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Using a music publication of your choice use a range of relevant critical sources to
zine, Bikini Kill. The material this essay will focus on is the editors letter from the
American zine for young women called Bikini Kill published in the early 1990s (See
Figure 1, p.3). This essay will largely focus on Norman Fairclough’s concept of
Critical Discourse Analysis (CDA) and the relationship between text and social
context. In this case, how the patriarchal society has led women to create a
identity of strong, independent women. The purpose of using CDA is to discover and
understand why women are engaging and challenging dominant and false
framework for the analysis of CDA: text, discursive practice, and social practice.
Also, this essay will look at Fairclough’s concept of synthetic personalisation and
how Bikini Kill addresses its readers as though they were individuals through
this essay will analyse Mary Talbot’s use of the concept in Synthetic Sisterhood and
compare it to how Bikini Kill uses language to construct a personal connection with
the reader.
Additionally, taking into account Benedict Anderson, this essay will concentrate on
this, this essay will look at how Bikini Kill is a networking tool for women to form
active connections with each other through its intended target audience and content.
Charlotte Miles 3
Figure 1: Kathleen Hanna’s Riot Grrrl Manifesto for Bikini Kill zine from Sanders,
2015
Charlotte Miles 4
The purpose of this section is to provide the reader with a general understanding of
CDA, in the words of Caroline Coffin is, “an approach to language analysis which
concerns itself with issues of language, power and ideology” (2001, p.99). Put
differently, CDA is the study of texts to understand how discourses are made within
specific social contexts. One way in which CDA examines texts is by comparing what
is in the texts with what should be there, according to particular norms. Also, CDA
aims to explain how the way in which people interpret discourses forms their identity,
According to Fairclough, “in CDA as I see it, being critical is not just identifying
features and types of discourse, it is also asking: why is the discourse like this? In
other words, being critical means looking for explanations” (2014, p.7). Put
differently, for Fairclough, when using CDA, it is important not just to focus on
discourse, such as the way texts are represented, interpreted and consumed but to
analyse how discourse relates to social contexts for example ideologies and power
p.37).
Synthetic personalisation is developed from CDA and in the words of Helen Ringrow
features such as how the text addresses the reader with the use of pronouns to
create a level of intimacy. Or, the use of presuppositions made by the text about the
Charlotte Miles 5
solutions to problems.
Fairclough developed a model for how CDA relates to social context. This consists of
three different levels; text, discursive practice, and social practice. Fairclough
describes this framework as “an attempt to bring together three analytical traditions,
represented in Figure 2:
The first level is “the linguistic description of the formal properties of the text”
(Forough & Mohammed. 2011, p.109) which can be speech, writing, images or a
choose certain words, this expresses a certain attitude. Also, that the words we
community. Text can be analysed through the use of vocabulary such as meanings
Charlotte Miles 6
Secondly, “discursive practice is itself a form of social practice, and focuses on the
other words, the way in which we compose our sentences and talk about a subject
are of importance and are subject to interpretation. Texts contain values and
attitudes that can change the readers view of the subject. Discursive practice can be
2008, p.8).
Social practice is the “relationship between language and society” (Wang. 2006,
p.66). Effectively, it means how discourses are shaped by social context. Fairclough
believes that language is a power tool which can be used to change a person’s
behaviour. Also, that language has the ability to create opinions and social
relationships and characterises our attitudes. “In reality, the three dimensions of this
framework overlap considerably, and any analysis of text will necessarily involve
Additionally, this next section will take into account Benedict Anderson’s idea of an
people who perceive themselves as part of that group (Anderson. 2016, p.49). Then,
this section will examine how Bikini Kill creates an imagined community of Riot
According to Talbot, “every text can be said to have such an implied reader, an
sense, and so on” (1995, p.146). For Bikini Kill, their target audience was directed at
like-minded female adolescents, who are frustrated with the misogynist society such
bodies. Also, their content was targeted at female victims of child abuse for example,
rape, neglect and violence and self-abuse such as alcohol and drug addiction,
Anderson believed that a community was imagined because even though the
members of a nation will never know all of their fellow-members, in their minds they
have a shared connection (1983, p.6). This is shown through Bikini Kill and how the
readers will never meet all of their fellow-readers but they are all connected through
a shared belief of how women should be treated. Kearney says the imaginary
community of Bikini Kill “provides female youth with both a network of supportive
friends and a forum for discussing their personal problems, larger social issues,
visions for a better future without fear of censorship, silencing, or retaliation” (2013,
p.64). By focusing on personal experiences, Bikini Kill was a networking tool for
women to form active connections with each other and gives their readers a sense of
belonging.
The author, Kathleen Hanna, then suggests means through which the zine can
enhancing diversity in the music industry, incorporating calls to action, and providing
insight into sexism’s most pressing problems. This is shown through Bikini Kill’s
collages, advice columns, political manifestos, and advertisements for riot grrrl
Charlotte Miles 8
products” (Kearney. 1995, p.85) Therefore, the point of views and topics discussed
in Bikini Kill are believed to be interesting and relevant to its readers because of their
Following Fairclough’s three dimensional framework, this section will firstly analyse
the text in Bikini Kill through vocabulary, grammar and cohesion. This is to
personalisation and are used by the author to create a strong connection with their
teaching does not by any means cast doubt on the importance of vocabulary” (1991,
p.64).
For vocabulary, it would appear that the authors liberal use of violence-related
terminology in this letter such as “slapped, rapped, molested, chocked and killed” is
deliberate. Firstly, it helps the target readership, young women, to identify with the
writer’s views and emotions and establishes a connection in opinions. The author is
using violent yet honest language about the treatment of women to shock the
readers into action. By the author sharing their own personal experiences of sexism
such as “I can’t smile when my girlfriends are dying inside” and “I am tired of these
helps the reader to identify with the subject of the discourse, women. Women are
presented as a strong community who have put up with the mistreatment of men and
society for too long such as “We need to acknowledge that our blood is being split”.
Furthermore, Talbot believes that “zine creators are responding to and engaging with
discourses of femininity in order to create new selves and new articulations of the
relationship between women” (1995, p.162). For instance, when the author says “I’m
Charlotte Miles 9
not a punching bag”, she is using the metaphor to engage and reject with the
dominant discourse of femininity that women are often used to help men release
their anger and frustration on. Another meaning could be that women are labelled as
scapegoats and blamed when something goes wrong. Also, the author uses the
metaphor “I’m not a fuck toy” to reject the discourse that women are often objectified
Furthermore, for grammar Bikini Kill is dominated by action sentences such as “We
need to build lines of communication” and “We are creating the revolution”. Lawson
believes that are action sentences are more suited to a predominantly male
readership and that publications aimed towards women are more female, with an
ideal and emotive emphasis (2008, p.12). However, Bikini Kill uses both action
sentences and emotive language to present women as fierce and hardworking but
also to arouse feelings and engage support seen from sentences such as “We are
dying inside”.
strong connection with the reader through the use of pronouns. In the first three
sentences, the author uses the inclusive pronoun “we” five times, “I” two times and
“us” once. Fairclough believes that by using pronouns the zine ‘is speaking on behalf
of itself, its readers, and indeed all right-minded citizens (2015, p.143). The author
addresses the reader as a friend and stresses that in this imagined community
everyone is treated the same. By using a direct address, the author “minimises the
social distance between herself and her readership, claiming common ground and a
Bikini Kill doesn’t use vocabulary associated with possibility or negativity such as may,
probably or can’t but words symbolising certainty and positivity, for example “are”,
“need”, “want” and “can”. Fairclough says that “the verb, are is one terminal point of
proposition” (2015, p.144). Therefore, Bikini Kill is promising the reader that they can
and will be the revolution to patriarchy. Fairclough talks about how “words can be
preoccupied with growth and development such as the verbs increase, boost, develop,
cultivate, build, widen, enrich” (2015, p.133). Similarly, in Bikini Kill the text uses
vocabulary such as, “change”, “build”, “create” in order to put the readers into a
positive mind-set and to associate Riot Grrrl with progression. (See more on cohesion
in Appendix B, p.15)
imagined community by matching the targeted audience with the vocabulary that
Moreover, by using “presuppositions and projected facts the author claims common
ground and sets themselves up as a member of the same social group as the reader”
(Fairclough. 2014, p.189). This is shown in Bikini Kill in which the author assumes
shared knowledge that relates to historical details about the patriarchal society and
female oppression, for example, “We are tired of boy band after boy band, boy zine
after boy zine, boy punk after boy punk” and “I see the connectedness of all forms of
oppression”.
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This section will analyse Bikini Kill on the second level, discursive practice, through
force of utterances and coherence of texts. For force of utterance, the intention of
Bikini Kill is to get a direct, active response from the reader. This is shown by the
author’s forceful demands for the readers to “help me”, “start a fucking riot” and “talk
to each other”. The text is not passive as the author wants the readers to get involved
in the Riot Grrrl community. This is shown by how the text even includes an address
Moreover, Bikini Kill is a highly coherent piece of text as it displays many elements
typical to the Riot Grrrl genre. This is shown through how Bikini Kill features feminist
issues such as traditional gender roles, ageism and objectification also seen in Riot
Grrrl zines such as Jigsaw, Cupsize and Girl Germs. Also, the language used in Bikini
Skill is similar to other Riot Grrrl zines, for example, the manifesto by girlVIRUS (see
Figure 3). Both of them repeat the word “we” and use the words “revolution” and “safe”.
Charlotte Miles 12
framework of CDA with an analysis of the three levels; text, discursive practice and
social practice. Then this essay took into account this framework to examine how
synthetic personalisation is used in the editor’s letter of Bikini Kill. This was firstly
shown through an analysis of Bikini Kill on the text level through vocabulary,
was used to shock the readers into action and cause an emotional reaction by the
reader. Also, this essay showed Bikini Kill to be a highly-cohesive text through the
use of pronouns. By using “we”, “I” and “us”, the author addresses the reader as a
Then, this essay analysed Bikini Kill on the discursive practice level through force of
utterances and coherence of texts. For instance, forceful demands by the author was
used to get a direct, active response from the reader. Also, this essay showed Bikini
Kill to be a highly coherent piece of text as it displays many elements typical to the
how this is established by Bikini Kill and their readers. This was shown through an
who are frustrated with the misogynist society. Also, through an analysis of Bikini Kill’s
content such as advice columns, stories and confessions and how these focus on
personal experiences to create a networking tool for women to form active connections
with each other. Plus, by how even though the readers will never meet all of their
Charlotte Miles 14
fellow-readers, they all feel connected to each other through a shared belief of how
Ultimately, this essay has shown an understanding of how Bikini Kill has challenged
society’s dominant discourses of women and explored the ways in which the zine has
created new discourses of femininity. This analysis has shown that Bikini Kill
constructs an imagined community where the readers are close to one another and
they are represented as the same even though they will never meet.
Charlotte Miles 15
Appendices:
Appendix A – Punctuation
The frequent use of capitalisation of “BECAUSE” and punctuation such as full stops
and commas add expressive value, attributing to the writer’s passionate, frustrated
and motivational emotional state. Here, the surge of excitement felt by the author is
shown through how they are listing off reasons why women should get involved in
the Riot Grrrl community, indented to arouse the potential audience’s curiosity.
Appendix B – Cohesion
Also, Fairclough says that “cohesion can involve vocabulary links between sentences
– repetition of words, or use of related words (2013, p.108). This is shown through the
sense of urgency and emphasise the belief that women need to create this community
Bibliography:
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https://www.birmingham.ac.uk/Documents/college-
artslaw/cels/essays/writtendiscourse/andy-lawson-crit-diss.pdf
Charlotte Miles 17
Macmillan
H, RINGROW. 2012. “Because we’re worth it” (?): Femininity and cosmetics
http://www.pala.ac.uk/uploads/2/5/1/0/25105678/ringrow2012.pdf
C, SANDERS. 2015. What I Learned from Bikini Kill’s Brand of Feminism by Courtney
https://www.cataloguemagazine.com.au/feature/what-i-learned-from-bikini-kills-
brand-of-feminism-by-courtney-sanders-4
M, TALBOT. 1995. Gender Articulated: Language and the Socially Constructed Self.
Routledge
W, WANG. 2006. Chapter 4 Critical discourse analysis, intertextuality and the present
https://ses.library.usyd.edu.au/bitstream/2123/1701/5/05chapter4.pdf