Theoretical Framework
From a theoretical point of view, Wohlwend tries to cover too much: a mention of Mediated Discourse Theory, Social Development Theory, Feminist Theory, Sociocultural Theory, Structuralist Theory, and Activity Theory and then a mention of theories of class distinction (theory of practice), and cultural studies of media contribute to a multiple theory mayhem. As noted under the section ‘Situating the Article’, it is an unnecessary labyrinth for this particular study. What must be considered is that "different theories will [always] shape different views" (Knobel and Lankshear, 2008, p.61). An understanding of theory lays the foundational beginnings of studies, but the foundation of Wohlwend's study is simply too large and is never fully unpacked for the audience for whom it was intended to reach. This is Wohlwend's error and thus the fuel of this critique. If good research seeks and needs to be "elegant" and "fit" seamlessly, then Wohlwend's theoretical approach fails because of the hybridity. Wohlwend's push for the amalgamated academic schools of thought in her work and her use of name dropping tactics, lists a who's who of specific fields (Scollon, Vygotsky, Gee, and Foucault) while leaving out others, ultimately leads the intended audience to question the relevance of this study’s foundation and possibly her results. "Research must always be informed by some theory or other... [and] the theories we draw on influence how we use the data that exists in documents to address our research question and what we see as relevant data in the first place" (Lankshear & Knobel, 2008, p. 61). Thus, a narrower but deeper scope theoretically would have elevated Wohlwend's credibility. Placing an emphasis on feminist theory and sociocultural theory by unpacking areas of relevance would elevate her status as an author and academic as well as support her interpretation of results.
Feminist theory is identified in waves. Perhaps if Wohlwend had identified with second wave theorist, Simone De Beauvoir instead of third wave theorists Davies and Butler, her position would have laid a stronger foundation in feminist theory. Every Wave of Feminism has theorized and contributes to the study of gender and identity, but it is the voice and work of Simone De Beauvoir, that has become the foundation of contemporary feminism. Thus, the feminist theoretical framework must begin here, with this voice who Wohlwend unfortunately ignores because as De Beauvoir (1989) stated "one is not born, but rather becomes, a woman" (p. 267). Essentially, De Beauvoir tells us that the society in which a girl is reared is responsible for ultimately shaping and developing a woman's femininity. Wohlwend's study certainly exemplifies this as we see young girls act and reenact Disney princess play. Although, boys and girls use their bodies in childhood as instruments or texts to understand the world, it is what they learn from the world that established the notion of what De Beauvoir identifies as the OTHER. "The passivity that is the essential characteristic of the "feminine" woman is a trait that develops in her from the earliest years... it is in fact a destiny imposed upon her by her teachers and by society" (De Beauvoir, 1989, p. 280). If we are to understand the struggle a young girl would face to rewrite a familiar text that is ingrained in her mind because of being socialized and exposed to popular culture then we need to understand De Beauvoir's (1989) message as she noted that "games and daydreams orient [a] little girl toward passivity" (p. 293). If young girls strive to emulate the princess text modeled by Disney then they stifle their voices and conform to the position of OTHER. Strength is not typically associated with the Disney feminine, passivity is; this is the difficulty young girls face as they negotiate boundaries of femininity. "To be feminine is to appear weak, futile, docile... any self-assertion will diminish her femininity and her attractiveness" ( de Beauvoir, 1989, p. 336). The text of OTHER is familiar to both young girls and boys.
"Woman is the Sleeping Beauty, Cinderella, Snow White, she who receives and submits.
In song and story the young man is seen departing adventurously in search of woman; he
slays the dragon, he battles giants; she is locked in a tower, a palace, a garden, a cave, she is chained to a rock, a captive, sound asleep: she waits"(De Beauvoir, 1989, p. 291). What makes Wohlwend's work both fascinating and worth exploring is that her subject broke free of the familiar story line and oppressive identity and found a voice that allowed the text to be rewritten and as De Beauvoir argued for feminism to progress as a movement, the male as superior ideal must be set aside.
