Spain, Estrada Zenea promoted elementary education for boys. In the fall of 1873, Colso Acevedo, the director of the Atheneum of Youth association, and Estrada Zenea arranged for the child singer Romeo Dionesi to give a performance to raise money for a
Search Results
The Concept of Sentimental Boyhood
The Emotional Education of Boys in Mexico during the Early Porfiriato, 1876–1884
Carlos Zúñiga Nieto
Chung-Hao Ku
Adolescences In an article on the genderings of male homosexuality, Gary Richards reads Other Voices, Other Rooms as a story about the teen protagonist Joel Harrison Knox’s “awaken[ing] to desire for his gay uncle” (1998: 70): “[a]lthough Joel’s performances
“I Will Make You Understand”
Using Pictures to Explore Young Boys’ Sport Experiences
Deborah Agnew, Jennifer Fane, Murray Drummond, and Philippa Henderson
. Champaign, IL : Human Kinetics . Chalabaev , Aïna , Philippe Sarrazin , Paul Fontayne , Julie Boiché , and Corentin Clément–Guillotin . 2013 . “ The Influence of Sex Stereotypes and Gender Roles on Participation and Performance in Sport and
Martin Woodside
. As a recurring character in Edward Wheeler’s Deadwood Dick novels, Jane alternates between friend, colleague, and even lover of the titular character. As Dean points out, her complex performance of gender works to “effect [ sic ] a transformation of
A Social Negotiation of Hope
Male West African Youth, ‘Waithood’ and the Pursuit of Social Becoming through Football
Christian Ungruhe and James Esson
outcomes than a football career. Ghanaians both young and old alike are now not only engrossed by the performances of the players on the pitch, they are also made aware of and captivated by the considerable material wealth and glamorous lifestyles
“I Love You, Guys”
A Study of Inclusive Masculinities among High School Cross-Country Runners
Luis Morales and Edward Caffyn-Parsons
Gender in the Bodies, Performances, and Emotions of Scholastic Wrestlers .” Journal of Feminist Scholarship 1 : 1 – 15 . Baldwin , Aleta , Brian Dodge , Vanessa Schick , Randolph D. Hubach , Jessamyn Bowling , David Malebranche
Shadows, Screens, Bodies, and Light
Reading the Discursive Shadow in the Age of American Silent Cinema
Amy E. Borden
grouping of magic and motion pictures as cultural practices each occupied with illusion, performance, and disappearing bodies. In doing so, it sketches a discursive and conceptual terrain in which to understand how figural bodies were broadly considered and
On Shock Therapy
Modernist Aesthetics and American Underground Film
William Solomon
in every direction like shivers through an immense body.” 18 Crucially, the vertiginous performances that appear (in a perceptually distorted manner) in the film are unmistakably intended to function as reflexive figurations of the filmmaker
Voicing Pride and Futurity in the Age of A.I.
An Interview with Playwright Pao-Chang Tsai on Solo Date
Jing Chen and Pao-Chang Tsai
This interview deals with the question of queer Sinofuturisms through the works of Pao-Chang Tsai, a Taiwanese performer, playwright, and director who became renowned for exploring the Taiwanese theaterscape with new media and novel performative techniques. With a special focus on his acclaimed theatrical production Solo Date (2016), the conversation inquires into themes of artificial intelligence, queer futurity, and transcultural performance featured in this one-man show. Linking the representation of A.I. interface as queer body with the demand for LGBT rights in Sinophone contexts, Tsai’s innovative solo performance has examined changing discourses toward queerness and futurism in the age of advanced artificial intelligence. The touching story of how a gay man struggled to process his grief after losing the love of his life further raises critical ethical questions, since the protagonist’s true identity is an A.I. robot.
Looking for Something to Signify
Something to Signify Gender Performance and Cuban Masculinity in Viva
David Yagüe González
The behaviors and actions that an individual carries out in their daily life and how they are translated by their society overdetermine the gender one might have—or not—according to social norms. However, do the postulates enounced by feminist and queer Western thinkers still maintain their validity when the context changes? Can the performances of gender carry out their validity when the landscape is other than the one in Europe or the United States? And how can the context of drag complicate these matters? These are the questions that this article will try to answer by analyzing the 2015 movie Viva by Irish director Paddy Breathnach.