:Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock (...) and abstract expressionism which, to the present day, continues to project masculinity as the originator and pioneer of aesthetic value. This essay reviews feminist and queer artists’ image making that appropriates the myth of homogeneous masculinity and turns it into a medium for a variety of creative and hybrid explorations. I argue that Deleuzoguattarian concepts such as becoming-woman and becoming-imperceptible help us to understand this molecularisation of masculinity. And importantly in the other direction, these feminist and queer image makers allow us to understand and explore more fully these concepts. (shrink)

Mutual feedback between human-made environments and facets of thought throughout history has yielded two myths: the Garden and the Citadel. Both myths correspond to Jung’s feminine and masculine collective subconscious, as well as to Nietzsche’s premise of Apollonian and Dionysian impulses in art. Nietzsche’s premise suggests, furthermore, that the feminine myth of the Garden is time-bound whereas the masculine myth of the Citadel, or the Ideal City, constitutes a spatial deportment. Throughout history the two myths have continually molded the built (...) environment and thought, but the myth of the Ideal City – from Plato to Descartes to modernity – came to dominate city-form and ensuing aspects of contemplation. This relationship seems to have shifted during the twentieth century. Intellectual dispositions have begun to be largely nurtured by an incongruous city-form emerging from the gap between the incessant promise for an automated, well-functioning city, on the one hand, and looming alienation, coupled with the factual, malfunctioning city, on the other hand. Urban decay, a persisting and time-bound urban event that is a byproduct of this configuration, suggests the ascent of the Garden myth in post-modern city-form. (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? This (...) book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

In the great kingdoms of ancient Mesopotamia, the king’s power was often evoked by means of lion symbolism. This has led scholars to conclude that lion motifs, and especially that of the lion-slaying hero, in early Greek art and literature were cultural borrowings from the more populous and urbanised civilisations to the east. Yet it is also notable that the Greek tradition, at least from the time of the Homeric poems, tended to problematise the ethics of the leonine man. This (...) article explores the function of lion imagery in narratives of elite masculinity in western Asia and early Greece respectively. It will argue that Greek myth and epic reflect on and problematise any potential equation between lions and kingly prestige, power and masculinity, instead drawing attention to the savagery and social isolation of the lion-like man-of-power, and his difficulty in conforming to the expectations of civilised society. (shrink)

This paper considers recent experiments in art and artificial intelligence that crystallize around training algorithms to generate artworks based on datasets derived from the Western art historical canon. Over the last decade, a shift towards the rejection of canonicity has begun to take shape in art historical discourse. At the same time, algorithmically enabled practices in the US and Europe have emerged that entrench the Western canon as a locus and guarantor of aesthetic value. Operating within the epistemic framework of (...) a “view from nowhere,” this tendency in generative art inherits the coloniality of both art history and artificial intelligence. Producing “art histories from nowhere,” this tendency conflates the conceptual category of visual art with the histories of Western cultural production. It reproduces a set of aesthetic values that entrench the mythology of the artist-genius and his imputed whiteness and masculinity; the extolment of innovation and novelty as self-evident virtues; disembodied Cartesian models of knowing and sensing; and the erasure of contributions that have been occluded from canonical visibility. As we encounter systems trained on particular visions of art history and of the artist, how might we remain attentive to the specific lens through which they are taught to see? This essay addresses that question by bringing the coloniality of recent experiments into view, bridging data feminisms and decolonial studies to formulate alternative visions of encounters between art and AI. (shrink)

The aim of this essay is to investigate the intersections between masculinity, shame, art, anality, the abject and embodiment by focusing on a particular period of the British art duo Gilbert & George's work in the 1990s. In their series The Naked Shit Pictures, The Fundamental Pictures and The Rudimentary Pictures, the duo's artistic self-performance opens a scatological narrative territory where the male body encounters its own abject fluids strategically magnified. Situating itself within the boundary between queer theory and (...) Lacanian psychoanalysis with a particular focus on the phallus and the abject, this essay argues that Gilbert & George's art-works mentioned above could be regarded as visual commentaries on and queer interventions into bodily anxieties of normative masculinities. It thus reads the artists’ visual discourse of performative hypervisibility as a queer/ing one where the conventional male masculinity confronts simultaneously its ejaculatory bliss and its fear of anal penetration. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist movement (...) that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

Challenging clich's of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three (...) revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theorizing Chinese Masculinity: Society and Gender in ChinaKwai-Cheung LoTheorizing Chinese Masculinity: Society and Gender in China. By Kam Louie. Cam-bridge: Cambridge University Press, 2002. Pp. 239. Hardcover U.S. $60.00.In Theorizing Chinese Masculinity: Society and Gender in China Kam Louie offers us a very clear and concise analysis of the cultural models of Chinese masculinity from ancient imperial times to the present age of transnational (...) contact. Although academic works on Chinese masculinity are not totally absent, systematic and thorough historical surveys of this topic are still rare. While gender studies of China are predominantly on femininity or other women-related issues, man as a gendered category has long escaped serious academic attention. Louie's book could be considered a pioneering effort to provide a rather comprehensive study of this subject. Besides describing in detail the historical development of the male image from premodern to contemporary times, Louie also focuses on the ways in which Chinese men have been represented under the Western gaze and how these representations have negotiated with the dominant Western culture.The fundamental structure of masculinity in China, according to Louie, operates according to the two poles of wen (literary attainment, cultural knowledge, the mental) and wu (martial valor, martial arts, the physical), which are far more complementary than antagonistic, although the wen polarity has always been prioritized over wu in the conventional Chinese mindset. wen maleness is exemplified by Confucius, the sage of the gentleman-scholar type, whereas Guan Yu, the God of War, represents the wu masculine ideal. These two archetypes of Chinese masculinity [End Page 497] converge in the stern observance of moral demands, self-restraint, and a resistance or even a misogynistic attitude to the faults associated with femininity (i.e., sexual pleasure, comfort, and loss of virility) in order to pursue lofty forms of justice and homosocial binding. The recent popularity of Hong Kong martial arts films in the West may help Western readers become accustomed to the traditional Chinese idea that the ideal balance of wen and wu places emphasis on strategy and learning as a means of avoiding the use of violence. Louie repeatedly asserts that, in the Chinese cultural context, all men by definition have some wen and/or some wu, thus negating a simplified dichotomy.The highest ideal of Chinese maleness is that of a single individual who can demonstrate at the highest level the cultural credentials and physical skills of wen and wu. That is to say, the great man who can hold a brush in his right hand and a sword or some other weapon in his left, demonstrating prowess in both kinds of effort. But in terms of their sex appeal, it is always the softer, cerebral, scholarly men of wen who are more attractive to Chinese women than their macho, brawny opposite. Other than analyzing the heterosexual relationships of Chinese manhood, Louie also provocatively suggests that brotherhood and passions between men are never simply homosocial but can have sexual implications. He supports this claim by making reference to many classical texts that depict men sleeping together, leading to strong emotional attachments and jealousy, as if they were in a romantic or erotic liaison. What distinguishes Louie's wen/wu duality from the conventional yin/yang binary opposition (which is also an artificial difference that defines the Chinese male in relation to Western men and reinforces the stereotype of a feminized Chinese masculinity) is that he believes his dyad of Chinese masculinity to be more resilient, flexible, and adaptable to historical change, hybridizing with Western culture while simultaneously exerting its own global influence on non-Chinese cultures.Covering a vast range of historical and contemporary materials and a variety of genres, from classical philosophy to traditional vernacular fiction (e.g., The Romance of the Three Kingdoms and The Water Margin), through Lao She's early twentieth-century novel The Two Mas, the subversive portrayals of men by modern Chinese women writers, to contemporary Hong Kong action cinema—all in a relatively slim volume—Louie is at his best, for example, when observing and depicting character, but he is not so good at analyzing his texts on a... (shrink)

The importance of friendship in the later work of Michel Foucault is increasingly being recognized, but the relationship between friendship and Foucault's concept of 'life as a work of art' is not well understood. Friendship, traditionally associated with 'masculine' virtue, can be seen to undergo significant change in connection with the emergence of modern sexuality. I suggest that Foucault's work alerts us to the fact that friendship is a key site for challenging the stability of the modern gender regime and (...) the institution of heterosexuality that underlies it. By drawing on insights from Nietzsche, Heidegger and Derrida, I elaborate upon the significance of both friendship and the work of art in Foucault. I argue that the intrinsic connection of the aesthetic with beauty is central to Foucault's 'aesthetics of existence'. A focus on beauty enables us to see how friendship can be understood in terms of the work of art. Key Words: art • beauty • Derrida • finitude • Foucault • friendship • heterosexuality • masculinity • Nietzsche. (shrink)

:Geophilosophy is a placeholder for things we cannot yet do, things we hope to do, and things that we have failed to do so far. This issue of Angelaki aspires towards ways of doing philosophy, geography and gender studies that stray from the analytical comforts of philosophical reasoning, and from the sociological certainties that dominate the study of masculinity. In particular, it brings a sexed and gendered body to extant Deleuze-Guattarian scholarship, while prompting a thirst for creativity and ambivalence (...) to masculinity research. Each article explores the ways in which lived cultures of masculinity might be read across uneven political formations and aesthetic practices, while calling into question tacit understandings of where “masculinity” begins and ends. In doing so, the collection teases out the ethical and methodological implications of poststructuralist approaches to gender in a range of disciplines, including cultural geography, art criticism, sociology, and disability studies. (shrink)

The dynamism between otherness and differences with identity and equivalence provides key ideas for analyzing the process of gender individuation by artistic works. In this article I discuss the problem of artistic and aesthetic reactions to homogeneous cultural patterns of masculinity, which is characterized by the concept of "toxic masculinity" in pop-cultural, sociological, psychological and gender studies discourses. One common theme is that "toxic masculinity" encompasses harmful standards that generate antagonisms and diminish multi-figure masculinity to a (...) singular "socially acceptable" level at the expense of children, women and men - and thus society as a whole. The artist's task is to reveal this noxiousness, and to highlight the value of the coexistence of a variety of forms of masculinity in terms of its diversity, thereby helping to mitigate the consequences of disruptive gender relations. (shrink)

In a society which traditionally valued the moral and expressive forces of art, landscape painting became one of the most esteemed art forms. In China, "landscape" has always meant what its Chinese name—shan shui —implies: paintings dominated by peaks and streams supplemented by trees, rocks, mists, and plunging waterfalls. Despite major changes in style, landscape painting in China between the eighth and eighteenth centuries was remarkably stable in subject matter. Chinese artists painted the natural settings which surrounded them in their (...) home provinces or those which they discovered in their travels; and such settings were dominated by mountains and rivers. Moreover mountains and water were imbued with symbolic value. Traditionally the mountain has been considered the symbol of the emperor—the son of Heaven—and of virtue and masculine energy. The ridges and folds of the mountains display the veins of energy that course through the earth and the continuous process of change which characterizes the Universe. Water represents the origin of life, the female principle, vitality itself. Trees, stones, bamboo, and many flowers were similarly endowed with cosmogonic and moral significance. Given the symbolic value with which elements of nature were traditionally endowed, Chinese landscape painting is properly considered the normative form through which artists reasserted correct social relationships, moral order among men, and moral order in nature. Esther Jacobson-Leong, associate professor of art history at the University of Oregon, is currently working on problems in the significance in Steppe art and related traditions. (shrink)

The concept of `the feminine' has generally been employed to denigrate the work of women artists. A central project of feminist art historians, therefore, has been to challenge the use of the term. This article argues instead that the term can be mobilized in a more productive way, to investigate the very constitution of discourses of gender and, in particular, the discursive production of modernism as itself `masculine'. Reading for `inscriptions in the feminine', as well as for tensions and contradictions (...) in `the masculine', allows for a critical practice which is based on interrogation rather than correction, and which refuses the idea of modernism as monolithic. The article approaches these questions about modern art through a discussion of gender and modernity and, in particular, through an exploration of the prospects of such a critique available in some of the writings of Georg Simmel and Walter Benjamin. (shrink)

Research in the field of evolutionary psychology underlines the importance of masculine display in the mate-selection process. Men seek opportunities to exhibit qualities women find desirable; hence they invite inspection of their resources and status, their physical and mental prowess. They also advertise specialized skills and abilities, including artistic performance and creativity. Men seeking to impress potential mates hope to benefit not only from displaying survival-oriented skills as toolmakers or hunters but also from publishing adeptness in less utilitarian realms such (...) as storytelling, drumming, or carving.1 Exhibition of aesthetic achievement is relevant, therefore, to current inquiries into the... (shrink)

Les quatre textes qui suivent tentent d'analyser dans la littérature québécoise et française récente les manifestations d'une société en mutation, désireuse ou non de rompre avec les stéréotypes de sexes, de revisiter et réconcilier féminin et masculin. Les écrivaines, avec quelques belles longueurs d'avance, continuent de vouloir à la fois le corps et l'esprit, la vie et la fiction, de jongler avec l'altérité et les identités plurielles et de travailler des textes ûctionnels, théoriques et incamés, qui prennent en compte le (...) réel Leur travail de réflexion et de création ne cesse, en fait, d'interroger les artifices de l'art, les mensonges de la petite et de la grande histoire, et de prouver qu'on ne peut impunément dissocier éthique et esthétique ! Le thème de l'autobiographie foetale qui hante la littérature masculine récente est très représentatif de la masculinité en crise; il cristallise ses angoisses, ses résistances ou sa nouvelle quête émotive, affective et corporelle.The following four-part paper try to analyse in recent quebecer and french littérature the manifestations of a changing society, wether it be willing or not to break with gender stereotypes and reconcile the masculine/feminine dichotomy. Female writers still show leadership in wanting both body and mind, life and fiction; in thinking ofalterity and multiple identities; and in working at fictionnal, theoretical and incarnate texts wich take reality into considerations. Their reflexion and creation in effect never stops questionning the artistic device, the lies of both small and big history to prove that we cannot inconsiderately dissociate Ethics from Esthetics ! The foetal autobiography team now haunting recent male littérature is very representative of the masculinity crisis; it cristallizes his anguish resistances or his new emotive, affective and corporeal quest. (shrink)

This article problematizes claims of women’s empowerment in “masculine” sports through an exploration of women’s participation in mixed martial arts —a combat sport colloquially referred to as “cage fighting.” MMA, perhaps more than any other sport, allows women athletes to challenge patriarchal beliefs about gender by demonstrating women’s capacity for physical violence and domination. But whereas investigations into MMA have produced important findings for studies of men and masculinities, there has been surprisingly little attention paid to women’s participation in this (...) hypermasculine world. This article begins to fill this gap through an ethnographic account of this growing sport. Drawing from more than four years of ethnographic fieldwork and 40 semi-structured interviews with professional women’s MMA athletes, I show how the neoliberal–postfeminist culture of MMA undermines its empowerment potential by shaping gendered subjecthood in ways that are conducive to the maintenance of gender inequality. I conclude by discussing the implications of my findings for women’s empowerment in sport. (shrink)

In contrast to [Susan] Sontag, who used the tools of literary criticism to evaluate sexually explicit fiction, I will use the conventions of pornography to interpret a dramatic monologue in which an expected sexual encounter fails to take place. In analyzing Rossetti’s “Jenny,” I will employ an interpretive model based on the work of [Steven] Marcus, [Susan] Griffin, and [Andrea] Dworkin. Despite different assumptions about sexuality—Marcus is a Freudian, Griffin believes in a mystical eros residing in the psyche and waiting (...) to be rediscovered, Dworkin regards heterosexuality as a construct for subjugating women and masking men’s homoerotic drive—they share several ideas applicable to “Jenny.” Although pornography features, and indeed perpetuates, various kinds of masculine power, especially the powers of money, class, and culture, it purports to be ahistorical in order to obscure its status as ideology. It depicts male sexuality as fear-laden aggression resulting in very little pleasure; thus it is not liberating on either a political or a personal basis. Pornography does not include “others.” Women are present only to be silenced, objectified, treated as screens on which a man projects his fantasies. Marcus, Griffin, and Dworkin are all concerned with what Suleiman calls “the representational or fantasmatic content” of pornography and “the political implications of that content.” The risks of emphasizing the representational—most especially, the denigration of language and style that result from Dworkin’s approach—can, as Suleiman says, be mitigated by careful attention to a particular text .In Rossetti’s poem, a young man attempts to purchase a night’s pleasure with a London prostitute named Jenny. After she thwarts his plans by falling asleep, he spends the night meditating about her beauty, speculating about her past, present, and future, and thinking about the causes of prostitution. Although Rossetti’s subject matter is consistent with the etymological definition of pornography as “writing about prostitutes,” he avoids the explicit depiction of sexual activity which has been the common element in most modern accounts of the genre. Indeed, the only physical contact between the narrator and Jenny occurs at daybreak when he places coins in her hair and gives her a parting kiss. Robin Sheets is associate professor of English at the University of Cincinnati. She has written on Thackeray, George Eliot, and other Victorian writers and is coauthor of The Woman Question: Society and Literature in Britain and American, 1837-1883. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMETIC SADISM IN THE FICTION OF YUKIO MISHIMA Jerry Piven New York University Mishima Yukio (1925-1970) was one ofthe mostenigmatic authors of the 20th century. Novelist, playwright, actor, exhibiionist —his novels are rife with homoerotic and violent imagery, while his fanatical and nihilistic philosophy calls for a return to a Samurai ethos. Mishima thus attained infamy in Japan and in the West, as his shocking novels inspired hordes ofyoung (...) Japanese into a cult ofMishima worship, while critics who acknowledge his genius are still nervous about his sadistic homosexuality and his suicide. Mishima's works are suffused with erotic bloodshed and misogyny, and Mishima finally ended his life by ritually disemboweling himself. I will make the case that Mishima was incessantly plagued by torturous mimetic frustrations, and that his final act of spilling his blood and intestines can be interpreted as the result of mimetic hatred against his rivals. I also argue that Mishima was fundamentally schizoidal; in Girardian terms, a man whose hypocrisy for the sakeofdesire rendered him an exhibitionistic maskdisguisingmimetic rage and fear. Having previously written about Mishima from a psychoanalytic perspective, I believe that a Girardian approach would often yield drastically different interpretations of identical biographical and literary materials. ' 1I initially wrote on Mishima for several diagnostic assignments at my psychoanalytic institute, the National Psychological Association for Psychoanalysis (NPAP). After considering the psychoanalytic and Girardian approaches, I expanded these original essays using identical material to determine whetherthe interpretations orconclusions would differ; I was struck by the way the same details could provide both remarkable congruences and vast divergences ofperspective. Read side by side, one can find compatible conclusions, but one also finds perceptions ofthe same details that would be difficultto conceive or articulate 70Jeremy Piven Mimesis, misogyny, and maculacy Kimitake Hiraoka was a frail, sickly child before he became the muscular and exhibitionistic novelist Yukio Mishima. His brutal and helpless childhood inaugurated his mimetic complexes: his need to escape the suffocating and diseased environment of his grandmother, his rivalry with her, and his mimetic ideal ofbeauty and muscular invulnerability. Mishima was an unhealthy youth, taken from the arms of his mother before he was two months old, and confined to the sickroom of his grandmother for the first twelve years ofhis life. Under the auspices ofhis tyrannical and ostensively psychotic grandmother, Mishima lived in the dark, could play only female friends (becausetheywere deemed harmless), and could eat only gentle foods. He thus lived an imprisoned life away from his parents, amid the excrescences of his sick and hysterical grandmother until adolescence, when his father "reclaimed him." Mishima later rebelled against this sickly nature, sculpting himself into a statuesque ideal of masculine beauty. He became obsessed with martial arts and the eroticism ofhis own engraved body. His fiction and philosophy were permeated by misogyny, glorification ofGrecian male sexuality and aesthetics, and the repudiation ofanything weak or feminine. He finally killed himselfbefore age could wither his masculine beauty. Mishima's fiction prominently features protagonists who mirror his sickly youth. The autobiographical Confessions of a Mask (Kamen no Kokuhaku) describes the homoerotic development ofthis frail child. Such fraiIcharacters inMishima'sfiction arealwaysdrawneroticallytobeautiful males as both mimetic rivals and models. The narrator of Confessions describes his sexual attraction to a sewage collector, a "ladler of excrement"(8). Thehandsomemanwith "ruddycheeks" and "shiningeyes" fascinates the narrator, and he is filled with desire lookingathistightjeans. using psychoanalytic perspectives andjargon. Two ofthe original essays will be published inthePsychoanalyticReview in comingmonths: "PhallicNarcissism, Anal Sadism, and Oral Discord: The Case ofYukio Mishima (part I)," and "Narcissistic Revenge and Suicide: The Case ofYukio Mishima (part H)." I am currently translating these articles for publication in Japan. I included a brief discussion of Mishima in the introduction to Psychological Undercurrents ofHistory (Piven and Lawton, eds.), to explore the complex methodological and psychological dynamics of the field of psychohistory. A commentary on Mishima's traumaticchildhood entitled "The Pathology ofGenius," will appearin aforthcomingedition ofTapestry: TheJournalofHistoricalMotivations andtheSocialFabric, and afinal article, "Voyeurism and Rage in The Sailor Who Fellfrom Grace with the Sea," will appear in Psychological Undercurrents ofHistory, Volume II (2002). Mimetic Sadism in the Fiction ofYukio Mishima71 The narrator thus emerges into a burgeoning homosexuality, but he also fantasizes about dying dramatically. His... (shrink)

In recent years, the work of organizations in the area of digitization has intensified significantly. This trend is also evident in the field of recruitment where job application tracking systems (ATS) have been developed to allow job advertisements to be published online. However, recent studies have shown that recruiting in most organizations is not inclusive, being subject to human biases and prejudices. Most discrimination activities appear early but subtly in the hiring process, for instance, exclusive phrasing in job advertisement discourages (...) qualified applicants from minority groups from applying. The existing works are limited to analyzing, categorizing and highlighting the occurrence of bias in the recruitment process. In this paper, we go beyond this and develop machine learning models for identifying and classifying biased and discriminatory language in job descriptions. We develop and evaluate a machine learning system for identifying five major categories of biased and discriminatory language in job advertisements, i.e., masculine-coded, feminine-coded, exclusive, LGBTQ-coded, demographic and racial language. We utilized the combination of linguistic features with recent state-of-the-art word embeddings representations as input features for various machine learning classifiers. Our results show that the machine learning classifiers were able to identify all the five categories of biased and discriminatory language with a decent accuracy. The Random Forest classifier with FastText word embeddings achieved the best performance with tenfolds cross-validation. Our system directly addresses the bias in the attraction phase of hiring by identifying and classifying biased and discriminatory language and thus encouraging recruiters to write more inclusive job advertisements. (shrink)

Introduction: Laughter as an expression of human nature in the Middle Ages and the early modern period: literary, historical, theological, philosophical, and psychological reflections -- Judith Hagen. Laughter in Procopius's wars -- Livnat Holtzman. "Does God really laugh?": appropriate and inappropriate descriptions of God in Islamic traditionalist theology -- Daniel F. Pigg. Laughter in Beowulf: ambiguity, ambivalence, and group identity formation -- Mark Burde. The parodia sacra problem and medieval comic studies -- Olga V. Trokhimenko. Women's laughter and gender politics (...) in medieval conduct discourse -- Madelon Köhler-Busch. Pushing decorum: uneasy laughter in Heinrich von Dem Türlîn's Diu crône -- Connie L. Scarborough. Laughter and the comic in a religious text -- John Sewell. The son rebelled and so the father made man alone: ridicule and boundary maintenance in The Nizzahon vetus -- Birgit Wiedl. Laughing at the beast: the judensau: anti-Jewish propaganda and humor from the Middle Ages to the early modern period -- Fabian Alfie. Yes . . . but was it funny? Cecco Angiolieri, Rustico Filippi and Giovanni Boccaccio -- Nicolino Applauso. Curses and laughter in medieval Italian comic poetry -- Feargal Béarra. Tromdhámh guaire: a context for laughter and audience in early modern Ireland -- Jean E. Jost. Humorous transgression in the non-conformist fabliaux: a Bakhtinian analysis of three comic tales -- Gretchen Mieszkowski. Chaucerian comedy: Troilus and Criseyde -- Sarah Gordon. Laughing and eating in the fabliaux -- Christine Bousquet-Labouérie. Laughter and medieval stalls -- Scott L. Taylor. Esoteric humor and the incommensurability of laughter -- Jean N. Goodrich. The function of laughter in The second shepherds' play -- Albrecht Classen. Laughing in late-medieval verse and prose narratives -- Rosa Alvarez perez. The workings of desire: Panurge and the dogs -- Elizabeth Chesney Zegura. Laughing out loud in the Heptaméron: a reassessment of Marguerite de Navarre's ambivalent humor -- Lia B. Ross. You had to be there: the elusive humor of the Sottie -- Kyle Diroberto. Sacred parody in Robert Greene's Groatsworth of wit -- Martha Moffitt Peacock. The comedy of the shrew: theorizing humor in early modern Netherlandish art -- Jessica Tvordi. The comic personas of Milton's Prolusion VI: negotiating masculine identity through self-directed humor -- John Alexander. Ridentum dicere verum (using laughter to speak the truth): laughter and the language of the early modern clown "pickelhering" in German literature of the late seventeenth century (1675-1700) -- Thomas Willard. Andreae's ludibrium: Menippean satire in The chymische hochzeit -- Diane Rudall. The comic power of illusion-allusion -- Allison P. Coudert. Laughing at credulity and superstition in the long eighteenth century. (shrink)

Learn to create personal harmony so that we are able to handle everyday situations gracefully with persons of the opposite sex, differing cultures, religions or opinions. This book is dedicated to those who respect and enjoy harmony in relationship with oneself and with other people of the world. Frank discussion about sex and celibacy, yin and yang, femininity and masculinity, fire and water, culture, history and government.

This paper examines a general political problem of how to balance the need for concentrated power in the hands of the state—which is needed for effective governance—against the egalitarian desire to equalize power. It distinguishes between ‘positive’ political power appropriately wielded by the state, and ‘negative’ power that individuals may use to protect their own activities and interests from excessive or illegitimate state action and argue for institutions and practices designed to equalize power by ‘leveling up’ the powerless to match (...) the strong. (shrink)

SummaryPhilosophic questions about the adequacy of our prevailing Western conceptions of rationality have emerged from the growing recognition that one cannot simply “add women” as objects of knowledge to the existing bodies of our social and natural knowledge. Recent research in psychology and in moral development theory suggests that our understandings of the rationality of human activity are distorted and obscured by systematically identifying as universally desireable, as Human goals, conceptions of the self, others, and the appropriate relationships between the (...) two which are distinctively masculine. The essay suggests some implications of these research findings for the ways philosophers think about “the problems of philosophy”, moral theory, the role of formality and abstractness, and the “rational reconstructions” of the history of science.RésuméDes questions philosophiques se sont posées, a propos de ľadéquation de nos conceptions occidentales courantes de la rationalité, du fait de la reconnaissance qu'on ne peut pas simplement ajouter les femmes comme objets de connaissance aux corpus existants de notre connais‐sance sociale et naturelle. Des recherches récentes en psychologie et en théorie du développement moral suggèrent que notre comprèhension de la rationalité de ľactivité humaine est déformee et obscurcie par une identification systématique, comme universellement désirables, comme buts de ľhumanité, des conceptions de soi, des autres et des relations entre les deux qui sont distincte‐ment masculines. Cet essai suggère quelques applications de ces resultats de recherche quant à la maniere dont les philosophes pensent les problèmes de la philosophies la morale, le rôle du formel et de ľabstrait et les reconstuctions rationnelles de ľhistoire de la science.ZusammenfassungPhilosophische Fragen ïber die Angemessenheit unserer vorherrschenden Auffassungen von Rationalität im Westen sind durch die wachsende Einsicht entstanden, dass man nicht einfach Frauen als Objekte dem bestehenden Korpus unserer Sozial‐ und Naturwissenschaften hinzufügen kann. Neuere Forschungen in Psychologie und Theorien der moralischen Entwicklung legen nahe, dass unser Verstandnis der Rationalität von menschlichen Handlungen dadurch verzerrl und verdunkelt wird, dass systematische Auffassungen vom Selbst, den andern und den unter ihnen angebrachten Beziehungen als allgemein wünschbare Ziele anerkannt werden, die spezi‐fisch männlich sind. Es werden einige Implikationen dieser Forschungen t'iir die Art, wie Philoso‐phen über die Probleme der Philosophie denken, aufgezeigt – u.a. in bezug auf die Theorie der Moral, die Rolle der Formalisierung und Abstraktion, und die rationalen Rekonstruktionen der Geschichte der Wissenschaft. (shrink)

Purpose. Aging is intricate process of self-transformation in view of involution of body, loss of sexual attractiveness, but at the same time, old age is a time for reconsideration of self-existence in time and in the world within coherence of life sense targets and their realization. Unique individual experience of growing old implemented in Ukrainian literature can complete the data received by gerontology. Moreover gender approach in literary gerontology highlights masculine / feminine phenotypical features of internal reverberating of aging. Theoretical (...) basis. To inquire into existential and psychological problems of aging exemplified in the twentieth-century Ukrainian Lyrics it is seems to be the most effective to employ philosophical and psychological approaches in gerontology, as well as feministic studies on elder female body discrimination, in particular in literature. Originality. This research paves the way to the development of gender and literary dimensions in Ukrainian gerontology and anthropology in general. Some of the existential and psychological problems of aging are revealed on the material of 20th-century Ukrainian poetry. The individual lyric experience of aging in different gender moods is anchored mostly in psychic, mental, sense-life strategies. Conclusions. Among the feminine strategies of aging self-reception there are observation of own elder body with anxiety and fear, its "invisibility", deepened feelings of loneliness, self-estrangement, but also finding the sense of life and soul harmony in own family, offspring. Masculine self-reception of aging deals with ideal spiritual model of Wise old man – more abstract than personal; masculine anxiety is caused by physical bodily declining, not attractiveness, but strength and power loosing. (shrink)

The photographs that circulated on social media depicting the atrocious acts committed by the Turkish military forces in southeast Turkey are indicative of an aesthetic construction of militarized masculinity that serves as a metonym for the nation‐state. As violence is aestheticized in a gendered fashion in these depictions, the Kurdish resistance movement is shamed as feminine. Gendered shaming, in this context, conjoins racialization and gendering as subjugating mechanisms of the state. Women's peace movements seek to disrupt this heteropatriarchal logic (...) of the state by countering the tripartite alignment of masculinity‐power‐domination with politicized art. In refusing the shame attributed to femininity, the shame that the state desires the Kurdish body to signify, they transfigure shame into honor and resistance. (shrink)

A giant statue of the mother goddess, Ishtar, presides over Intolerance , the movie D. W. Griffith made after his triumph with The Birth of a Nation . Ishtar sits above Babylon’s royal, interior court, but the court itself is constructed on so gigantic a scale that is diminishes the size of the goddess. Perhaps to establish Ishtar’s larger-than-life proportions, Griffith posed himself alongside her in a production still from the movie . The director is the same size as the (...) sculptured grown man who sucks at Ishtar’s breast; both males are dwarfed by the goddess’ dimensions.Ishtar connects Griffith to the concern with originary female power current at the turn of the twentieth century. The appearance of the New Woman and the attention to the matriarchal origins of culture were signs of a crisis in patriarchy. But the great mother could support masculine reassertion as well as female power. Ishtar will show us how. Michael Rogin is professor of political science at the University of California, Berkeley. His most recent books are Subversive Genealogy: The Politics and Art of Herman Melville , and “Ronald Reagan,” the Movie and Other Episodes in Political Demonology. (shrink)

Paired masks described as beautiful and grotesque express complementary values in several southern Nigerian art traditions. Beautiful masks represent humans, often women, and serve as metaphors for things associated with civilization and culture. Grotesque masks represent animals or men, and tend to be linked with notions of masculinity and nature. Analysis of masks falling into these categories provides us with a set of formal criteria for this imagery. Mask types that fall into this continuum are used by the Okpella, (...) a northern Edo people living north of Benin City in southern Nigeria: a female character commemorating specific women of status and described as beautiful, a more ambiguous character that serves as the festival herald and messenger of the Dead Fathers described as grotesque, and a third masquerade that combines elements of both the beautiful and grotesque is described as fascinating. Why and how these forms communicate to their Okpella audience is the focus of this paper. It is based on qualitative research on the history and meaning of these masks carried out among the Okpella, survey research on aesthetic preference in which 400 individuals were interviewed, and with a panel study in which 100 participants from the original sample were re-interviewed. Key words: beautiful, grotesque, Africa, okpella, masquerade, aesthetics. Resumen Las máscaras emparejadas descritas como ‘bellas’ y ‘grotescas’ expresan valores complementarios en varias tradiciones artísticas del sur de Nigeria. Las máscaras bellas representan a los humanos, frecuentemente mujeres, y se emplean como metáforas de aspectos asociados con la civilización y la cultura. Las máscaras grotescas representan animales u hombres, y suelen vincularse con nociones de masculinidad y de naturaleza. El análisis de las máscaras que entran en estas dos categorías proporciona un conjunto de criterios formales para comprender este imaginario. El grupo étnico Edo del norte que vive al norte de Ciudad de Benín en el sur de Nigeria, los okpella, usan máscaras de este tipo. Existe un personaje femenino descrito como bello, un personaje más ambiguo descrito como grotesco y un tercero que combina elementos del bello y del grotesco y que se describe como fascinante. En este artículo nos interesamos en qué y cómo comunican estas formas con los okpella. Nuestro trabajo se apoya sobre una investigación cualitativa realizada entre los okpella, una encuesta sobre preferencia estética en la cual se entrevistó a 400 personas y un estudio en el cual se volvió a entrevistar a 100 personas de la muestra anterior. Palabras clave: belleza, grotesco, África, okpella, mascarada, estética. (shrink)

The proposed new geological era, The Anthropocene (aka Age of Humans, Age of Man), marking human domination of the planet long called Mother Earth, is truly The Age of the Motherfucker. The ecocide of the Anthropocene comes from Man, the Western- and masculine- identified corporate, military, intellectual, and political class that masks itself as the exemplar of the civilized and the human. The word motherfucker was invented by the enslaved children of White slavemasters to name their mothers' rapist/owners. Man's strategic (...) motherfucking, from the personal to the planetary, is invasion, exploitation, spirit-breaking, extraction and toxic wasting of individuals, communities, and lands, for reasons of pleasure, plunder, and profit. Ecocide is attempted deicide of Mother Nature-Earth, reflecting Man's goal to come the god he first made in his own image. The motivational word Motherfucker further reveals the Anthropocene with a flip side signifying an outstanding, formidable, and inexorable force. Mother Nature-Earth is that "Mutha'" -- one defying translation into heteropatriarchal classifications of gender, one capable of overwhelming Man and not the other way around. Drawing upon Indigenous and African American scholarship, ecofeminism, ecowomanism, green activism, femme, queer, and gender non-binary philosophies, literature and arts, Afrofuturism, and popular culture, Call Your "Mutha'" contends that the Anthropocene is not evidence of Man's supremacy over nature, but that Mother Nature-Earth, faced with disrespect, is going away. It is imperative now to call the "Mutha'" by decolonizing land, bodies, and minds, ending rapism, feeding the green, renewing sustaining patterns and affirming devotion to Mother Nature-Earth. (shrink)

We are surrounded with portraits: from the cipher-like portrait of a president on a bank note to security pass photos; from images of politicians in the media to Facebook; from galleries exhibiting Titian or Leonardo to contemporary art deploying the self-image, as with Jeff Koons or Cindy Sherman. In antiquity portraiture was of major importance in the exercise of power. Today it remains not only a part of everyday life, but also a crucial way for artists to define themselves in (...) relation to their environment and their contemporaries. In Portrayal and the Search for Identity, Marcia Pointon investigates how we view and understand portraiture as a genre and how portraits function as artworks within social and political networks. Likeness is never a straightforward matter, as we rarely have the subject of a portrait as a point of comparison. Featuring familiar canonical works and little-known portraits, Portrayal seeks to unsettle notions of portraiture as an art of convention, a reassuring reflection of social realities. Pointon invites readers to consider how identity is produced pictorially and where likeness is registered apart from in a face. In exploring these issues, she addresses wide-ranging problems such as the construction of masculinity in dress, representations of slaves, and self-portraiture in relation to mortality. (shrink)

What good is art? What is the point of a university education? Can philosophers contribute anything to social liberation? Such questions, both ancient and urgent, are the pulse of reformational philosophy. Inspired by the vision of the Dutch religious and political leader Abraham Kuyper, reformational philosophy pursues social transformation for the common good. In this companion volume to Religion, Truth, and Social Transformation, Lambert Zuidervaart presents a socially engaged philosophy of the arts and higher education. Interacting with the ideas of (...) leading Kuyperian thinkers such as Calvin Seerveld and Nicholas Wolterstorff, Zuidervaart shows why renewal in the arts needs to coincide with political and economic transformation. He also calls for education and research that serve the common good. Deeply rooted in reformational philosophy, his book brings a fresh and inspiring voice to current discussions of religious aesthetics and Christian scholarship. Art, Education, and Cultural Renewal is a testament to the practical and intellectual richness of a unique religious tradition, compelling in its call for social solidarity and cultural critique. (shrink)

Up to now, China's painting has not completely shaken off the influence of the spirit of European philosophy or a fundamental change in the way of viewing. The spirit of the unity of subject and object in ancient China philosophy influenced the formation and development of China's paintings. Since China Art Institute introduced figurative expressionism, a new art, into the contemporary art education system of China, it has shown its unique value in professional theory and practical skills. It not only (...) provides new opportunities for reforming contemporary art education in China but also adds a new development direction for contemporary oil painting art in China. This article attempts to reveal the existence and artistic concept of violence in contemporary Chinese oil painting through the description and analysis of painting images and artists' emotional expression, combined with interviews with artists. Based on the development of contemporary Chinese society, the rise of new literary and artistic trends, and the influence of western painting, this paper analyses the historical causes of violence in contemporary Chinese oil painting, and examines the value of contemporary Chinese oil painting in terms of aesthetics and sociology. Therefore, establishing cultural core values is still the indispensable spiritual power of contemporary artists' artistic creation. (shrink)

This book examines fundamental questions about funding for the arts: why should governments provide funding for the arts? What do the arts contribute to daily life? Do artists and their publics have a social responsibility? Challenging questionable assumptions about the state, the arts and a democratic society, Lambert Zuidervaart presents a vigorous case for government funding, based on crucial contributions the arts make to civil society. He argues that the arts contribute to democratic communication and a social economy, fostering the (...) critical and creative dialogue that a democratic society needs. Informed by the author's experience leading a non-profit arts organisation as well as his expertise in the arts, humanities and social sciences, this book proposes an entirely new conception of the public role of art with wide-ranging implications for education, politics and cultural policy. (shrink)

Yetta Howard's queer-radical monograph Ugly Differences: Queer Female Sexuality in the Underground presents in its four chapters and conclusion a critical discussion of queer radicality in underground art productions. The chapters engage with Slava Tsukerman's camp cult movie Liquid Sky, Sapphire's poetry, Roberta Gregory's and Erika Lopez's comics, A. L. Steiner and Narcissister's collaborative art installation Winter/Spring Collection, and New Queer Cinema's High Art. In this volume, Howard unearths a spectrum of aesthetic pleasure derived from survival and self-destruction, to tragic (...) romance and kink intimacies. In all the material that Howard chooses for her discussions, “ugliness” enacts a powerful, political premise, which makes this book not only a captivating manifesto of queer punk aesthetics but also a thoughtful exploration of the importance of subcultural, queer-feminist politics antagonizing the norms of mainstream LGBT inclusion politics and homonormative pink-washing tendencies. Ultimately, as the key term of this volume, “ugliness” unfolds in the chapters, specifically in the analogy of three textual elements: as the “disagreeable and pejorative traits” conventionally attributed to queerness (2); a critique of the abjection and stigmatization of all bodies outside of the Western norms of white, able-bodied, cis masculinity (2); and third, as the angry, creative, punk, and anti-aesthetic textual practices of subcultural queer life (2). (shrink)

Algorithmic biases, or algorithmic unfairness, have been a topic of public and scientific scrutiny for the past years, as increasing evidence suggests the pervasive assimilation of human cognitive biases and stereotypes in such systems. This research is specifically concerned with analyzing the presence of discursive biases in the text generated by GPT-3, an NLPM which has been praised in recent years for resembling human language so closely that it is becoming difficult to differentiate between the human and the algorithm. The (...) pertinence of this research object is substantiated by the identification of race, gender and religious biases in the model’s completions in recent research, suggesting that the model is indeed heavily influenced by human cognitive biases. To this end, this research inquires: How does the Natural Language Processing Model GPT-3 replicate existing social biases?. This question is addressed through the scrutiny of GPT-3’s completions using Critical Discourse Analysis (CDA), a method which has been deemed as amply valuable for this research as it is aimed at uncovering power asymmetries in language. As such, the analysis is specifically centered around the analysis of gender and race biases in the model’s generated text. Research findings suggest that GPT-3’s language generation model significantly exacerbates existing social biases while replicating dangerous ideologies akin to white supremacy and hegemonic masculinity as factual knowledge. (shrink)

This paper presents a feminist analysis of corporate social responsibility in a male-dominated industry within a developing country context. It seeks to raise awareness of the silencing of women’s voices in CSR reports produced by mining companies in Tanzania. Tanzania is one of the poorest countries in Africa, and women are often marginalised in employment and social policy considerations. Drawing on work by Hélène Cixous, a post-structuralist/radical feminist scholar, the paper challenges the masculinity of CSR discourses that have repeatedly (...) masked the voices and concerns of ‘other’ marginalised social groups, notably women. Using interpretative ethnographic case studies, the paper provides much-needed empirical evidence to show how gender imbalances remain prevalent in the Tanzanian mining sector. This evidence draws attention to the dynamics faced by many women working in or living around mining areas in Tanzania. The paper argues that CSR, a discourse enmeshed with the patriarchal logic of the contemporary capitalist system, is entangled with tensions, class conflicts and struggles which need to be unpacked and acknowledged. The paper considers the possibility of policy reforms in order to promote gender balance in the Tanzanian mining sector and create a platform for women’s concerns to be voiced. (shrink)

Dans l’Europe médiévale, l’art de la guerre est considéré comme spécifiquement masculin. Et pourtant, au détour des chroniques et des documents d’archives, il est possible de croiser des guerrières qui combattent pour défendre leurs fiefs ou s’engagent parmi les rangs des croisés. Cette pratique de la guerre au féminin, très minoritaire, mais avérée, reposait-elle sur un droit, ou, bien au contraire, bravait-elle toutes les interdictions des lois civiles et religieuses? Si le droit civil l’interdit, la réponse de l’Église semble parfois (...) plus ambigüe. C’est le cas aux xie et xiie siècles où, dans le cadre de la Querelle des Investitures, la comtesse Mathilde de Toscane est à l’origine d’une polémique qui a vu s’opposer les partisans de la réforme grégorienne à ceux de l’empereur Henri iv et qui s’est précisément cristallisée sur cette question : les femmes ont-elles le droit de faire la guerre? (shrink)

The crux of feminist ideological alignments is the struggle for the woman’s liberation from patriarchal subjectivities. This study investigates the utilization of poetry by Patricia Jabbeh Wesley to challenge patriarchal dominance and expose the gimmicks of female devaluation by hegemonic imperialism. Wesley’s poems: “Inequality in Hell” and “My Auntie’s Woman-Lappa Husband” which sufficiently explore feminist consciousness from Wesley’s poetry collection, Where the Road Turns, were purposively selected and subjected to close reading and qualitative analysis. The poems were critically analyzed through (...) the lens of postcolonial feminist literary criticism which examines issues of phallocentric structures, especially in formerly colonized states. The selected poems show the itchy pains of masculinity and devaluation of womanhood in canonical text. Wesley’s poetry invites her readers to a philosophical introspection of patriarchal order with respect to the unbalanced treatment of women in postcolonial Liberia. The poet, through her art, exposes the unfair imaging of women globally. (shrink)

ABSTRACT If phenomenology is a research methodology uniquely positioned to enable us to learn from others, I aim to demonstrate the idea that cinema is a privileged site from which to investigate the notion of virtuality (sight and reality), even in an age where vision’s predominance is waning. In order to do so, I consider the painfully disruptive mother-daughter relationship found cross-culturally and discourse-analytically in contemporary patriarchal societies. This bond is arguably of central concern to feminists (and women in general) (...) since previous research has found that the fractious nature of this dynamic points to a very specific psychological deformation of the female psyche under conditions of sexist oppression. The views of French psychoanalyst and philosopher Julia Kristeva and other feminist contributors to the debate on this psychological construct are considered. The possibility of a cultural remedy inspired by a secularised trend of Chinese Buddhism in post-Maoist China, a society very different from that of the West, is investigated. This will involve the analysis of the film Curse of the Golden Flower (Chinese Mandarin soundtrack and English subtitles). I subsequently explore whether or not a valuable model for the compromised mother/daughter relationship is available within the context of the notion of a “slave economy” in the comparatively healthier mother/son relationship of (contemporary) Han Chinese culture. By means of cross-cultural analysis as research tool, this article finds confirmation for the proposition of a positive mother/daughter dynamic in the French novelist Colette’s relationship with her mother, Sido. In conclusion, I find that cinema (as an art form serving the eye, i.e. virtuality) is particularly well suited as a site to investigate psychological phenomena by way of interpretative phenomenology as a research methodology, even as vision – as the human sense of choice – has begun to wane amid a global crisis in masculinity. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

The doctor in a foreign country is a recurring theme in physician writer Richard Selzer’s stories. In his 2009 novel, Knife Song Korea, Selzer returns to this theme, examining it in depth through the lens of gender. Selzer features the American military surgeon Sloane’s multiple border-crossings, namely, from America to Korea, from health to patienthood, and from sex-exploitation to love. Crossing those visible or invisible borders in the gender and race conscious contexts of medical profession and military in wartime Korea, (...) Sloane finds himself liminally located among various masculine stereotypes. The mixed-race situation in the novel further pushes Sloane to realize the unbearability of the baggage of American manhood as represented in his profession. Selzer’s punishment of Sloane’s border-crossings seems to suggest that physicians, together with patients, are equally likely to be victimized by the macho norms in medicine. (shrink)

BackgroundPsychotherapy interventions increasingly utilize digital technologies to improve access to therapy and its acceptability. Opportunities that digital technology potentially creates for art therapy reach beyond increased access to include new possibilities of adaptation and extension of therapy tool box. Given growing interest in practice and research in this area, it is important to investigate how art therapists engage with digital technology or how practice might be safely adapted to include new potential modes of delivery and new arts media.MethodsAn integrative review (...) of peer-reviewed literature on the use of digital technology in art therapy was conducted. The methodology used is particularly well suited for early stage exploratory inquiries, allowing for close examination of papers from a variety of methodological paradigms. Only studies that presented empirical outcomes were included in the formal analysis.FindingsOver 400 records were screened and 12 studies were included in the synthesis, pertaining to both the use of digital technology for remote delivery and as a medium for art making. Included studies, adopting predominantly qualitative and mixed methods, are grouped according to their focus on: art therapists’ views and experiences, online/distance art therapy, and the use of digital arts media. Recurring themes are discussed, including potential benefits and risks of incorporating digital technology in sessions with clients, concerns relating to ethics, resistance toward digital arts media, technological limitations and implications for therapeutic relationship and therapy process. Propositions for best practice and technological innovations that could make some of the challenges redundant are also reviewed. Future directions in research are indicated and cautious openness is recommended in both research and practice.ConclusionThe review documents growing research illustrating increased use of digital technology by art therapists for both online delivery and digital art making. Potentially immense opportunities that technology brings for art therapy should be considered alongside limitations and challenges of clinical, pragmatic and ethical nature. The review aims to invite conversations and further research to explore ways in which technology could increase relevance and reach of art therapy without compromising clients’ safety and key principles of the profession. (shrink)

The relation between hegemony and masculinity needs reassessment in the light of postcolonial critique. A fully historical understanding of hegemony is required. The violence of colonization set up a double movement, disrupting gender orders and launching new hegemonic projects. This dynamic can be traced in changing forms through the eras of decolonization, postcolonial development, and neoliberal globalization. Specific configurations of masculinity in the contemporary metropole-apparatus can be traced, together with their relations with local power. A gender order is (...) emerging in transnational space and minimal conditions for hegemony within it can be defined. Counter-hegemonic projects among men have multiplied but have limited reach. Hegemony under construction, rather than achieved hegemony, is the key concept. (shrink)

While research shows that there are familiar forms of doing masculinity involving distancing from femininity/women or from subordinated/marginalized masculinities/men, there is less emphasis on the fact that the content of these masculine performances varies depending on the specific cultural norms and ideologies present in an organization. The author relies on a comparative case study using in-depth interviews and participant observation in the accounting departments at a heterosexual men’s pornographic magazine and at a feminist magazine to examine how organizational culture (...) shapes the ways that men do masculinity at work. Both accounting departments support a general pattern of doing masculinity referred to as the business professional attitude, but men also utilize unique strategies of doing masculinity depending on the degree to which masculinity is “safe” or “embattled” at their workplace. The author concludes by discussing the consequences of these strategies for men’s and women’s work relationships. (shrink)