Lost Years Recovered John Peters and Phillis Wheatley Peters in Middleton

A cache of Essex County legal papers reveals that when Phillis Wheatley Peters and her husband left Boston in 1780, they moved to Middleton where John became a landowner on a farm where he had been enslaved. I analyze the racial, class, and gender conflicts that led to their eviction.

GENDER, ALCOHOL CONSUMPTION AND HOUSEHOLD CONFLICTS: A QUALITATIVE RESEARCH IN A CHRISTIAN MINORITY GEOGRAPHY

The purpose of this paper is to investigate whether gender has an influence on alcohol consumption and household conflicts in the West African geography. The research design complies with the exploratory research one, with a constructivist epistemological posture. It is a qualitative approach and with a triangulation of research tools. The results show that male gender has more influence on alcohol consumption and conflicts than the female gender. However, it is noticed that household conflictual situation involves intergenerational conflicts, intra-gender conflicts and inter-gender conflicts. The findings pratically imply that there should be a segmentation, creativity and innovation in the beverage market in order to meet consumers’core needs and real expectations. There must be a particular marketing segmentation consideration by taking into account the consumer’s gender in term of consumption as well as each gender’s role and responsibilities in the society. The original value of this research is that it is an exploratory research that shows the effects of gender on the relations between alcohol consumption and household conflicts in the West African context. Keywords: Gender, Alcohol consumption, Household conflicts.

You Haven’t Seen the Last of Men

The Full Monty (Peter Cattaneo, 1997) is much acclaimed as a comedy film. Yet, its screenplay is based on a serious context, contemporary of its shooting—the industrial crisis in the North of England—and deals with its societal effects—a major shift in gender roles and patterns. The real achievement of the male characters is that they resolve gender conflicts adopting cultural practices traditionally reserved for women, asserting their masculinity while posing as sex objects. At a time when men–women relationships are at the heart of debates in the Western World, this article seeks to demonstrate that the movie has a quasi-universal dimension by suggesting that, rather than a reversal of gender roles, a new kind of balance can emerge, with all its attendant “contradictions.”

Krleža's unfulfilled love or comfortable restlessness of gender conflicts

The fundamental idea of this article is to connect the gender antagonism in Krleža's border works of the first dramatic cycle, the rarely performed plays On the Eve (1919) and Adam and Eve (1922) with the tradition of tabooing sexuality from the end of the 19th century and the beginning of the 20th century, by the inventiveness of the sociological analyses of that time, and the achievements of modern evolutionary psychology. The psychographic points of a "couple in a sexual snuggle" (Gašparović, 1977), dissolve in the characters as bearers of universal symbols. Although enclosed in the apparent triviality of exaggerated psychologisation (Donat, 1970), Krleža's malefemale miniatures through zoometaphors and mythico-dramatic parallels raise the question of how love relationships from the early 20th century managed to maintain the dominance of the spoken word over the physical and the emotional.