Female Football Fans and Gender Performance

Author(s):  
Stacey Pope
Neophilologus ◽  
2021 ◽  
Author(s):  
Susana Bardavío Estevan

AbstractDespite Emilia Pardo Bazán’s prominent feminism, La sirena negra has been strangely overlooked by gender studies. When the novel was published in 1908, Gómez de Baquero judged it “non feminist” due to its superficial heroines and the centrality of its complex masculine characters. Academic studies of La sirena negra have not refuted this idea, since they have elided gender approaches to focus on its decadent aesthetics. This article argues, on the contrary, that the novel’s androcentrism can be read as a Pardo Bazan’s strategy to appropriate the patriarchal discourse and hold it responsible for national degeneration. Emilia Pardo Bazán was harshly affected by the fin-de-siècle crisis. In her opinion, Spanish decay came from a lack of solid morality. Thus, Catholic principles should be restored because they would provide the autoregulation mechanisms to regenerate and reassemble the country. Literature should show the new reality, and the French roman psychologique provided her with an appropriate model. La sirena negra sets out the problem of the moral anomie through its protagonist, Gaspar de Montenegro. The analysis of his sexuality and gender performance reveals the danger of this amoral behavior for the degeneration of society, attributed ultimately to the patriarchal order and the androcentric discourse.


2015 ◽  
Vol 8 (2) ◽  
pp. 43-60
Author(s):  
Gust A. Yep ◽  
Sage E. Russo ◽  
Ryan M. Lescure

Offering a captivating exploration of seven-year-old Ludovic Fabre’s struggle against cultural expectations of normative boyhood masculinity, Alain Berliner’s blockbuster Ma Vie en Rose exposes the ways in which current sex and gender systems operate in cinematic representations of nonconforming gender identities. Using transing as our theoretical framework to investigate how gender is assembled and reassembled in and across other social categories such as age, we engage in a close reading of the film with a focus on Ludovic’s gender performance. Our analysis reveals three distinct but interrelated discourses—construction, correction, and narration—as the protagonist and Ludovic’s family and larger social circle attempt to work with, through, and against transgression of normative boyhood masculinity. We conclude by exploring the implications of transing boyhood gender performances.


Author(s):  
Abdul Razaque Channa ◽  
Tayyaba Batool Tahir

Contrary to the view that gender is fluid, as concurred by several social scientists, in traditional Pakistani understanding, gender is seen in fixed binaries, i.e., either you are a man or a woman. The third category is known as the third gender in Pakistan. It is interesting to note that although gender is seen as fixed in Pakistani cultures, in informal discussions, varied shades of gender are highlighted by informants based on gender performativity. By drawing on the postmodern feminist theory of gender performativity, this paper does a discourse analysis of informant’s views about gender construction and dynamics in rural Sindh. Ethnographic fieldnotes have been used as primary data to analyze gender nuances implicit in Pakistani men's informal discourse. This paper argues that contrary to unchanging gender identities as endorsed by Pakistan society's patriarchal structure, men dismiss these fixed identities during an informal discussion. Instead, they shuffle gender identities by branding men and women as feminine men and masculine women, respectively, based on their gender performativity. We conclude that irrespective of physical outlook, the power lies in hegemonic forms of agency. Gender relationships and gender performance shape the sexual and gender identity of subjects.


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