This iconic poster, featuring a symbolic character who came to be known as “Rosie the Riveter,” has become emblematic of the widespread participation of women in war industries during World War II. Although it is not absolutely certain who the model for the poster was, the most likely candidate is thought to be Naomi Parker Fraley (1921–2018), who worked on aircraft assembly at the Naval Air Station Alameda in California, but other candidates have been proposed. The poster was commissioned by the Westinghouse Electric Corporation and distributed by the War Production Coordinating Committee. The poster is often thought of as the “Rosie the Riveter” poster, but the name Rosie does not appear on J. Howard Miller’s poster. In 1943, however, a popular song titled “Rosie the Riveter” was released, and that year Norman Rockwell produced an image for the cover of the Saturday Evening Post that included a somewhat similar figure of a working woman whose name, Rosie, was written on her lunchbox. In this way, Miller’s poster became associated with “Rosie the Riveter.”

This iconic poster, featuring a symbolic character who came to be known as “Rosie the Riveter,” has become emblematic of the widespread participation of women in war industries during World War II. Although it is not absolutely certain who the model for the poster was, the most likely candidate is thought to be Naomi Parker Fraley (1921–2018), who worked on aircraft assembly at the Naval Air Station Alameda in California, but other candidates have been proposed. The poster was commissioned by the Westinghouse Electric Corporation and distributed by the War Production Coordinating Committee.

FRIDAY NOVEMBER 24 1944 4 What Does Rosie the Riveter Do When War Job Ends War Workers and Benefits of Social Security Act By JAMES MARLOW WASHINGTON Nov 24 7 What docs Rosie the Riveter 4o when her war job ends Take a poorerpaying ore im Snediately when it s offered to her or hold off for one paying s well as her war job Aud it she does that can hc draw Unemployment compensation That problem and the solu tion will affect workers very state when jobchangii Starts after the war Under the social security law every state has an unemplo jnent compensation fund It built up by taxes on employers in commmerce and induslrv end in a few states by taxes on employes too Not all workers are covered ut a tremendous number are When thrown out of employ ment the covered workers can sk for unemployment compen sation It is intended to make sure that while a worker is out of a job through no fault of his own end doing without wages and salary he will have something to live on He applies at the local unem Eiloyment compensation office n every case it is stateoperated

Before WW1(and still even afterward), women were expected to stay in the kitchen and at home doing the chores and caring for the children. World War 1 and 2 changed both the type of work women did and the volume at which they did it. During 1950-1945 over five million women entered the workforce. World War 2 led many women to take jobs in defense plans and factories. These positions offered previously unheard-of opportunities to enter fields traditionally believed to be male-only. Rosie the Riveter was a very well-known cultural icon in the United States who represented women who worked in factories and shipyards during WWI. As women took traditional male jobs in the United States, African American women were able to make their first big shift from domestic employment to work in offices and factories. This was a big monumental event for people of color coming into the workforce. When it came to discrimination, women were discriminated against just because they were women. The Brookings website quotes, “Even when we compare men and women in the same or similar occupations who appear nearly identical in background and experience, a gap of about 10 percent typically remains.

Rosie the Riveter is an allegorical cultural icon in the United States who represents the women who worked in the factories and shipyards during World War II, many of whom produced munitions and war supplies. These women sometimes took entirely new jobs replacing the male workers who joined the military. She is widely recognized in the women's empowerment movement. Similar images of women war wo The Life and Times of Rosie the Riveter by Connie Field is a 65-minute documentary from 1980 that tells the story of women's entrance into "men's work" during WWII. Rosies of the North is a 1999 National Film Board of Canada documentary film about Canadian "Rosies," who built fighter and bomber aircraft at the Canadian Car and Foundry, where Elsie MacGill was also the Chief Aeronautical Engineer. John Crowley's 2009 historical novel Four Freedoms covers the wartime industries, and studies the real working conditions of many female industrial workers. "Rosie the Riveter" is frequently referenced. On October 14, 2000, the Rosie the Riveter/World War II Home Front National Historical Park was opened in Richmond, California, site of four Kaiser Shipyards, where thousands of "Rosies" from around the country worked, although… In 1942, Pittsburgh artist J. Howard Miller was hired by the Westinghouse Company's War Production Coordinating Committee to create a series of posters for the war effort. One of these posters became the famous "We Can Do It!" image, an image that in later years would also be called "Rosie the Riveter" although it had never been given that title during the war. Miller is thought to have based his "We Can Do It!" poster on a United Press International wire service photograph taken of a young female war worker, widely but erroneously reported as being a photo of Michigan war worker Geraldine Hoff (later Doyle). More recent evidence indicates that the formerly misidentified photo is actually of war worker Naomi Parker (later Fraley) taken at Alameda Naval Air Station in California. The "We Can Do It!" poster was displayed only to Westinghouse employees in the Midwest during a two-week period in February 1943; then it disappeared for nearly four decades. During the war, the name "Rosie" was not associated with the image, and the purpose of the poster was not to recruit women workers but to be motivational propaganda aimed at workers of both sexes already employed at Westinghouse. It was only later, in the early 1980s, that the Miller poster was rediscovered and became famous, associated with feminism, and often mistakenly called "Rosie the Riveter".

A female factory worker during (after the 1942 song Rosie the Riveter).: #* {{quote-text|en|year=2011|author=Philip C. DiMare|title=Movies in American History: An Encyclopedia|volume=1|page=1087|passage= continued oppression and exploitation of women in the workplace 50 years after the Rosies entered wartime factories.}}

A gunner; the member of a riveting team who uses a rivet gun, fitted with a rivet set which matches the shape of the factory head of a solid rivet, to impact that rivet (which is heated if necessary to soften it), while the bucker (or holder-up) holds a heavy bucking bar against the bucktail of the rivet, upsetting it to form the field head. If the rivets have to be heated, the team will also include a cook and a catcher; see rivet for more details. thumb|upright=1.6|Riveting team working on an aircraft cockpit shell. The riveter on the left operates an air-powered rivet gun, while the bucker on the right holds a bucking bar.: ##: {{ux|en| is an iconic piece of American WWII propaganda.}} ##* {{quote-song|en|author=Redd Evans; John Jacob Loeb|year=1942|title=Rosie the Riveter|passage=Ev'ry one stops to admire the scene / Rosie at work on the / She's never twittery / nervous or jittery / Rosie the riveter}}

Bir düşünce veya eylemi, belli amaçlar çerçevesinde yaymak olarak açıklanan propaganda, tarihte pek çok kez siyaset ve politikanın ayrılmaz bir parçası olarak düşünülmüştür. Sanatın ve görsel iletişim araçlarının propaganda üretiminin ana kaynakları olduğu bu süreçte üretilen afişler, özellikle savaş dönemlerinde ülkelerin izlediği politikaların anlaşılmasında önemli bir konuma sahip olmuştur. Propagandalar, ülkelerin kendi siyaset ve politikaları doğrultusunda yerel halkın ve düşman tarafın yönlendirilebilmesine olanak tanıdığı için özellikle Amerika, Almanya ve İngiltere gibi ülkeler tarafından sıklıkla başvurulan algı metotları olmuştur. İkinci Dünya Savaşı sırasında Amerika’da azalan erkek nüfusun, ekonomide yarattığı iş gücü açığını kapatmak amacıyla başlatılan Perçinci Rosie kampanyasının ürünü olan afişler de kitleleri yönlendirme ve yönetme gücüne sahip olmaları nedeniyle propaganda örnekleri arasında sayılabilmektedir. Bu çalışmada ise Norman Rockwell tarafından üretilen Rosie the Riveter afişini düzanlam ve yananlam katmanları ile inceleyerek örtük anlamları ortaya çıkarmak, Amerika’nın savaş sırasında kadınlara ve savaşın taraflarına yönelik izlediği politikayı tartışmak ve bu çerçevede afişin, hangi propaganda türü altında yer aldığını ve hangi tekniklerin kullanıldığını ifade etmek amaçlanmıştır. Roland Barthes’ın göstergebilimsel analiz yönteminin kullanıldığı çalışmanın ilk kısmında, propagandanın kavramsal olarak gelişimine ve propaganda tekniklerine odaklanılmış; çalışmanın devamında ise Norman Rockwell’in sanatsal yaklaşımı çerçevesinde Rosie the Riveter afişinin göstergebilimsel analizine yer verilmiştir. Analizler doğrultusunda ise Rosie the Riveter afişinin, Amerika’nın kadın nüfusu iş gücüne dahil etme amacının yanı sıra başta Almanya olmak üzere savaşın tarafları üzerinde üstünlük algısı yaratmak amacıyla kullanılmış olduğu sonucuna ulaşılmıştır. Bununla birlikte afişin “siyasal” ya da “beyaz propaganda” olarak tanımlanabileceği ve afişin üretiminde “transfer”, “halktan biri” ve “herkes yapıyor” propaganda tekniklerinin kullanıldığı anlaşılmıştır.