scholarly journals Vietnamese Reception Of Soft Masculinities In Korean Television Dramas: Desires, Identifications, And Gender

2021 ◽  
Author(s):  
◽  
Thi Luong
Keyword(s):  
Free Association ◽  
Theoretical Work ◽  
Audience Studies ◽  
Psychosocial Studies ◽  
Male Characters ◽  
Doi Moi ◽  
Korean Wave ◽  
And Gender ◽  
Parasocial Interactions ◽  
Gender Images

<p><b>This doctoral thesis explores Vietnamese audience reception of soft masculinities, defined by the aestheticisation and romantic idealisation of male characters, in South Korean television dramas (K-dramas). Based on interview data collected in 2019, the thesis focuses on patterns of gendered desire, identification, and negotiation in viewers in their 20s and 30s. It highlights the popularity of K-dramas in Vietnam, which have established an enduring presence there since the late 1990s, overlapping with ongoing changes in gender relations following the introduction of the 1986 Đổi Mới (reform) policy, marked by Vietnam’s transition to a market economy and gradual integration into global trade. The thesis demonstrates how the spread of this “Korean Wave” is correlated with a changing local mediascape, the rise of a consumer culture, and a growing interest in exploring the self.</b></p> <p> In this thesis, I adopt the Free Association Narrative Interview (FANI) method, which draws on the solicitation of free talk and storytelling and psychosocial attention to case studies in order to connect interview participants’ biographical details with their viewing experiences. The study is influenced by Judith Butler’s theoretical work on gender and performativity, as well as related material by scholars such as Michel Foucault and Pierre Bourdieu. I highlight how a nuanced understanding of the viewing experience treats it as a complex process linked to an individual’s biographical details and explore how this process intertwines with larger sociocultural contexts, including local norms, Confucian values, feminism, Western gender images, notions of modernity, and globalised aesthetic ideals. The study reveals that although gendered desires and identifications are shaped by norms, they can also subvert them, and thus provides empirical evidence for Butler’s theories from a Vietnamese context. It also shows that desires and identifications that result from engagement with fantasy on screen may follow viewers’ personalised logics and open up multiple avenues for interpretations. Prominent themes of viewing experiences in relation to soft masculinities analysed in this thesis include escapism, parasocial interactions with characters, romantic imaginations, melancholic identification with romantic relationships on screen, desires for upward mobility, queer pleasures, ambivalence, and disidentification. The thesis thus contributes to contemporary Vietnamese studies, gender studies, psychosocial studies, media audience studies, and research on the Korean Wave.</p>

scholarly journals Vietnamese Reception Of Soft Masculinities In Korean Television Dramas: Desires, Identifications, And Gender

2021 ◽  
Author(s):  
◽  
Thi Luong
Keyword(s):  
Free Association ◽  
Theoretical Work ◽  
Audience Studies ◽  
Psychosocial Studies ◽  
Male Characters ◽  
Doi Moi ◽  
Korean Wave ◽  
And Gender ◽  
Parasocial Interactions ◽  
Gender Images

<p><b>This doctoral thesis explores Vietnamese audience reception of soft masculinities, defined by the aestheticisation and romantic idealisation of male characters, in South Korean television dramas (K-dramas). Based on interview data collected in 2019, the thesis focuses on patterns of gendered desire, identification, and negotiation in viewers in their 20s and 30s. It highlights the popularity of K-dramas in Vietnam, which have established an enduring presence there since the late 1990s, overlapping with ongoing changes in gender relations following the introduction of the 1986 Đổi Mới (reform) policy, marked by Vietnam’s transition to a market economy and gradual integration into global trade. The thesis demonstrates how the spread of this “Korean Wave” is correlated with a changing local mediascape, the rise of a consumer culture, and a growing interest in exploring the self.</b></p> <p> In this thesis, I adopt the Free Association Narrative Interview (FANI) method, which draws on the solicitation of free talk and storytelling and psychosocial attention to case studies in order to connect interview participants’ biographical details with their viewing experiences. The study is influenced by Judith Butler’s theoretical work on gender and performativity, as well as related material by scholars such as Michel Foucault and Pierre Bourdieu. I highlight how a nuanced understanding of the viewing experience treats it as a complex process linked to an individual’s biographical details and explore how this process intertwines with larger sociocultural contexts, including local norms, Confucian values, feminism, Western gender images, notions of modernity, and globalised aesthetic ideals. The study reveals that although gendered desires and identifications are shaped by norms, they can also subvert them, and thus provides empirical evidence for Butler’s theories from a Vietnamese context. It also shows that desires and identifications that result from engagement with fantasy on screen may follow viewers’ personalised logics and open up multiple avenues for interpretations. Prominent themes of viewing experiences in relation to soft masculinities analysed in this thesis include escapism, parasocial interactions with characters, romantic imaginations, melancholic identification with romantic relationships on screen, desires for upward mobility, queer pleasures, ambivalence, and disidentification. The thesis thus contributes to contemporary Vietnamese studies, gender studies, psychosocial studies, media audience studies, and research on the Korean Wave.</p>

scholarly journals Emotional intelligence and peer cybervictimisation in adolescents: Gender as moderator

Comunicar ◽  
2018 ◽  
Vol 26 (56) ◽  
pp. 09-18 ◽  
Author(s):  
Lourdes Rey ◽  
Cirenia Quintana-Orts ◽  
Sergio Mérida-López ◽  
Natalio Extremera
Keyword(s):  
Emotional Intelligence ◽  
Emotion Regulation ◽  
Empirical Support ◽  
Theoretical Work ◽  
School Intervention ◽  
Personal Factors ◽  
Prevention Programmes ◽  
Las Mujeres ◽  
And Gender ◽  
Adolescent Victims

Elucidating personal factors that may protect against the adverse psychological outcomes of cyberbullying victimisation might help guide more effective screening and school intervention. No studies have yet examined the role of emotional intelligence (EI) and gender in adolescent victims of cyberbullying and how these dimensions might interact in explaining cybervictimisation experiences. The main aim of this study was to examine the relationship between EI and cybervictimisation, and the interactive link involving EI skills and gender as predictors of cyberbullying victimisation in a sample of 1,645 Spanish adolescents (50.6% female), aged between 12 and 18 years. Regarding the prevalence of cybervictimisation, our results indicated that over 83.95% of the sample were considered non-cyber victims, while 16.05% experienced occasional or severe cyber victimisation. Additionally, findings indicated that deficits in EI and its dimensions were positively associated with cyber victimisation in both genders, but were stronger in females. Besides, a significant emotion regulation x gender association was found in explaining cyber victimisation experiences. While no interaction was found for males, for females the deficits of emotion regulation were significantly associated with greater victimisation. Our findings provide empirical support for theoretical work connecting EI skills, gender and cyber victimisation, suggesting emotion regulation skills might be considered as valuable resources, as well as the inclusion in new gender-tailored cyberation victimisation prevention programmes. Dilucidar los factores personales que protegen contra las consecuencias psicológicas de la cibervictimización podría ayudar a una detección e intervención escolar más eficaz. Ningún estudio ha examinado el papel de la inteligencia emocional (IE) y el género en adolescentes víctimas de ciberacoso y cómo estas dimensiones interactuan para explicar la cibervictimización. El objetivo de este estudio fue examinar la relación entre IE y cibervictimización, y el papel moderador de las habilidades de IE y el género como predictores de la cibervictimización en una muestra de 1.645 adolescentes españoles (50,6% mujeres) de edades entre 12 y 18 años. Con respecto a la prevalencia, nuestros resultados indicaron que el 83,95% de la muestra no eran cibervíctimas mientras un 16,05% eran cibervíctimas ocasionales o severas. Los resultados mostraron que los déficits en IE y sus dimensiones se asociaron positivamente con la cibervictimización en ambos géneros, pero más en mujeres. Además, se encontró una interacción significativa entre regulación emocional y género explicando las experiencias de cibervictimización. Aunque no hubo interacción para los hombres, para las mujeres el déficit en regulación emocional se asoció significativamente a mayor cibervictimización. Nuestros hallazgos proporcionan apoyo empírico para el corpus teórico que conecta las habilidades de IE, el género y la cibervictimización, sugiriendo que la regulación emocional puede ser considerada un recurso valioso, así como de inclusión en futuros programas de prevención de cibervictimización ajustados por géneros.

scholarly journals The Reincarnation of Animated Film

2017 ◽  
Vol 65 (4) ◽  
pp. 331-344
Author(s):  
Eva Šošková
Keyword(s):  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Dominant Male ◽  
Narrative Art ◽  
Female Authors ◽  
Male Characters ◽  
Before And After ◽  
Animated Film ◽  
And Gender

Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.

scholarly journals Female Roles in La Cinta Dorada by María Manuela Reina and Models of the World

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Ana María Aguilar López ◽  
Marta Miguel Borge
Keyword(s):  
Internal Model ◽  
Point Of View ◽  
The Past ◽  
Male Characters ◽  
The World ◽  
And Gender ◽  
Psychological Balance ◽  
Over Time ◽  
Female Drama

Our model of the world that we perceive within ourselves, our conscience, in short, our psychological balance is influenced by our surroundings. Part of the input to which we are exposed in this immediate environment is related to texts, self-managed discourse, which can also influence our internal model of the world; hence they are deserving of our attention. In the same way as the models of the world that we construct throughout our lives, reality is not static and also changes as time goes by. From a social point of view, we can see that the roles of women in modern-day society and the ways that those roles can be perceived today are a consequence of changes initiated in the past within different areas and in a prolonged process over time up until our day. With the aim of evaluating whether female drama has contributed to that change, we present an analysis in this paper of the play La Cinta Dorada [The Golden Ribbon] by María Manuela Reina, written and set in the 1980s, a decade that for Spain implied a more obvious abandonment of the most traditional conceptions of the role of women. In the analysis of the play, we see how the models of the world of the older people are counterposed with those of the younger people, a generational divide that is enriched with the gender difference, as we also analyze how the psychological structures of the female and male characters confront the clichés pertaining to another era in reference to such topics as success, infidelity, matrimony, and gender. The results of our analysis demonstrate how Reina responds to archaic conceptions, thereby inciting the audiences of the day to question their respective models of the world, especially, with regard to the role of the woman in society. 

scholarly journals Maskuliniti yang Diruntuhkan Feminiti: Satu Penelitian Stereotaip Gender dalam Novel Seri Dewi Malam Karya Affifudin Haji Omar

2021 ◽  
Author(s):  
Wan Hasmah Wan Teh
Keyword(s):  
Cultural Context ◽  
Female Gender ◽  
The Novel ◽  
Female Representation ◽  
Female Authors ◽  
Male Characters ◽  
Second Sex ◽  
Feminist Ideology ◽  
Female Stereotypes ◽  
And Gender

Ideologi feminis menyumbang kepada fahaman bahawa lelaki dan perempuan dipengaruhi oleh pengalaman kehidupan yang berbeza ketika menghasilkan sesebuah karya kreatif. Feminis percaya bahawa pengarang lelaki tidak dapat menampilkan dimensi kejiwaan perempuan kerana mereka tidak pernah merasai pengalaman sebagai seorang perempuan. Ideologi seperti ini muncul sebagai tindak balas terhadap kebanyakan karya yang dihasilkan oleh pengarang lelaki yang sering mempersembahkan watak perempuan sebagai the second sex, terpinggir, bisu dan lemah dalam sistem sosial yang didominasi oleh lelaki. Walau bagaimanapun, tindakan pengarang lelaki ini tidak boleh dihukum kerana kegagalan mereka memahami dimensi perempuan yang berbeza dari diri mereka. Pencitraan perempuan daripada perspektif pengarang lelaki harus dilihat daripada konteks masyarakat dan budaya yang meletakkan stereotaip tertentu mengikut jenis kelamin. Bertitik tolak daripada fahaman tersebut, makalah ini mengupas konsep gender yang dibentuk oleh masyarakat sosial serta meneliti imej stereotaip lelaki yang dikenali sebagai gender maskulin dan imej stereotaip perempuan yang dikenali sebagai gender feminin. Hasil dapatan makalah ini mendapati pengarang novel Seri Dewi Malam telah mengubah fahaman pembaca tentang pengarang lelaki dalam mencitrakan imej perempuan dan menolak stereotaip sedia ada dengan menonjolkan imej positif yang dimiliki oleh watak Rohana sebagai gender feminin yang meruntuhkan stereotaip gender maskulin watak-watak lelaki di dalam novel.   The feminist ideology argues that the production of a creative work amongst male and female authors is defined by their specific life and gender experience. Feminists believe that male authors are unable to tap into the thoughts and emotional dimension of female authors because they have never experienced the life of a female. This argument emerged as a form of reaction towards the production of novels by male authors who often portray the female characters as ‘the second sex’, forsaken, tacit and weak in the male-dominated social system. Understandably, these prejudiced portrayals reflect their failure in understanding the female gender as a whole. Narrating the female from the male perspective thus has to be approached from the social and cultural context that gives rise to these stereotypes. This paper addresses the notion of gender from the perspective of society and explores the conceptual division between the male representation as ‘masculine' and female representation as ‘feminine’ in the novel Seri Dewi Malam. It argues that the author of the novel has managed to transform the female stereotypes by instilling more positive representations to the protagonist Rohana and her femininity in challenging the masculinity of male characters.

War and Gender

2020 ◽  
pp. 367-409
Author(s):  
Karen Hagemann ◽  
Sonya O. Rose
Keyword(s):  
Historical Context ◽  
Forced Labor ◽  
Total War ◽  
The World ◽  
History Of ◽  
War Propaganda ◽  
And Gender ◽  
Economic Warfare ◽  
War Experience ◽  
Gender Images

The chapter offers a broad overview of the history of warfare in the Age of the World Wars. It first discusses the concept of total war and its usefulness for a gendered history of war. Then it examines some general trends in the development of warfare during the first half of the twentieth century to provide the historical context for the subsequent more detailed analysis of the Age of the World Wars from a gender perspective. In this section the chapter explores the research on some of the major themes of a gender history of military of war of this period, including gender images, war propaganda, and postwar memory; gendered war support, and war experience at the home front; economic warfare, gendered experience of occupation, and forced labor; war service, gender, and citizenship; and finally gender, genocide, and sexual violence.

Anti-Immigration Propaganda in the Northern League and the Freedom Party of Austria

2021 ◽  
Vol 65 ◽  
pp. 81-100
Author(s):  
Caner Tekin
Keyword(s):  
Western Europe ◽  
Female Workers ◽  
The Past ◽  
Northern League ◽  
Female Migrants ◽  
The Common ◽  
Gender Perspectives ◽  
And Gender ◽  
Gender Images

Over the past two decades, populist-radical parties of Western Europe arguably re- vised their propaganda towards the rejection of Muslim migrants with gender-sen- sitive arguments. Among these parties, the Northern League (LN) and the Freedom Party of Austria (FPÖ) achieved their electoral breakthrough thanks to their anti-mi- gration campaigns, which, inter alia, aligned peculiar gender perspectives with long- term attitudes towards ethnicity, welfare and Islam. Drawing on the LN’s and FPÖ’s election programmes, visuals and leader statements from the early 2000s, the present article discusses the common assumptions regarding the populist radical right’s dis- cursive changes towards anti-Islamism. The paper argues that the two parties in the mentioned period forged their propaganda against the rejection of Muslim migrants in religious and gender-sensitive terms, but their ethnic and class-oriented exclusions equally remained. The documents in question also revealed that these parties recent- ly softened their attitudes towards migrant caregivers to preserve traditional gender images in Austria and Italy. The LN’s and FPÖ’s long-term preoccupations with Ital- ian and Austrian women’s roles in worklife, family and reproduction are likely to bring about changes in the conceptions of female migrants in the care sector. The question still remains whether the parties began to tolerate Muslim female workers, since their propaganda, in contrast to the literature, did not suggest the acknowledgement of Muslims in any of the labour fields.

“Cinderella” Vs “Timun Mas”: Exploring Gender Stereotypes and Culture as Learning Material Purposes

2021 ◽  
Vol 11 (1) ◽  
pp. 10-19
Author(s):  
Cynantia Rachmijati ◽  
Sri Supiah Cahyati
Keyword(s):  
Gender Roles ◽  
Gender Stereotypes ◽  
Social Order ◽  
Learning Material ◽  
Learning Materials ◽  
Male Characters ◽  
The Social ◽  
Cultural Content ◽  
And Gender

Gender roles are an important part of culture. How the genders are portrayed in the literature contributes to the image young adults develops of their gender roles and the role of gender in the social order. This research entitled  “Cinderella VS Timun Mas : Exploring gender stereotypes and culture as learning materials purposes” aimed to analyze the content of both “Cinderella” and “Timun Mas” which cover: 1. Occupations and Gender Stereotypes; 2 Centrality of Female and Male Characters; 3. Culture Content ; and 4 Suitability as learning material purposes. This research is a qualitative study using content analysis. It was carried out with procedures: collecting, analyzing, and presenting data. Based on research questions it is revealed that for occupation and gender types showed that “Timun mas” has varieties of gender with 66,67% reference whereas “Cinderella” only has 50% references. For the centrality of male and female character, “Cinderella’ has more varieties in 37,5% male and 62,5% female whereas in “Timun Mas” showed 50% for both genders”. For the cultural content, in “Timun Mas” the cultural content found was 60% and in “Cinderella” was 80%. And the suitability to be used as learning materials showed that “Timun Mas” checked with 16 points whereas “Cinderella” checked with 20 points. It can be concluded that both can be used as authentic learning materials for gender references, but “Cinderella” has more varieties and cultural content compared to “Timun Mas”.

Self-presentation and gender on social media: an exploration of the expression of “authentic selves”

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Klaudia Kondakciu ◽  
Melissa Souto ◽  
Linda Tuncay Zayer
Keyword(s):  
Social Media ◽  
Theoretical Work ◽  
Protective Measure ◽  
Valuable Insight ◽  
Visual Data ◽  
Self Presentation ◽  
Content Type ◽  
Authentic Self ◽  
Gender Policing ◽  
And Gender

Purpose In response to calls for more research on gender(s) in digital contexts, this paper aims to ask, how do individuals engage in self-presentation of their gender identities on social media? Design/methodology/approach Using a multi-method qualitative approach, this research explores the narratives of 17 Millennials as they negotiate their online gender expressions with a particular focus on the image-based social platforms, Facebook and Instagram. Specifically, in-depth interviews, a collage technique and visual data from informants’ social media pages were analyzed to identify emergent themes. Findings Drawing on the theoretical work of Goffman’s (1971) self-presentation and Butler’s (1999) gender performance, this research highlights a pervading discourse of authenticity or the desire for Millennial social media users to craft and perform a perceived “authentic self” online. This often entails both expressions of gender fluidly and gender policing. Further, four strategies emerge in the data which reveal how individuals negotiate and navigate their gendered self-presentation online, either in an agentic manner or as a protective measure. Originality/value While much research exists on online self-presentation, gender(s) has been under-researched in a digital context. Existing studies examine the content of social media pages (e.g. Facebook profiles or women’s Instagram pages) as it relates to gender, but largely do not explore the lived experiences and narratives of individuals as they negotiate their gendered expressions. In addition, the use of visual data through the collage technique adds valuable insight into how gender is experienced and performed. Findings reveal that while Millennials are often touted as a gender-fluid generation, tensions still exist in online gendered expressions.

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