The (Alt)right to rape: violated white masculinities in the Alt-right, and the filmNocturnal Animals

2018 ◽  
Vol 20 (1) ◽  
pp. 104-118
Author(s):  
Zoë Brigley Thompson
Keyword(s):  
White Masculinities

Of Comics and Charisma: Representing Transpacific White Masculinities

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Christina D. Owens
Keyword(s):  
North American ◽  
White Male ◽  
English Teachers ◽  
Comic Strip ◽  
Reading Practices ◽  
Charismatic Authority ◽  
Cultural Texts ◽  
Madame Butterfly ◽  
White Masculinities ◽  
Male Heterosexual

AbstractThis article employs palimpsestuous reading practices to query the transpacific reach and imperial pedigree of the comic strip “Charisma Man.” Turning to Max Weber’s theory of “charismatic authority” to understand the comic’s humorous portrayals of white male heterosexual privilege in Asia, the article proposes that the comic strip illuminates the patterns of raced and gendered “hereditary charisma” that continue to haunt transpacific relations. “Charisma Man,” penned by a team of North American men living in Japan, links contemporary white migrants across Asia – especially native English teachers – with a longue durée of Euro-American imperial actors abroad and builds meaning through intertextual engagement with the iconic cultural texts Superman and Madame Butterfly. The article concludes that “Charisma Man” makes light of white male hereditary charisma in Asia through a layering of temporally-disjointed transpacific discourses and, in turn, adds one more layer to a palimpsestuous sedimentation of sexist and racist hierarchies, normalizing their continuation within contemporary globalization.

‘Loaded’: indie guitar rock, canonism, white masculinities

Popular Music ◽  
2006 ◽  
Vol 25 (1) ◽  
pp. 77-95 ◽  
Author(s):  
MATTHEW BANNISTER
Keyword(s):  
Cultural Context ◽  
Social Groups ◽  
High Culture ◽  
Avant Garde ◽  
Alternative Rock ◽  
Symbolic Identification ◽  
History Of ◽  
Important Means ◽  
White Masculinities

Indie alternative rock in the 1980s is often presented as authentically autonomous, produced in local scenes, uncaptured by ideology, free of commercial pressures, but also of high culture elitism. In claiming that the music is avant-garde, postmodern and subversive, such accounts simplify indie's historical, social and cultural context. Indie did not simply arise organically out of developing postpunk music networks, but was shaped by media, and was not just collective, but also stratified, hierarchical and traditional. Canon (articulated through practices of archivalism and connoisseurship) is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups (journalists, scenemakers, tastemakers, etc.). These groups and individuals were mainly masculine, and thus gender in indie scenes is an important means for deconstructing the discourse of indie independence. I suggest re-envisioning indie as a history of record collectors, emphasising the importance of rock ‘tradition’, of male rock ‘intellectuals’, second-hand record shops, and of an alternative canon as a form of pedagogy. I also consider such activities as models of rational organisation and points of symbolic identification.

Not Staying in Their Place: An Historic Analysis of Mechanisms of Controlling Movement of Black Men in America through the Lenses of Social Identity and Gender

2021 ◽  
pp. 002193472110210
Author(s):  
Merri H. Davis ◽  
Adina B. Friedman
Keyword(s):  
Social Identity ◽  
Black Men ◽  
Black Males ◽  
18Th Century ◽  
Social Identities ◽  
Central Component ◽  
Black And White ◽  
British Colony ◽  
And Gender ◽  
White Masculinities

Since the arrival of enslaved Africans to the British colony of Virginia in the early 17th century, the spaces of Black men have been policed. Templates characterizing Black males as violent, dangerous, and sexually potent were fully developed by the 18th century and reflected in laws, practices, and systems designed to control their movement. This article applies lenses of social identity and gender to examine contemporary constructs of and practices toward Black men, tracing them back to their historical precursors. The authors contend that fear-based templates continue to be evoked in 21st century America to control the movement and space of Black men through systems and structures which criminalize, terrorize, and economically and educationally dis-advantage them. A major impetus for the development of these systems and structures has been the construction of White masculinities. The authors thus explore the co-constitutive nature of Black and White social identities, a central component of which is gender.

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