Following the launch of our first special issue in December 2020 (Cann et al. 2020) we are delighted to publish this second, linked issue. As evidence of the impact and dominance of Raewyn Connell’s ideas and their influence on the field, we received so many high-quality abstracts in response to our call for papers that we decided to create two collections. This second special issue of Boyhood Studies, An Interdisciplinary Journal, celebrates the twentieth anniversary of Raewyn Connell’s landmark text, The Men and the Boys (2000), and hosts a wide range of international and interdisciplinary authors to highlight the continued global relevance of the book and Connell’s work more widely. This issue continues this work by showcasing an impressive array of empirical research studies and reflection pieces by emerging and leading scholars that are guided by the original themes in The Men and the Boys.
Revisiting Raewyn Connell’s Pivotal Text
Michael R.M. Ward, Kopano Ratele, Sebastián Madrid, Anna Tarrant, Victoria Cann, and Raewyn Connell
Jonathan A. Allan, Chris Haywood, and Frank G. Karioris
On the cover of this issue is an image taken from the Wellcome Collection. Titled “Dance of death: death and the pedlar”, the image shows a skeletal personification of Death picking through a basket of goods. In the basket are included masks, crosses, a deck of cards, swords, and a variety of other items. Published in the 18th Century, it is based on, and an interpretation of a piece in Basel on the Dance of Death. It is black and white and a print produced via etching a plate and using this to print the image.
On a 1st Anniversary
Jonathan A. Allan, Chris Haywood, and Frank G. Karioris
Nota bene: This introduction was written near the end of 2020, a year that saw the world struggle with COVID-19. These issues make up the primary body of the below text. Yet, as we moved into the new year, perhaps thankful that 2020 had come to a close, on 6 January, and before the introduction was sent to publication, the US Capitol building in Washington, DC, was laid siege by far right extremists, White supremacists, and supporters seeking to stop the confirmation of the election of Joseph Biden. I [Frank] am reminded of a similar note I wrote in an article for the Sexual Violence Research Initiative's “16 Days of Activism” series in early December: “We write this post amidst political protests that have shaken Kyrgyzstan, with the recent election results being annulled. We send our thoughts for those working to ensure a fair, democratic, and transparent government; and hope for a speedabsy resolution to these issues” (Kim and Karioris 2020). In a similar sense, with the events still etched in our minds and processes just beginning to begin (arrests, an impeachment, etc.) and the inauguration still to come, we include this short note affirming our commitment to democratic principles, challenging violent masculinity, and supporting antiracist activism.
Steven Roberts and Karla Elliott
Raewyn Connell famously theorized hegemonic masculinity, explaining its dominance over femininity and “subordinated” and “marginalized” masculinities. Attending to representations of the latter, we argue that “men in the margin” are commonly wrongly and/or simplistically depicted as regressive and violent in response to their marginalization. Focusing on representations of working-class boys and men, we illustrate the stereotypical treatment of “men in the margin” more broadly, making clear that this goes against Connell's treatment of such men. Conversely, privileged boys and men are commonly held up by critical studies on men and masculinities scholars as paragons of progressive change. The characterization of boys and men in the margin as regressive and patriarchal impedes the ability to address problems like violence, misogyny, and homophobia and overlooks the possibilities for transformation that emerge among marginalized communities.
Andrew J. Ball
I am pleased to begin the final issue of the year with a very special announcement. Screen Bodies is modifying its editorial direction and the kind of work it will feature. Many of our readers will already have a sense of these changes, made evident by the new Aims and Scope section we made available online earlier this summer, and by the journal's new subtitle, The Journal of Embodiment, Media Arts, and Technology. As these indicate, the foundational commitments of the journal remain unchanged; however, moving forward will we intensify our focus on new media art, technology studies, and the interface of the sciences and the humanities. We will continue to examine the cultural, aesthetic, ethical, and political dimensions of emerging technologies, but with a renewed attention to such areas as intermediality, human–machine interface, virtual and augmented reality, artificial intelligence, generative art, smart environments, immersive and interactive installations, machine learning, biotechnology, computer science, digital culture, and digital humanities. The journal will continue to prioritize matters of the body and screen media, both in terms of representation and engagement, but will emphasize research that critically reexamines those very concepts, as, for example, in the case of object-oriented feminism's nonanthropocentric approach, which asks us to rethink what we mean by bodies and embodiment.
Toward a Queer Sinofuturism
Ari Heinrich, Howard Chiang, and Ta-wei Chi
This special issue on “Queer Sinofuturisms” aims to explore how artists and writers working across various media in Sinophone contexts use science to envision—and indeed to fabulate—non-normative gender and erotic expressions in relation to the corporeal future of humanity. By investigating visions of the future that incorporate queerness and creative applications of computer and biotechnology, “Queer Sinofuturisms” aims to counter pervasive techno-Orientalist discourses, such as those discourses in the Blade Runner movies (Ridley Scott, 1982; and Denis Villeneuve, 2017) that frame “Asian” futures as strictly dystopian—and heteronormative by default. What happens, this issue of Screen Bodies asks, if we simultaneously destabilize techno-Orientalist narratives of the future while queering assumptions about the heteronormativity so often inscribed upon that future in mainstream iterations and embodiments? What kinds of fabulous fabulations might emerge?
Revisiting Raewyn Connell's Pivotal Text
Victoria Cann, Sebastián Madrid, Kopano Ratele, Anna Tarrant, Michael R.M. Ward, and Raewyn Connell
It is twenty years since the publication of Raewyn Connell's highly influential text The Men and the Boys. This book, building on feminist and pro-feminist perspectives of gender formation, was written over a ten-year period from the late 1980s to the late 1990s. It was published five years after the release of the groundbreaking text Masculinities (1995) and tackled multiple issues concerning boys and men. While providing an important platform and summary of where the research from the social science and humanities on men and masculinities stood in the year 2000, the book also contained a theoretical framework for understanding men and masculinities as part of gender relations. Importantly, the future direction of the field was outlined, and suggestions were made as to likely future agendas. These subjects included investigating the implications of globalization and its different characteristics on gender formation, the role of men's bodies, the impact of the media and culture in men's lives, sexuality, education, health, politics, change, violence, and peace. In recent years, questions about the lives and experiences of men and boys continue to raise remarkable media interest, public concern, and controversy on a global scale. Global changes in practices of knowledge have ensured that across the humanities and social sciences, research in the field of masculinities (of all ages) has continued to flourish and expand.