It’s a Man’s World: Cruising’s Hypermasculine Universe

2020 ◽  
pp. 41-50
Author(s):  
Eugenio Ercolani ◽  
Marcus Stiglegger
Keyword(s):  
Female Character ◽  
Male Sexuality ◽  
Social Commentary ◽  
Total Absence ◽  
The Social

This chapter analyses the masculinity present in Cruising and the subculture it sets out to describe: the communication codes, the language, and the near total absence of women. It taps into the social commentary Friedkin attempts to lay out regarding male sexuality and how it is externalized depending on context. Particular attention is given to Steve Burns and the plethora of men with whom he interacts. The chapter also focuses on the only fully fleshed-out female character present in the film, played by actress Karen Allen, whose career is taken into account and analysed.

scholarly journals Análisis y descripción de los usos de Redes Sociales en los museos de la Región de Murcia

2018 ◽  
pp. 56-66 ◽  
Author(s):  
Antonio Domínguez Serrano ◽  
Isabel Gutiérrez Porlán
Keyword(s):  
Social Networks ◽  
Quality Improvement ◽  
Interaction Constant ◽  
Reliable Data ◽  
Mobile Technologies ◽  
Redes Sociales ◽  
Technological Revolution ◽  
Total Absence ◽  
The Social ◽  
La Red

Los museos en la actualidad tienen la capacidad de potenciar su poder de comunicación y de promoción, gracias a la proliferación de las redes sociales y de las tecnologías móviles en las que nos vemos inmersos en el siglo XXI, estableciendo, de esta manera, una interacción constante con los usuarios. No obstante, todos los museos de la Región de Murcia no han sido capaces de asumir el reto de esta revolución tecnológica. Este artículo comporta una revisión de la manera en que estos centros museísticos están aprovechando las plataformas sociales, elaborando un análisis descriptivo de una muestra de 101 museos repartidos en la Región de Murcia y el límite temporal que se ha elegido para el desarrollo de este trabajo está fijado entre el 1 de enero y el 30 de abril de 2017 en las plataformas Facebook, Twitter, Instagram, Pinterest, Flickr, YouTube y Google+. Los resultados se caracterizan por la presencia de buenos ejemplos de éxito junto con un gran número de museos que se encuentran al principio de un uso consciente y exitoso de las redes sociales, así como casos de una ausencia de otros museos en la red. Este artículo se constituye, por lo tanto, como un ensayo que prepare posibles vías de análisis futuras, como sondeo del comportamiento de los museos de la Región de Murcia en las redes sociales, y con el objetivo de elaborar una propuesta de mejora de la calidad de la difusión de los contenidos y de promoción a través de estas herramientas, de ahí que se haya considerado fundamental el establecimiento de un análisis descriptivo y cuantitativo, cuyos resultados proporcionen datos fiables para estudios posteriores. Museums nowadays have the capacity to enhance their communication and promotion power, thanks to the proliferation of social networks and mobile technologies in which we are immersed in the 21st century, establishing, in this way, an interaction Constant with users. Nevertheless, all the museums of the Region of Murcia have not been able to take on the challenge of this technological revolution. This article involves a review of the way in which these museums are taking advantage of the social platforms, elaborating an empirical and comparative analysis of a sample of 101 museums spread in the Region of Murcia and the temporal limit that has been chosen for the development of this Work is set between January 1 and April 30, 2017 on the platforms Facebook, T witter, Instagram, Pinterest, Flickr, YouTube and Google+. The results are characterized by the presence of good examples of success together with a large number of museums that are at the beginning of a conscious and successful use of social networks, as well as cases of a total absence of certain other museums in the network. This article, therefore, constitutes an essay that prepares possible ways of future analysis, such as a survey of the behavior of the museums of the Region of Murcia in social networks, and with the objective of elaborating a proposal for quality improvement The dissemination of content and promotion through these tools, which is why it has been considered essential to establish a descriptive and quantitative analysis, the results of which provide reliable data for further studies.

The Representation of Young Males in ‘Fayum Portraits’

1993 ◽  
Vol 79 (1) ◽  
pp. 215-226
Author(s):  
Dominic Montserrat
Keyword(s):  
Male Sexuality ◽  
Social Implications ◽  
Adolescent Boys ◽  
Young Males ◽  
The Social ◽  
Roman Egypt

This article discusses the symbolism used on the mummy portraits of adolescent boys from Roman Egypt. The social implications of these symbols and representational modes are examined, with particular reference to their links with contemporary constructs of puberty, male sexuality and rebirth.

scholarly journals Patriarcado y construcción social de la feminidad en la novela El amor en los tiempos del cólera

2016 ◽  
Vol 11 (1) ◽  
pp. 83
Author(s):  
Malena Andrade Molinares
Keyword(s):  
Social Construction ◽  
Open Space ◽  
Female Character ◽  
The Novel ◽  
The Social ◽  
The Times ◽  
Siglo Xx

Resumen: El presente artículo analiza a una protagonista(Fermina Daza) de la novela de García Márquez, Elamor en los tiempos del cólera. Se la ve atada a ciertosvalores socio-culturales, impuestos por la herencia patriarcal;sin embargo, ella puede librarse de las cadenasdel poder opresor, en una ineluctable necesidad de lamujer de transcender situaciones en procura de consolidarsu identidad, su ideología y su preponderante alteridad.Se expone como idea central la construcción socialde la feminidad ligada a un patriarcado que se opone acualquier capacidad intelectual femenina, donde el matrimoniofue una de las pocas alternativas para la mujerde comienzo de siglo XX. El artículo también se proponemostrar la presencia de un feminismo incipiente en lanovela contra el dominio patriarcal en esa época, cuandola situación de la mujer correspondía a un esquemamental reducido, pues se le consideraba un objeto máspara ornamentar la casa, adornar la cocina con su trabajoy criar los hijos; cualquier otro dominio del espacioabierto y del afuera le estaba tácitamente prohibido. Deigual forma se analiza el aspecto de la maternidad comosujeción identitaria y la forma idiosincrática como fueasumida por Fermina y, a su vez la poca importancia quele concede el narrador en la vida de este personaje, pueses solo un artilugio necesario para recordar los convencionalismosde época.Palabras claves: patriarcado, literatura, feminismo,García Márquez, El amor en los tiempos del cólera.Patriarchy and the Social Construction of Femininity In the Novel Love in the Times of CholeraAbstract: This article analyzes a female character (FerminaDaza) in the García Márquez novel Love in theTimes of Cholera. She appears tied to certain socio-culturalvalues imposed by the patriarchal heritage. Nevertheless,she is able to throw off the shackles of oppressivepower in an ineluctable need for women to transcendtheir condition, as she seeks to consolidate her identity,her ideology and her dominant otherness. The centralidea revolves around the social construction of femininitylinked to a patriarchy that opposes any female intellectualpowers, at the beginning of the twentieth centurywhen marriage was the only alternative for women. Thearticle also proposes to show the presence of an incipientfeminism in the novel opposed to patriarchal dominationat the time, when woman was considered a decorativeobject, a kitchen drudge and someone to raise the children;any other domain of open space outside the homewas tacitly forbidden. The issue of motherhood as sourceof identity, idiosyncratically assumed by Fermina, is analyzed,as well as the slight importance given to it by thenarrator, who merely uses it to show the conventions ofthose times.Keywords: patriarchy, literature, feminism, GarcíaMárquez, Love in the Times of Cholera

A Study on the Social Commentary of Byun Young-joo Films

2019 ◽  
Vol 40 ◽  
pp. 236-275
Author(s):  
Jeong Yun An ◽  
Chung Beom Ham
Keyword(s):  
Social Commentary ◽  
The Social

Families and the Emergence of Literary History

Born to Write ◽  
2020 ◽  
pp. 181-183
Author(s):  
Neil Kenny
Keyword(s):  
Social Status ◽  
Literary History ◽  
Social Hierarchy ◽  
Social Commentary ◽  
The Social

At the same time as composing, editing, translating works and getting them published, producers of family literature commented on how the works inflected, and were inflected by, the social status of the families from which they emanated. In other words, the process of producing family literature included social commentary on that process. Some of these commentators went a step further. Attempting to take an overview of the field of literary and learned production in France, they highlighted the role within it of families; and they viewed that role through the lens of social hierarchy. The two writers who did this more than any others were François Grudé de la Croix du Maine and Scévole de Sainte-Marthe, to whom Chapters 13 and 14 are devoted, respectively.

ANTISEMITISM AND SOCIAL CRITIQUE IN DICKENS'SOLIVER TWIST

2005 ◽  
Vol 33 (1) ◽  
pp. 239-252 ◽  
Author(s):  
Susan Meyer
Keyword(s):  
Physical Violence ◽  
The Novel ◽  
Social Critique ◽  
Social Commentary ◽  
The Poor ◽  
The Social

WHEN SIKES AND NANCY RECAPTURE OLIVER, in Dickens'sOliver Twist, intending to return him to the gang of thieves, Sikes warns Oliver against crying out to passersby, announcing that his dog will go for Oliver's throat if he so much as speaks one word. Looking at the dog, who is eyeing Oliver and growling and licking his lips, “with a kind of grim and ferocious approval,” Sikes tells Oliver, “He's as willing as a Christian, strike me blind if he isn't!” (109; ch. 16). Sikes of course simply intends to say that his dog is as good as human, but Dickens's joke, in the context of the novel, is a chilling one. Sikes's bloodthirsty dogisas willing as the novel has shown many a professed Christian to be to exercise brute power over the weak and helpless, to drive Oliver into a life of crime, and to commit physical violence against him. In the course of the novel, Dickens shows what professed Christians have been willing to do to the poor and invites his readers to contemplate what they as Christians should instead be willing to do.Oliver Twistis of course deeply concerned with the condition of England's poor, and Dickens invokes the idea of Christianity as a rhetorical tool through which to make the social commentary that is at the novel's moral center.

scholarly journals Dismantling the Patriarchal Hierarchy in Willa Cather’s A Lost Lady

2020 ◽  
Vol 9 (1) ◽  
pp. 19-30
Author(s):  
Ramesh Prasad Adhikary
Keyword(s):  
Qualitative Research ◽  
Social Norms ◽  
Willa Cather ◽  
Social Hierarchy ◽  
Radical Feminism ◽  
Female Character ◽  
The Novel ◽  
The Social ◽  
Separate Identity ◽  
Lost Lady

This research paper is focused on how Willa Cather portrays the inner rebellion and the passion of a female character, Marian Forrester in her novel A Lost Lady. She walks against the social norms and she is presented as a rigid character who dismantles the male created hierarchy woman as a subordinate being in the society. Though she is married and living happily with her husband, somewhere deep down in her heart she is not happy with her husband. Marian seems to transcend her husband’s order. At that time female were not allowed to enjoy their freedom like the males. Marian goes against male hegemony and to create her separate identity. As a qualitative research, by using radical feminism as a tool of interpretation, the researcher collected textual evidenced from Cather’s novel and interpreted them to fulfill the objective of this research. This research concludes that Cather’s Marian has dismantled the social hierarchy created by the male superiority or patriarchy in the novel.

scholarly journals Dismantling the Patriarchal Hierarchy in Willa Cather’s A Lost Lady

2020 ◽  
Vol 1 (2) ◽  
pp. 17-26
Author(s):  
Ramesh Prasad Adhikary
Keyword(s):  
Qualitative Research ◽  
Social Norms ◽  
Willa Cather ◽  
Social Hierarchy ◽  
Radical Feminism ◽  
Female Character ◽  
The Novel ◽  
The Social ◽  
Separate Identity ◽  
Lost Lady

This research paper is focused on how Willa Cather portrays the inner rebellion and the passion of a female character, Marian Forrester in her novel A Lost Lady. She walks against the social norms and she is presented as a rigid character who dismantles the male created hierarchy woman as a subordinate being in the society. Though she is married and living happily with her husband, somewhere deep down in her heart she is not happy with her husband. Marian seems to transcend her husband’s order. At that time female were not allowed to enjoy their freedom like the males. Marian goes against male hegemony and to create her separate identity. As a qualitative research, by using radical feminism as a tool of interpretation, the researcher collected textual evidenced from Cather’s novel and interpreted them to fulfill the objective of this research. This research concludes that Cather’s Marian has dismantled the social hierarchy created by the male superiority or patriarchy in the novel.

scholarly journals “The Girl Had a Shadow”

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Sophia R. Mager
Keyword(s):  
United States ◽  
The United States ◽  
Research Paper ◽  
Close Reading ◽  
Social Commentary ◽  
Race And Class ◽  
The Social ◽  
History Of

In this research paper, I examine how Jordan Peele’s film Us (2019) fits into the genre of a modern “Black Gothic.” I analyze how Peele uses imagery, character construction, and social references to construct a modern Black Gothic film that considers the intense history of oppression and silencing of groups on the basis of their race and class in the United States. I use the foundational definitions and examples provided by Maisha Wester and Sheri-Marie Harrison to argue how Us fits into and further modernizes the Black Gothic genre, as well as examining how Peele’s imagery contributes to the horror and the social commentary of the film. Ultimately, this paper provides a close reading of the whole film as a part of a larger conversation around how the historical and modern oppression of Black individuals and communities is embedded into the very foundation of the United States as a nation.

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