Drawing on an ethnographic research in some rural communities of Trabzon, Turkey, this article provides insights about the diversity of Islamic pieties and their relations to religious norms. An exploration of everyday Islamic practices in the area demonstrates how piety can take peculiar forms within which norms are both publicly and socially upheld and yet also hollowed out. Among Muslim men of ‘the Valley’ in Trabzon, piety emerges as an aggregate of reiterative practices exterior to the pious self. Highlighting the aestheticised and ritualised state of these engagements with Islam in the Turkish context allows discussion of the relationships among practices of piety, pious subjectivities, and ethics.
A Contribution to Discussions on Piety and Ethics
Noah N. Allooh, Christina M. Rummell, and Ronald F. Levant
The present study examined the extent to which youth who endorse emo subculture reject the traditional masculine norm of restrictive emotionality. It also examined the relationships between endorsement and rejection of emo subculture and traditional masculine and feminine norms and masculine gender role conflict. In Study 1 (N = 13) three focus groups were conducted to create the mixed methods Emo Culture Questionnaire (ECQ). In Study 2 (N = 164) exploratory factor analysis of the quantitative part of the ECQ resulted in a 15-item, 4-factor scale; however, due to low reliabilities, only two scales were used in the analyses. Three hypotheses were mostly supported. The endorsement of emo subculture by men was negatively associated with their Restrictive Emotionality subscale scores of both the Male Role Norms Inventory-Revised (MRNI-R) and Gender Role Conflict Scale (GRCS). The endorsement of emo subculture by women was negatively associated with their MRNI-R Restrictive Emotionality scores but was not positively associated their Femininity Ideology Scale (FIS) Emotionality scores. Negative views of the emo subculture by both men and women were positively correlated with their MRNI-R Restrictive Emotionality scores. An exploratory question found that the endorsement of emo subculture had significant negative correlations with three additional MRNI-R subscales and the total scale for men and with five MRNI-R subscales and the total scale for women. In addition, the endorsement of emo subculture had significant negative correlations with two FIS subscales, and with two additional GRCS subscales and the total scale for men. Qualitative results from the ECQ indicated that while the label “emo” may not function as a personal identifier, the music, fashion, and behavior thus identified remain popular.
Ronald F. Levant, Stephen T. Graef, K. Bryant Smalley, Christine Williams, and Neil McMillan
Data were collected on samples of American (N = 172) and Scottish (N = 264) adolescents to evaluate the scale reliability and construct validity of an adolescent version of Levant et al.’s (1992) Male Role Norms Inventory. Results indicate that the MRNI-A showed good overall internal consistency for the scale as a whole in both samples; results for the subscales were less robust. Convergent and discriminant validity were assessed with the U.S. sample. Results indicated adequate convergent validity for the MRNI-A for both boys and girls, and adequate discriminant validity for girls. Results for the discriminant validity of the MRNI-A for boys were not as conclusive. Consistent with research on adults, females in both samples endorsed less traditional views of masculinity than did males. Scottish adolescents endorsed less traditional views of masculinity than did Americans.
Comics, the Social World and Challenging Consensus
Comics, and in particular European comics, has always engaged with the social world, whether to contest or to uphold its norms. From its antecedents in eighteenth- and nineteenth-century caricature, it inherited a strong current of satire and critique. In the adventure genre that marked the emergence of European comics in its modern form in the first part of the twentieth century, engagement with the world was no less evident, but most often served, rather, to defend the dominant order, colonial or anti-communist, as heroes set off to right wrongs in far-flung places.
Performing Gender in Algerian Manga
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.
'New Seeing' in the Works of Lorenzo Mattotti and Nicolas de Crécy
Both in literature and art, exponents of modernism sought new forms of expression that took into account changes in the social, economic, technical and political conditions of the time. A similar trend towards questioning outmoded forms of representation and establishing new ways of seeing has become apparent in European comics since the 1980s, a development that was initiated primarily in Italy and France. In Murmure (1989), Lorenzo Mattotti invokes expressionism and centres his mystical tale on the individual's inner being. In rejecting the representational norms traditionally applied to comics, Nicolas de Crécy also shows his allegiance to modernism yet reflects in his absurdly hyperrealist work, Foligatto (1991), the grotesque images of Otto Dix. The following article demonstrates how the two artists, despite the deliberate reversion to early twentieth-century art common to both, have, each in his own way, established a new approach to seeing in comics.
While religious celebrations during the Renaissance served to reaffirm society's hegemony, the carnival was a means of freeing oneself from social norms, hierarchy and privileges. As it questions hegemony, the carnival sometimes leads to changes. Picaresque literature emerged in sixteenth- and seventeenth-century Spain. In its early stages, the picaresque was a strongly satirical and ironic 'countergenre' to mystic literature and romance genres. Like the carnivalesque, picaresque literature questions the ruling classes.2 Tintin is mostly studied either in terms of its ideological commitment or in terms of its fidelity to stylistic features. The aim of this paper differs from such concerns: it is to consider Tintin et les Picaros as a satire of politics. This paper explores the constant pairing of politics and carnival in Tintin et les Picaros, as well as the representation of both through amalgams and imports. Using Bakhtin's theory, the picaresque and Latin American history, this paper addresses the central question: how are politics and carnival represented in Tintin et les Picaros and to what extent is the album picaresque in this respect?
Abdulla Al Sayyari, Fayez Hejaili, and Faissal Shaheen
rather than objecting to such discussions, in fact they enjoy them and get deeply involved with them. One good example of the interaction been the society’s norms and medical ethics can be seen in the field of organ transplantation. Social attitudes and
European Comic Art Reaches Its Tenth Year
Québec. Our contributors have often pointed to the capacity of comics, long confined to the countercultural or mass-cultural margins, for disrupting norms in relation not only to official narratives of nation but also to gender, ethnic and social class
previous scenes or shared norms. Whether the actor employs distinct or indistinct expressiveness with regard to particular emotions may tell us more about how the kind of patterns and configurations at work in the communication of character emotions than a