scholarly journals Disrupting masculinities within leadership: Problems of embodiment, ethics, identity and power

Leadership ◽  
2021 ◽  
pp. 174271502110040
Author(s):  
David Knights
Keyword(s):  
New York ◽  
The Body ◽  
Unethical Behaviour ◽  
Central Argument

This study provides a concise summary of the book Leadership, Gender and Ethics: Embodied Reason in challenging Masculinities, New York and London: Routledge, 2021. It examines the masculinity of leadership and how through an embodied form of reasoning, it might be challenged or disrupted. A central argument of the book is that masculine leadership elevates rationality in ways that marginalise the body and feelings and often has the effect of sanctioning unethical behaviour. In exploring this thesis, the book provides an analysis of the comparatively neglected issues of identity/anxiety, power/resistance, diversity/gender and the body/masculinities surrounding the concept and practice of leadership.

Reviews

Screen Bodies ◽  
2018 ◽  
Vol 3 (2) ◽  
pp. 86-98
Author(s):  
Josh Morrison ◽  
Sylvie Bissonnette ◽  
Karen J. Renner ◽  
Walter S. Temple
Keyword(s):  
New York ◽  
New Media ◽  
The Body ◽  
Media Art ◽  
University Of Minnesota ◽  
Body Images ◽  
New Media Art

Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)

Experimental Production of the Bi-Digital O-Ring Test Muscular Power Evaluation Device Using an Air-type Automatic Analysis System

2020 ◽  
Vol 45 (1) ◽  
pp. 15-30
Author(s):  
Yasuhiro Shimotsuura ◽  
Hiroyuki Maezawa ◽  
Yoshiaki Omura
Keyword(s):  
New York ◽  
Muscle Strength ◽  
Objective Evaluation ◽  
The Body ◽  
Ring Test ◽  
Experimental Production ◽  
Muscular Power ◽  
Strong Response ◽  
Staff Members ◽  
Diagnosis Method

As Bi-Digital O-Ring Test (originated and founded by Prof. Y. Omura in New York, 1997-2020; follow as BDORT)is a diagnosis method that is carried out on the basic theory of the physiological phenomenon called the decline of muscular power of fingers, the examiner, and patients (or mediator) are demanded to do BDORT by constant regular power. Namely BDORT is a diagnosis method that estimates the relative muscular decline of the patients, so there is such a view that the results of BDORT are reflected by consciousness of the examiner. The authors used the ORT tester by using air system to avoid the influence of electromagnetic wave and evaluated the decline of the muscle strength and open degree of the O-ring shaped by the patients. Patients of the Shimotsuura Clinic are subjected and checked by direct BDORT method. When the patients shapes the O-Ring, staff members stimulated the parts of the body by plastic stick and push foot switch. Decline of the muscle strength & open degree was evaluated. When the open degree was more than 20%, stimulated points were evaluated as abnormal. Opposite side arm of the O-Ring shaped arm was checked as control. The results of the direct BDORT method between ORT evaluation apparatus and the patient was consistent with the results of the indirect method of BDORT method between the doctor and the assistant. Even where the patients complain of ill, the muscle strength was declined and opened the O-Ring by using ORT evaluation apparatus. Especially in the parts of the strong response of Integrin α5β1 checked by the doctor, the muscle strength decreased and the open degree was much higher than other parts of the body. Patients could experience of BDORT by numeral objective evaluation of the decline of the muscle strength by using ORT evaluation apparatus.

‘She Sleeps Well and Eats an Egg’

2018 ◽  
Author(s):  
Hannah Newton
Keyword(s):  
Life Style ◽  
The Body ◽  
Serious Illness ◽  
Second Stage ◽  
Full Strength ◽  
Central Argument

Serious illness often left the body weak and lean, full of the ‘footsteps of disease’; it wasn’t until full strength and flesh had returned that the patient was pronounced back to health. This chapter explores the second stage of recovery in contemporary perceptions, the restoration of strength, or ‘convalescence’. It asks how the patient’s growing strength was measured and promoted, and unveils a concept of convalescent care, ‘analeptics’. The central argument is that both the mechanisms and the measures for the restoration of strength were intimately connected to the ‘non-natural things’, six dietary and life-style factors. The opening sections explain why the body was weak after illness, and categorize the convalescent within contemporary schemes of health. The rest of the chapter is structured around the signs of increasing strength, each of which was associated with a particular non-natural: ‘the final purge’, ‘sleeping through the night’, ‘feeling hungry’, ‘growing cheerful’, and ‘sitting up to going abroad’.

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner
Keyword(s):  
New York ◽  
New York City ◽  
Performing Arts ◽  
West African ◽  
Turn Of The Century ◽  
The Body ◽  
Race And Gender ◽  
The Social ◽  
Anna Julia Cooper ◽  
And Gender

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

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