The Furies: Suzy Charnas Beyond the End of the World

1998 ◽  
pp. 184-191
Author(s):  
Gwyneth Jones
Keyword(s):  
Gender Roles ◽  
Social Engineering ◽  
Female Gender ◽  
Power Dynamics ◽  
Male And Female ◽  
Total Absence ◽  
The World ◽  
End Of The World

In this review of Suzy Charnas’s Holdfast Chronicles trilogy, Jones analyses the treatment of male and female gender roles and explores the significance and consequences of a female utopia with a total absence of men. Jones references social engineering and power dynamics in all books in the trilogy: Walk to the End of the World, Motherlines, and The Furies.

Gender

2015 ◽  
pp. 31-48
Author(s):  
Emily Hughes
Keyword(s):  
Gender Roles ◽  
Female Gender ◽  
Gender Performativity ◽  
Male And Female ◽  
Masculinity And Femininity ◽  
Socially Constructed ◽  
Male Nurse ◽  
Gender Characteristics ◽  
Opposite Gender

This chapter evaluates how Pedro Almodóvar's Talk to Her (2002) plays with the idea of gender being a fixed attribute and sees gender instead as something flexible and fluid. Gender roles in Talk to Her are arguably represented as a socially constructed rather than innately determined with characters in careers typically assigned to the opposite gender. Lydia is a female bull fighter in a typically chauvinist industry and Benigno is a male nurse in a very female heavy environment. Almodóvar's blurring of the strict rigid definitions of masculinity and femininity can be viewed as postmodernist. The chapter then considers gender performativity in relation to Almodóvar's body of films. In Talk to Her, Lydia, Marco, and Benigno can be seen to perform both male and female gender characteristics at different times.

Female participation in Colombian metal: An initial approach

2021 ◽  
Vol 7 (1) ◽  
pp. 159-170 ◽  
Author(s):  
Jesús Antonio Córdoba ◽  
Karen Ortiz Cuchivague
Keyword(s):  
Gender Roles ◽  
Short Article ◽  
Male And Female ◽  
Female Participation ◽  
Initial Approach ◽  
Metal Music ◽  
The People ◽  
The World ◽  
Female Roles ◽  
Cultural Expressions

Cultural expressions reflect the ways in which a society represents its traditions, its interpretations of the world, and the views of the people that develop within it. Likewise, they are capable of representing a system of gender roles that are reproduced and legitimized through them. Rock and metal music, as artistic expressions, can reproduce differentiated male and female roles that, in turn, reproduce inequality and an uneven access to opportunities. This has been constant in Colombian society; therefore, uncovering these manifestations and seeking ways to question and transform these roles have become increasingly important tasks. In this short article, we describe some characteristics of female participation in Colombian metal, and how this intervention responds to the particularities of its context. We approach this objective by analysing testimonies of women who currently work as metal and rock artists in Colombia.

Assimilation gaming: The reification of compulsory gender roles in RuPaul’s Drag Race

2019 ◽  
Vol 4 (2) ◽  
pp. 155-171
Author(s):  
Michael Anthony DeAnda
Keyword(s):  
Gender Roles ◽  
Gay Men ◽  
Female Gender ◽  
Male And Female ◽  
Feminine Gender ◽  
Gay Community ◽  
Game Mechanics ◽  
Visual Pleasure ◽  
And Gender ◽  
Gender Subversion

This article analyses the ‘Bunk Buddies’ mini-challenge on Season 8 of RuPaul’s Drag Race (2009–present, USA: World of Wonder), during which the competitors identified the sexual positions of Andrew Christian models. In this episode (‘Shady Politics’ 2016), gaming and camera technologies work in tandem to repackage heteronormative models of gender and sexual identity for gay audiences. While the mini-challenge offers Andrew Christian models for visual pleasure of gay audiences, the game mechanics and camera angles reify masculine/feminine gender binaries in the way the preferred sexual positions between men are constructed, coding ‘tops’ as masculine and ‘bottoms’ as feminine. While stereotypes in the gay community also present similar understandings of compulsory gender roles, this depiction in RuPaul’s Drag Race, a groundbreaking television series celebrating gay lives and gender subversion through drag, is particularly troubling because it mythologizes a binary gender model that cites the heterosexual matrix and assimilates gay men into traditional male and female gender roles according to their preferred sexual positions. The ‘Bunk Buddies’ challenge thus suggests that sexual positions between men also have a literacy based on masculinity (penetrating) and femininity (receiving).

Winterlong: Elizabeth Hand at the End of the World

1998 ◽  
pp. 168-177
Author(s):  
Gwyneth Jones
Keyword(s):  
Gender Difference ◽  
Gender Roles ◽  
Warning Messages ◽  
The World ◽  
End Of The World ◽  
And Gender

In this review of The End of the World, Jones recognises Elizabeth Hand’s embrace of gender difference and gender roles. She also foregrounds the narrative’s inclusion of warning messages and morals.

Assimilation gaming: The reification of compulsory gender roles in RuPaul’s Drag Race

2019 ◽  
Vol 4 (2) ◽  
pp. 155-171
Author(s):  
Michael Anthony DeAnda
Keyword(s):  
Gender Roles ◽  
Gay Men ◽  
Female Gender ◽  
Male And Female ◽  
Feminine Gender ◽  
Gay Community ◽  
Game Mechanics ◽  
Visual Pleasure ◽  
And Gender ◽  
Gender Subversion

This article analyses the ‘Bunk Buddies’ mini-challenge on Season 8 of RuPaul’s Drag Race (2009–present, USA: World of Wonder), during which the competitors identified the sexual positions of Andrew Christian models. In this episode (‘Shady Politics’ 2016), gaming and camera technologies work in tandem to repackage heteronormative models of gender and sexual identity for gay audiences. While the mini-challenge offers Andrew Christian models for visual pleasure of gay audiences, the game mechanics and camera angles reify masculine/feminine gender binaries in the way the preferred sexual positions between men are constructed, coding ‘tops’ as masculine and ‘bottoms’ as feminine. While stereotypes in the gay community also present similar understandings of compulsory gender roles, this depiction in RuPaul’s Drag Race, a groundbreaking television series celebrating gay lives and gender subversion through drag, is particularly troubling because it mythologizes a binary gender model that cites the heterosexual matrix and assimilates gay men into traditional male and female gender roles according to their preferred sexual positions. The ‘Bunk Buddies’ challenge thus suggests that sexual positions between men also have a literacy based on masculinity (penetrating) and femininity (receiving).

scholarly journals Gender Involvement of Sedentary Fulani in Dairy Farming Practices in Osun State, Nigeria

2020 ◽  
Vol 69 (3-4) ◽  
pp. 73-80
Author(s):  
Abiodun Fafolarin Agboola ◽  
Omolara Aduke Ojo ◽  
Michael Famakinwa ◽  
Sheriff Olatunji Williams
Keyword(s):  
Gender Roles ◽  
Gender Gap ◽  
Formal Education ◽  
Female Gender ◽  
Herd Size ◽  
Dairy Farming ◽  
Farming Practices ◽  
Male And Female ◽  
Level Of Involvement ◽  
The Mean

SummaryThe study assessed the gender involvement of sedentary Fulani in dairy farming practices in Osun State, Nigeria. A multi-stage sampling procedure was used to select 256 respondents from 12 Local Government Areas (LGAs) inhabited by the sedentary Fulani in the study area. Interview schedules were used for quantitative data collection. Data were analyzed and interpreted using descriptive statistics such as frequency counts, percentages, means and standard deviations while one-way ANOVA was used to draw inferences on the hypothesis. The results showed that the mean age of the male and female respondents was 34.05 ± 12.49 years and 33.33 ± 13.14 years respectively. The majority of the male (85.9 %) and female (89.8 %) respondents had no formal education. The mean herd size of male and female respondents was 20 ± 2 and 5 ± 2 heads of cattle respectively. All of the male respondents indicated that fencing, grazing and milking were male gender roles, while all female respondents indicated that cleaning of pens, sales of milk/milk products and processing of milk were female gender roles. The study showed that 42.7% of the male and10.2% of the female respondents had high level of involvement in dairy farming activities, while 24.7% of the male and 44.2% of the female respondents had low level of involvement. Further results revealed that there were significant differences (F = 312.80) between the male and female respondents in their involvement in dairy farming practice. The study concluded that there is gender gap in male and female involvement in dairy farming practices.

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