more faint or elusive manifestations of the real. The argument is grounded in a view of affective presence as involving a way of apprehending the world. Based on an exploration of affectivity and perception in a research project on prostitution in North Norway, it argues that the body and its affects form a crucial site of intervention in developing transformative methodologies. An intuition that informs my inquiry is that attending to such subtle realities holds great potential for confronting injustice and suffering in transformative ways.

This article argues that the 'Third Way' philosophy that has been adopted by centre-left parties throughout Europe and the United States provides the conceptual framework to analyse contemporary postfeminism and its contentious micro-politics that emerges out of personal and daily gender-based struggles. The notion of a postfeminist micro-politics complicates the critical perception of postfeminism as a depoliticized and anti-feminist backlash and offers a dynamic model of political action that takes into account the multiple agency positions of individuals today. Postfeminism and the politics it endorses differ from emergent political movements such as third wave feminism in that they are not founded on second wave feminist theory and activism. Instead, postfeminist politics adopts a Third Way perspective to reconcile a number of conflicting concerns, from feminist calls for female equality and theoretical debates on anti-essentialism to the consumerist demands of capitalist society. These controversial new junctures are examined by paying particular attention to postfeminism's female sexual agent who becomes the 'entrepreneur' of her own image, buying into standardized femininities while also seeking to resignify their meanings. In particular, the article discusses the paradoxical possibilities of 'active consumption' and 'fashion feminism' whereby women endeavour to achieve empowerment by exerting their consumer agency and using their bodies as political tools within the parameters of a capitalist economy.

This article discusses the relationship between Eleanor Antin's Carving: A Traditional Sculpture (1973) and Elizabeth Manchester's All My Dresses With All My Shoes (2002) in terms of the differently structured temporalities of making and viewing through which the concept of femininity materializes in each work. Diachronic understandings of post-feminism, as a concept emptied of a former moment of political consciousness, are contested through my readings of artworks that call forth a complexity of tenses. The article argues that the connections and tensions between the two works, which are generationally distinct in terms of the political and cultural climate of their production, require a critical apparatus that suggests the simultaneity of differently valued temporal experiences. The notion of temporal play is further explored in relation to Vanessa Beecroft's performance and film works VB29 (1997) and VB35 (1998). Here the traces of earlier feminist strategy, in which femininity is cast in relation to loss, are reconfigured in the failure to achieve the stasis of the photographic moment.