Pal Joey Goes to Hollywood

Pal Joey ◽  
2020 ◽  
pp. 185-198
Author(s):  
Julianne Lindberg
Keyword(s):  
Middle Class ◽  
Gender Roles ◽  
Masculinity And Femininity ◽  
Gender Archetypes ◽  
Frank Sinatra

The 1957 screen adaptation of Pal Joey—starring Frank Sinatra as Joey, Rita Hayworth as Vera, and Kim Novak as Linda—redeems Joey. Now a singer rather than a dancer, Joey genuinely falls in love with Linda. In the end Joey gets the girl. The film promotes a set of emerging gender archetypes that defy middle-class, suburban constructions of masculinity and femininity. Joey’s stage-to-screen evolution—from heel to swinging bachelor—is mirrored by Linda’s transformation from stenographer to sex kitten. Both of these archetypes are responses to what cultural theorists have called the postwar “crisis” in masculinity. The character Vera too is altered. As played by Rita Hayworth, she is tamed by Joey. The anxiety over contested gender roles is reflected in the alteration of the original score, which is reworked, repurposed, and in some cases eviscerated in order to promote the ethos of the film.

Adapting Pal Joey

2019 ◽  
pp. 251-273
Author(s):  
Julianne Lindberg
Keyword(s):  
Middle Class ◽  
Postwar America ◽  
Masculinity And Femininity ◽  
New Treatment ◽  
Gender Archetypes

This chapter on the liberal movie adaptation of Rodgers and Hart’s Pal Joey situates the musical in the context of postwar America, when traditional forms of gender and domesticity were being challenged and replaced by something more sexually ‘progressive.’ In the film, Joey is now a singer rather than a dancer, vulnerable rather than a heel, and he gets the girl in the end. The chapter explores how the film’s promotion of a set of emerging gender archetypes that defy traditional, middle-class, suburban constructions of masculinity and femininity is reflected in a new treatment of the score, which is reworked, repurposed, and in some cases eviscerated in order to promote the ethos of the film. A good example is the film’s presentation of the song ‘The Lady Is a Tramp’ (an interpolation from Babes in Arms), which, in Sinatra’s version, emphasize[s] that he is offering his body to her. The chapter concludes that despite the lyrics, it is Joey who plays the part of the ‘tramp.’

scholarly journals The experience of pregnancy: subjectivity and social relations

2011 ◽  
Vol 8 (2) ◽  
pp. 529-549 ◽  
Author(s):  
Claudia Barcellos Rezende
Keyword(s):  
Social Network ◽  
Middle Class ◽  
Gender Roles ◽  
Social Relations ◽  
Comparative Perspective ◽  
Male Partners ◽  
Urban Context ◽  
Medical Specialists ◽  
Research Material ◽  
The Family

In this article, I examine from a comparative perspective how the experience of pregnancy is affected by pregnant women's social network, in an urban context. In particular, I analyse the role played by husbands or male partners, family, friends and medical specialists during gestation and how these relationships impinge on women's subjectivity. I contrast the earlier studies of Maria Isabel Almeida and Tania Salem, carried out in the 1980s, with my own research material, gathered in 2008, all of which dealt with middle class women living in Rio de Janeiro, Brazil, who were going through their first gestation. I argue, with this comparison, that different ways of thinking and living these relationships as well as the changes undergone in gender roles in the family affects women´s subjectivity, in particular the value given to the expression of individuality - its motivations, desires and emotions.

scholarly journals Doing Gender with Class: Gender Division of Unpaid Work in Russian Middle-Class Dual Earner Heterosexual Households

2021 ◽  
pp. 0192513X2110428
Author(s):  
Daria Ukhova
Keyword(s):  
Middle Class ◽  
Unpaid Work ◽  
Class I ◽  
Doing Gender ◽  
Heterosexual Couples ◽  
Masculinity And Femininity ◽  
Dual Earner ◽  
Division Of Housework ◽  
Depth Interviews ◽  
Division Of Work

This article is concerned with examining the relation between gender division of unpaid work and class. Drawing on in-depth interviews with middle-class dual earner heterosexual couples conducted in Russia, I show how the gender division of housework and care could be shaped by processes of accountability not only to sex category (“doing gender”) but also to class category (“doing class”). I discuss how my interviewees perceived various gender contracts that have evolved in post-socialist Russia as profoundly classed. I further show how their resulting understandings of middle-class (in)appropriate ways of doing masculinity and femininity influenced the division of work in their families. Men were not only accountable as breadwinners but also as carers; while women, in addition to their caring roles, were accountable for their career and sex appeal. In several couples, this double gender and class accountability underpinned their comparatively more equal—although not necessarily more egalitarian—gender division of housework and care.

Gender

2015 ◽  
pp. 31-48
Author(s):  
Emily Hughes
Keyword(s):  
Gender Roles ◽  
Female Gender ◽  
Gender Performativity ◽  
Male And Female ◽  
Masculinity And Femininity ◽  
Socially Constructed ◽  
Male Nurse ◽  
Gender Characteristics ◽  
Opposite Gender

This chapter evaluates how Pedro Almodóvar's Talk to Her (2002) plays with the idea of gender being a fixed attribute and sees gender instead as something flexible and fluid. Gender roles in Talk to Her are arguably represented as a socially constructed rather than innately determined with characters in careers typically assigned to the opposite gender. Lydia is a female bull fighter in a typically chauvinist industry and Benigno is a male nurse in a very female heavy environment. Almodóvar's blurring of the strict rigid definitions of masculinity and femininity can be viewed as postmodernist. The chapter then considers gender performativity in relation to Almodóvar's body of films. In Talk to Her, Lydia, Marco, and Benigno can be seen to perform both male and female gender characteristics at different times.

Analysis and Abbreviation of Bem's Sex-Role Inventory

1978 ◽  
Vol 43 (3) ◽  
pp. 879-882 ◽  
Author(s):  
Maurice Lorr ◽  
Martin Diorio
Keyword(s):  
Middle Class ◽  
Discriminant Function ◽  
Discriminant Function Analysis ◽  
Function Analysis ◽  
Sex Role ◽  
Two Dimensions ◽  
Factor Scores ◽  
Interpersonal Style ◽  
Masculinity And Femininity ◽  
Two Factors

Aims were to determine the dimensionality of the masculinity and femininity scales of the Bern Sex-role Inventory and to select a smaller subset of items to represent the two scales. Samples of 423 girls and 255 boys in Grades 9 to 13 from middle-class homes were administered the Bern inventory and the Interpersonal Style Inventory. The intercorrelations of the 40 sex-role inventory items were factored separately by sex. The first two factors clearly represented the masculinity and femininity dimensions. The abbreviated factor scores were combined configurally to categorize subjects as masculine, feminine, androgynous, and undifferentiated. A discriminant function analysis, using 15 interpersonal style scores, indicated that two dimensions were sufficient to differentiate these four sex roles.

scholarly journals Sonallah Ibrahim and Miriam Naoum’s Zaat

2020 ◽  
Vol 16 (1) ◽  
pp. 19-40
Author(s):  
Sara Salem
Keyword(s):  
Middle Class ◽  
Social Services ◽  
Women's Work ◽  
Domestic Sphere ◽  
Women’S Work ◽  
Masculinity And Femininity ◽  
Financial Pressure ◽  
And Gender

Abstract This article explores the television adaptation of Sonallah Ibrahim’s novel Zaat, arguing that the series provides us with an interesting representation of the various ways in which national projects in Egypt are gendered. It adds to feminist debates around nationalism, capitalism, and gender. In particular, the focus on the intimate in Zaat reveals how political projects are depicted in the domestic sphere through the lens of women’s work. The article explores two themes: one, the increasing financial pressure and its effects on constructs of masculinity and femininity, and two, the steady decay of infrastructure and social services and how it renders middle-class life an impossibility. The article argues that by focusing on the intimate, Ibrahim’s novel and the TV adaptation both reveal the various forms of work women perform and make use of women’s work to critique or celebrate national projects.

Queering Middle Class Gender in Nineteenth-Century US Theater

2019 ◽  
Author(s):  
Gillian Rodger
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Middle Class ◽  
Gender Roles ◽  
Working Class ◽  
Urban Areas ◽  
The United States ◽  
Gender Construction ◽  
Narrative Forms

This chapter considers cross-dressed roles in nineteenth-century music-theatrical forms in the United States, and particularly in non-narrative and semi-narrative forms such as minstrelsy, circus, variety, and burlesque. It discusses the origins of cross-dressed roles in English theatrical traditions, as well as connections to similar roles in European opera and operetta. It also considers other kinds of performances present in variety that challenged middle class gender construction of the period, and suggests that variety represented working class gender roles, and humor was found at the expense of hegemonic middle class ideals. This becomes particularly clear in the performances by male impersonators in variety of the 1860s–1880s. By the end of the century the middle class had expanded to include portions of the variety audience, and audiences no longer found the satirical treatment of middle class men funny. This, and growing mainstream recognition of homosexual populations, particularly in urban areas, caused the decline of cross-dressed performance.

scholarly journals Feminist Voice in Rajan Mukarung's Hātā Jāne Aghillo Rāta

2019 ◽  
Vol 9 (1) ◽  
pp. 39-52
Author(s):  
Indira Acharya Mishra
Keyword(s):  
Middle Class ◽  
Gender Roles ◽  
Gender Discrimination ◽  
Main Stream ◽  
Ethnic Communities ◽  
Feminist Literature ◽  
Traditional Gender Roles ◽  
Marginalized Women ◽  
Feminist Perspectives ◽  
The Voice

Some of the poems in Rajan Mukarung's latest anthology Hātā Jāne Aghillo Rāta [The Night before the Market Day] (2019) are written from the feminist perspective. However, the feminist voice raised in these poems is different from the feminist voice of the main stream Nepali feminist literature which raises the issues of urban, middle class, educated upper caste women from the hills (bourgeoisies women), who aspire liberation from the restrictive traditional gender roles. Unlike the main stream Nepali feminist literature, in these poems, he dramatizes the issues of women from the margin. These are poor and illiterate women from Dalit and ethnic communities who bear the brunt of not only gender discrimination, but also suffer from class and caste discriminations. The article aims to analyze three of the poems from the anthology from the Multicultural feminist perspectives. The finding of the article suggests that these poems raise the voice of marginalized women and demand justice to lower caste and ethnic women whose mores are different from the bourgeoisies' women.

The Devouring Empire

2018 ◽  
Author(s):  
Noriko J. Horiguchi
Keyword(s):  
Middle Class ◽  
Gender Roles ◽  
Gender Identity ◽  
Identity Shift ◽  
Food Scarcity ◽  
Imperial Identity ◽  
Occupied Territories ◽  
And Gender ◽  
The Impact ◽  
Hayashi Fumiko

This chapter studies the impact of war, empire, and gender identity in shaping food values via the depictions of food and hunger in the works of famed novelist and poet Hayashi Fumiko (1903–1951). It argues that food and the act of eating serve as metaphors for the colonial and imperial relationships between Japan, its occupied territories, and its own occupation by US forces. In addition, Hayashi's attitudes toward national and imperial identity shift between her works. For instance, in Diary of a Vagabond (1929), the hungry heroine defies and critiques normative gender roles and middle-class values in her pursuits of work and food; as a war correspondent in 1938, however, Hayashi expressed patriotic attitudes in response to food scarcity and appeared to embrace prescribed gender roles.

Conclusion

2021 ◽  
pp. 258-263
Author(s):  
David Dickson
Keyword(s):  
Eighteenth Century ◽  
Middle Class ◽  
Gender Roles ◽  
Urban Development ◽  
Urban History ◽  
New Work ◽  
Cultural Shift ◽  
Class Culture

This chapter recounts the short-lived bloom in Irish urban history and the profound changes in the cultural habits of city dwellers. It states that the eighteenth-century developments set out in this study had contributed to the formation of a broadly anglophone middle-class culture, influenced by, but differentiated from, aristocratic values and habits. The chapter also explicates the Catholic participation in the urban world, and explains how it accelerated from the 1770s. It also mentions the continued convivial friendships across the religious divide among the haute bourgeoisie, and investigates how the presence of liberal Protestants weakened the forces of polarization. The chapter provides a narrative about the Irish cultural shift in social manners, curbing practices that conflicted with the emerging norms of respectability, new work disciplines, and the polarizing of gender roles. The shift illustrates a perennial theme of the study, one perhaps so obvious that it requires little emphasis: the enduring influence of the metropole. Finally, the chapter elaborates the Irish urban development and the wider commercialization of Irish farming.

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