Sex and Personality: Studies in Masculinity and Femininity.

1937 ◽  
Vol 2 (5) ◽  
pp. 790
Author(s):  
Gladys Bryson ◽  
Lewis M. Terman ◽  
Catharine Cox Miles ◽  
Joseph Tenenbaum ◽  
Willystine Goodsell ◽  
...  
Keyword(s):  
Masculinity And Femininity ◽  
Personality Studies

Gender characteristic attribution; masculinity and femininity in men and women

2010 ◽  
Author(s):  
Joshua K. Digerness ◽  
Benjamin Berlin ◽  
Todd Baird ◽  
Azenett Garza
Keyword(s):  
Men And Women ◽  
Masculinity And Femininity ◽  
Gender Characteristic

Cute Girls, Tough Boys

2014 ◽  
Vol 7 (1) ◽  
pp. 85-111
Author(s):  
Alexandra Gueydan-Turek
Keyword(s):  
Gender Identity ◽  
Social Norms ◽  
Graphic Art ◽  
Masculinity And Femininity ◽  
Gender Performances ◽  
Primary Focus ◽  
Form Of Expression ◽  
The Way

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.

ДЕЯТЕЛЬНОСТНЫЙ ПОДХОД В ОБРАЗОВАНИИ В СОВРЕМЕННЫХ УСЛОВИЯХ

2020 ◽  
pp. 122-124
Author(s):  
Зиля Ахмерова
Keyword(s):  
Key Words ◽  
Personality Development ◽  
Modern Education ◽  
Collective Activity ◽  
Training Technique ◽  
Individualized Training ◽  
Insight Into ◽  
Personality Studies ◽  
Activity Organization

Аннотация. Деятельностный подход к организации учебных занятий при профессиональной подготовке специалистов представляет технологию индивидуализированного обучения. В данной статье проведен экскурс по проблеме деятельности. Деятельность рассматривается как способ участия индивида в преобразовании существующей действительности, как метод познания, как условие проявления и развития личности, как условие конструирования отношений между людьми. Функции деятельности непосредственно связаны не только с проектной деятельностью, но и с развитием личности. Поэтому деятельностная организация процесса проектирования как метода развития личности является актуальной. Кроме этого отмечается, что роль преподавателя в ходе осуществления личностно-деятельностного подхода заключается в умелой организации образовательно- профессиональной среды. Ключевые слова: деятельность, личность, учебная деятельность, проектная деятельность, личностно-деятельностные технологии. Аннотация. Адистерди кесиптик даярдоо учурунда окуу сабактарын уюштуруунун ишмердик ыкмасы жеке инсанга багытталган окутуу технологиясы болуп эсептелет. Бул макалада ишмердик маселеси боюнча экскурс жүргүзүлгөн. Ишмердүүлүк учурдагы чындыкты кайра өзгөртүп түзүүдөгү индивиддин катышуу жолу катары, таануу методу катары, инсандын өзүн көрсөтүүсүнүн жана өнүгүүсүнүн шарты катары, адамдар ортосунда мамиле түзүү ыкмасы катары каралат. Ишмердүүлүктүн функциялары долбоордук иштер менен гана эмес, инсандын өнүгүүсү менен да түздөн-түз байланыштуу. Ошондуктан инсанды өнүктүрүүнүн ыкмасы катары долбоорлоо процессинин ишмердик уюштурулушу актуалдуу. Мындан тышкары, жеке инсанга багытталган – ишмердик ыкмасын ишке ашыруудагы окутуучунун ролу билим берүүчүлүк-кесиптик чөйрөнү эптүү уюштуруу экендиги белгиленет. Түйүндүү сөздөр: ишмердүүлүк, инсан, окуу иши, долбоордук иш, жеке инсанга багытталган – ишмердик технологиялар. Annotation. The activity approach to organization of study in the profession- al training of specialists represents the individualized training technique. This article makes the insight into the activity issue. The activity is considered as a way of person’s participation in transformation of existing reality, as a way of learning, as a condition for personality demonstration and development, as a condition for building relations be- tween people. The functions of the activity are immediately associated with not only de- signing activity but with development of the personality. That is why activity organization of the designing process as a way of personality development is relevant. However, in the modern education, the personal and activity approach is to be com- bined with other approaches of the collective activity based on self-government and competitiveness. Key words: activity, personality, studies, designing activity, personal and activity techniques

Adapting Pal Joey

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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