scholarly journals Don't Be Gay, Dude! How the Institution of Sport Reinforces Homophobeia

2011 ◽  
Vol 2 (2) ◽  
pp. 66-80 ◽  
Author(s):  
Kelsey Lucyk
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
The Media ◽  
Muscular Christianity

Kelsey Lucyk analyzes how the media and the institution of sport have entrenched certain ideals about masculinity meanwhile reinforcing homophobic attitudes towards gender roles in sports. This article focusses primarily on analyzing Canadian sports and makes use of the concept of muscular Christianity to explain hegemonic masculinity as found in the Canadian institution of sport.

scholarly journals Mahesh Dattani’s Dance Like a Man: A Depiction of the Trials and Tribulations of an Androgynous Personality

2020 ◽  
Author(s):  
Chhavi ◽  
◽  
Rajiv Bhushan ◽  
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
Indian Society ◽  
Indian Family ◽  
Cultural Domain ◽  
Conventional Practice ◽  
Indian Theatre

Abstract Mahesh Dattani is one of the leading Indian dramatists who responded to the problems of sexuality on the canvass of Indian theatre. He examined various facets of subjugation and marginalization rampant in Indian society. His plays focus on the sub-urban Hindu family and its trifle with gender and alternate sexuality. His plots revolve around the damaging implications of patriarchal constructs and his characters strive for liberty and self-satisfaction beneath hegemonic masculinity, compulsive heteronormativity and prejudiced cultural domain. Regarding his famous play Dance Like a Man, this paper critically examines the existing socio-cultural domain which practices politics of exclusion of androgynous identities behind the façade of peacefully cohabiting heterosexual Indian family and shows how Dattani, has remarkably countered the presentation of the polarized association of gender roles with conventional practice through performance of his protagonist. Set against the backdrop of patriarchal mindset, this paper delineates that the victim of patriarchal norms is not a woman but a man, who has traits of androgyny. It gives a brief account to highlight the significance of androgyny and portrays how androgyny is directly proportional to creativity. It elucidates how androgynous men undergo searing experiences of stigma and social untouchability in a traditional setup and how patriarchal norms reinforce dominant powers of society to stunt the growth of their personality.

Changing the perception of police culture: recognising masculinity diversity and difference in a “dirty hands” vocation

2018 ◽  
Vol 20 (1) ◽  
pp. 54-57
Author(s):  
Michael Kennedy ◽  
Philip Birch
Keyword(s):  
Police Officers ◽  
Hegemonic Masculinity ◽  
Social Institutions ◽  
Police Culture ◽  
Dirty Hands ◽  
Discussion Paper ◽  
Content Type ◽  
Police Practice ◽  
The Media ◽  
Biased Perception

Purpose The purpose of this paper is to problematise the application of hegemonic masculinity to police practice and culture. Design/methodology/approach This paper offers a viewpoint and is a discussion paper critiquing the application of hegemonic masculinity to police officers, their practice and culture. Findings The paper suggests that a broader conceptualisation of masculinity, offered by scholars such as Demetriou (2001), is required when considering policing and its culture, in order to more accurately reflect the activity and those involved in it. Research limitations/implications Writings concerning police practice and culture, both in the media and academic discourse, are questionable due to the application of hegemonic masculinity. The application of hegemonic masculinity can create a biased perception of policing and police officers. Practical implications The paper helps to engender a more accurate and balanced examination of the police, their culture and practice when writing about policing institutions and encourage social institutions such as academia to address bias in their examination of policing institutions and police officers. Originality/value There has been limited consideration in regards to multiple masculinities, police practice and culture.

scholarly journals The Upshot on Princess Merida in Disney/Pixar’s Brave: Why the Tomboy Trajectory Is Off Target

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 83
Author(s):  
Lauren Dundes
Keyword(s):  
Gender Roles ◽  
Gender Role ◽  
Hegemonic Masculinity ◽  
Final Phase ◽  
Traditional Gender Role ◽  
Gender And Power

Princess Merida, the “tomboy” princess in Disney/Pixar’s Brave, won praise for escaping the strictures of femininity and maternal demands for feminine propriety. In addition to her overt defiance of gender roles and demand for agency, Merida also enacts hegemonic masculinity by mocking her suitors during an archery contest in which she is the prize. The ridicule is the prelude to her dramatic, winning bullseye that feminizes the men, in a scene rich in symbolism about gender and power. In enacting the final phase of the tomboy paradigm, however, Merida reverses her trajectory as her rebellion against femininity ebbs. She then resolves conflict by displaying vulnerability rather than performing brave deeds. This marked shift to a more traditional gender role raises questions about her stature as a model of autonomy able to withstand the pressure to conform.

Social Gender Representation in the Context of the Representation Problem in the Media

2020 ◽  
pp. 17-34
Author(s):  
Özge Gürsoy Atar
Keyword(s):  
Discourse Analysis ◽  
Gender Roles ◽  
Numerical Data ◽  
Social Representation ◽  
Gender Representation ◽  
Television Programs ◽  
Representation Problem ◽  
Television Broadcasting ◽  
The Media

Women's television programs appear as an indispensable broadcasting component of the morning television broadcasting series. Three women's programs, which were broadcasted in 2018, were analyzed in the study of how women participate in these television programs and the presentation of gender roles. First, the issue of social representation in the context of the problem of representation in the media was discussed. Later on, feminism and women's programs in the media were examined and the situation in the media was determined. In the application part of the study, numerical data were evaluated, and discourse analysis was conducted within the framework of the women's programs examined.

scholarly journals Negotiating Love and Gender Stereotypes among Youn People: Prevalence of “Amor Ludens” and Television Preferences Rooted in Hegemonic Masculinity

2019 ◽  
Vol 8 (1) ◽  
pp. 1 ◽  
Author(s):  
Maddalena Fedele ◽  
Maria-Jose Masanet ◽  
Rafael Ventura
Keyword(s):  
University Students ◽  
Qualitative Analysis ◽  
Gender Stereotypes ◽  
Hegemonic Masculinity ◽  
Media Representations ◽  
First Year ◽  
Present Moment ◽  
The Media ◽  
And Gender ◽  
First Year University

This study was carried out in three Iberian-American countries, Colombia, Spain and Venezuela, to identify the stereotypes of love and gender professed among youth and compare them to those they prefer in television fiction series, i.e., those able to influence their identities and values. From an interdisciplinary perspective, the study involved a survey of 485 first-year university students, and a qualitative analysis of the media representations preferred by them. The results showed a preference for "amor ludens", based on enjoyment and the present moment, and a gap between the cognitive and emotional spheres of some youth who consider themselves distant from stereotypical, heteronormative and patriarchal models, but who choose media representations that match these models and the traditional gender portrayals.

scholarly journals Trans-Mediation of Gender in Elia Kazan’s Adaptation of A Streetcar Named Desire

2021 ◽  
Vol 6 ◽  
pp. 63-77
Author(s):  
Zahra Nazermi ◽  
Hossein Aliakbari Harehdasht ◽  
Abdolmohammad Movahhed
Keyword(s):  
Gender Roles ◽  
Literary Text ◽  
Female Identity ◽  
Film Adaptation ◽  
Original Manuscript ◽  
Streetcar Named Desire ◽  
The Media ◽  
A Streetcar Named Desire ◽  
Elia Kazan

Elia Kazan is among the first directors who adapted Tennessee Williams’s A Streetcar Named Desire (1951) for the cinema. Kazan’s film adaptation was almost faithful to the original manuscript by sticking to Williams’s words and sentences. However, even if one ignores the cultural and historical contexts, the alterations that take place in the process of trans-mediation cannot be disregarded, since the telling mode in the text changes to the showing mode in the media. With this hypothetical basis, the present study aims to detect the possible alterations in the adaptation of the play to examine gender roles in both texts. Using the ideas of Linda Hutcheon in A Theory of Adaptation (2013), the authors have studied the verbal signs in the play together with the verbal and visual codes in the movie to assess how the film adaptation has incorporated the ideas of femininity, which are the main concerns of the play, too. The results of the study suggest that the alterations from the literary text to film have contributed to the development of female identity.

scholarly journals O męskości konstruowanej medialnie: zarys zagadnień teoretycznych i przykład analizy empirycznej

2017 ◽  
Vol 61 (2) ◽  
pp. 85-102
Author(s):  
Zbigniew Dziubiński ◽  
Natalia Organista ◽  
Zuzanna Mazur
Keyword(s):  
Qualitative Analysis ◽  
Hegemonic Masculinity ◽  
Women's Sports ◽  
Male And Female ◽  
Women’S Sports ◽  
The Media ◽  
Media Message

This article analyzes how the category of masculinity is constructed in sports writing. It uses texts on sports that appeared in Gazeta Wyborcza, an opinion-forming Polish newspaper. The number of such articles was calculated, with distinctions between men’s and women’s sports, and the gender of the journalists or experts involved. Qualitative analysis showed which disciplines are presented and in what manner, and how the roles of male and female participants are characterized. It emerges that the media message varies in regard to the type of sport and manner of describing the participants. It is shown that the texts in Gazeta Wyborcza reproduce hegemonic masculinity.

scholarly journals Masculinity in Numafung, a Film Directed by Nabin Subba

2021 ◽  
Vol 3 (2) ◽  
pp. 59-70
Author(s):  
Asmita Bista
Keyword(s):  
Gender Roles ◽  
Cultural Practices ◽  
Hegemonic Masculinity ◽  
Cultural Construction ◽  
Cultural Dynamics ◽  
Feature Film ◽  
Male Characters ◽  
Males And Females ◽  
Asymmetrical Power ◽  
Gender Practices

The prevailing gender practices in the Limbu culture promote asymmetrical power relations not only between males and females but also between dominant males and subordinated males. This practice is portrayed in the feature film Numafung by Nabin Subba. Thus, the paper aims to investigate how the practice of hegemonic masculinity has affected the life of individuals, both males and females in Limbu community in the film. It scrutinizes what sort of problems do the conventional masculine roles bring in the characters’ lives. This paper also intends to assess the reasons that force the males to perform the conventional gender roles. To analyze the text, R.W. Connell’s and Michael Kimmel’s idea of masculinity theory has been used as an approach. These theorists propose that masculinity is a constructed entity that is achieved through constant performance: a series of cues observed, internalized and repeated over time. Illuminating the gender practices in the Limbu culture, Numafung unfolds the cultural dynamics of the Limbu society in the light of hegemonic masculinities. The paper concludes that cultural practices such as ‘sunauli- rupauli,’ ‘mangena’ and ‘jari’ keep their hegemonic masculinity intact. The paper further concludes that the male characters of Numafung embrace hegemonic masculinity because gender is a socio-cultural construction; being part of that society, one hardly can escape from the socially enforced gender roles.

scholarly journals Freeter, Arafo, House Husband: Shifting Values of Hegemonic Masculinity and Emphasized Femininity in Four Japanese Television Dramas

IZUMI ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 48-57
Author(s):  
Rouli Esther Pasaribu
Keyword(s):  
Gender Roles ◽  
Japanese Society ◽  
Hegemonic Masculinity ◽  
Masculinity And Femininity ◽  
Traditional Gender Roles ◽  
Corpus Data ◽  
Dominant Discourses ◽  
Japanese Television ◽  
At Home

This study examines the shifting values of masculinity and femininity in four Japanese television dramas: At Home Dad (2004), Around 40 (2008), Freeter, Buy a House (2010), and Wonderful Single Life (2012). These corpus data are analyzed using Connell’s concepts of hegemonic masculinity and emphasized femininity. The findings of this study focus on the following: 1. Characters in the four television dramas challenge the dominant discourses of masculinity and femininity by living as freeters, house husbands, and arafos. 2. To criticize hegemonic masculinity and emphasized femininity, these dramas depict the negative aspects of living a rigid lifestyle encompassed by traditional gender roles and feature main characters who show alternative lifestyles of masculinity and femininity. 3. Hegemonic masculinity and emphasized femininity values shadow the emergence of alternative masculinity and femininity in contemporary Japanese society.  

Boys will be boys: an example of biased and exclusive usage

2020 ◽  
Vol 36 (1) ◽  
pp. 205-223
Author(s):  
Steven M. Kaplan
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
Doctoral Dissertation ◽  
Review Of The Literature ◽  
Gender Binary

AbstractBoys will be boys encapsulates most of what is wrong with patriarchy, hegemonic masculinity, gender roles, victimisation of females, and the gender binary, all of which play crucial roles in the continued subjugation and oppression of females in our society. Although most general English dictionaries provide a definition for this expression, this paper will demonstrate how they mischaracterise it, and therefore legitimise the repressive, destructive, and violent manifestations of this cultural mindset. After a brief review of the literature, the paraphrases of meaning that several popular dictionaries provide for this expression will be scrutinised. These will be contrasted with a bias-free and inclusive paraphrase of meaning, to be followed by a discussion and conclusions<fnote> This paper is based on content from my doctoral dissertation, Kaplan (2020).</fnote>.

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