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But as the historical treatments offered by Lepore, and even more so, Berlatsky, show, blonde, corporate, Madison Avenue-sanitized Charlie (or the less polished “Charlotte or Charlene” Spar proposes for the 21st century) is definitively the evil-avenging, otherworldly, ambiguously-but-explicitly sexual Wonder Woman that her creator, William Moulton Marston, envisioned. If the two converge in the branded versions of Old Navy, Under Armour, and the multiplex, this speaks primarily to the fluidity of Wonder Woman as a cultural symbol, rather than to her limits.

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As an enlightened and left-leaning woman, I am really merely a semi-retired teacher with ambitions, a feminist who has come to understand late in life how I have been used and violated. (The first time I was sexually abused, raped, was on a playground at age 8 or 9. Today, as a teacher, I nearly always say yes. I routinely edit applications and essays for students I never even taught. I do the work and respond as if they were doing me the favor.) So, yes, I get what you have to say. Thank you.

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For an IELTS agree disagree essay you can either agree with the statement, disagree with the statement or give your opinion which contains a balanced approach to the issues in the statement. However, this does not mean you can discuss both sides impartially – you must give a clear opinion to get a good score in the criterion of Task Response which is 25% of your marks. Another name for an agree disagree essay is an opinion essay or argumentative essay. Download a PDF copy of the model essay below:

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Wonder Woman, with her exotic heroism, her muscled—deliberately “not Hollywood”—legs, her enjoyment of bondage, queerness, violence, and hyperfemininity, expands the boundaries of the feminism most historians associate with the 1940s, a context Berlatsky might have explored to emphasize his point. Currently, the order of the chapters, which Berlatsky admits is arbitrary, squanders an opportunity to show how Wonder Woman developed over time. Similarly, the interspersed references to popular culture and contemporary examples (such as the ,,, or a Japanese incest scare in the 1980s) do not always shed light on this mid-century product, and can feel more like disconnected musings (perhaps a function of the fact that this book originated in blog form). Still, this particular weakness bears testament to Wonder Woman’s powerful and protean symbolism. To Lepore she represents feminism’s limitations, to Marston its grand, global, liberatory potential.

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Less convincingly, Spar raises doubts about a core tenet of feminist thought: the idea that gender is socially constructed. Rather, Spar flirts with biological determinism, arguing that most women are collaborative and process-oriented and want to bear children at a particular time in life, a phenomenon that perhaps “goes back to our vestigial roles as feeders of children and killers of meat.” Furthermore, Spar would do well to consult the rich work of feminists of color such as Gloria Anzaldúa and Audre Lorde, and more recently, Roxane Gay. While she is simultaneously more aware of her individual privilege and more sensitive to the broader history of women and theories of feminism than Sandberg, Spar relies heavily on anecdotal evidence to flesh out her Wonder Woman paradigm. For example, it is hard to imagine that of all the women Spar consulted in office hours or at pizza rap sessions at her apartment, almost none envisioned an alternative life path to heterosexual marriage and eventual homemaking.

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But these conversations are also generationally limited; they address adult women who already identify as mothers and professionals. What is the place of have-it-all feminism in the lives of girls and young women? And what does our Wonder Woman moment have to do with it? Happily, new youth-culture icons with a decidedly feminist cast abound, beginning to challenge Barbie’s longstanding incumbency: Queen Elsa from Disney’s is no mere princess, values sisterhood above all, and finds happiness only when she “lets go” of any pretensions and embraces all parts of herself. Futuristic Katniss Everdeen of the is all sculpted muscles, swagger, and survivalist savvy. There is the industrious, crafty Goldie of the more underground GoldieBlox, a clever and aspiring builder created by a Stanford engineer dismayed by the gender-segregated world of construction toys. Elsa, Katniss, and Goldie trump Barbie as role models any day, but for their intellectual, physical, and social-emotional prowess, these modern-day heroines gain credibility by performing traditionally male labor—ruling a kingdom, kicking ass, and solving quantitative problems—while quite like Barbie.