Unmitigated agency and unmitigated communion: An analysis of the negative components of masculinity and femininity

This article explores the way in which masculinity and femininity are constructed in Algerian manga, an emerging, understudied sub-genre within the field of Algerian graphic art. Through the exploration of youth-oriented publications of shōjo and shōnen manga, I will demonstrate how these new local works offer a privileged form of expression for and platform to address disaffected Algerian youths. The primary focus of this investigation will be the differences (or lack thereof) between ideals of gender performances as expressed in Algerian manga and ideals of gender identity in society at large. This article will demonstrate that, while some differences manifest a desire for change on the part of both artists and readers, they certainly do not constitute radical revisions of the popular Algerian notions of masculinity and femininity. Ultimately, this study will demonstrate the limits of manga as an imported genre within an Arab-Islamic context, oscillating between the promulgation of alternative social ideals and the reinforcement of social norms.

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Adapting Pal Joey

The Oxford Handbook of Musical Theatre Screen Adaptations ◽

10.1093/oxfordhb/9780190469993.013.12 ◽

2019 ◽

pp. 251-273

Author(s):

Julianne Lindberg

Keyword(s):

Middle Class ◽

Postwar America ◽

Masculinity And Femininity ◽

New Treatment ◽

Gender Archetypes

This chapter on the liberal movie adaptation of Rodgers and Hart’s Pal Joey situates the musical in the context of postwar America, when traditional forms of gender and domesticity were being challenged and replaced by something more sexually ‘progressive.’ In the film, Joey is now a singer rather than a dancer, vulnerable rather than a heel, and he gets the girl in the end. The chapter explores how the film’s promotion of a set of emerging gender archetypes that defy traditional, middle-class, suburban constructions of masculinity and femininity is reflected in a new treatment of the score, which is reworked, repurposed, and in some cases eviscerated in order to promote the ethos of the film. A good example is the film’s presentation of the song ‘The Lady Is a Tramp’ (an interpolation from Babes in Arms), which, in Sinatra’s version, emphasize[s] that he is offering his body to her. The chapter concludes that despite the lyrics, it is Joey who plays the part of the ‘tramp.’

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Voice Cues Influence Children’s Assessment of Adults’ Occupational Competence

Journal of Nonverbal Behavior ◽

10.1007/s10919-020-00354-y ◽

2021 ◽

Author(s):

Valentina Cartei ◽

Jane Oakhill ◽

Alan Garnham ◽

Robin Banerjee ◽

David Reby

Keyword(s):

Social Environment ◽

Gender Stereotypes ◽

Voice Pitch ◽

Masculinity And Femininity ◽

Gender Neutral ◽

Male Occupations

AbstractThe adult voice is a strong bio-social marker for masculinity and femininity. In this study we investigated whether children make gender stereotypical judgments about adults’ occupational competence on the basis of their voice. Forty-eight 8- to 10- year olds were asked to rate the competence of adult voices that varied in vocal masculinity (by artificially manipulating voice pitch) and were randomly paired with 9 occupations (3 stereotypically male, 3 female, 3 gender-neutral). In line with gender stereotypes, children rated men as more competent for the male occupations and women as more competent for the female occupations. Moreover, children rated speakers of both sexes with feminine (high-pitched) voices as more competent for the female occupations. Finally, children rated men (but not women) with masculine (low-pitched) voices as more competent for stereotypically male occupations. Our results thus indicate that stereotypical voice-based judgments of occupational competence previously identified in adults are already present in children, and likely to affect how they consider adults and interact with them in their social environment.

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