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The Concept of Sentimental Boyhood

The Emotional Education of Boys in Mexico during the Early Porfiriato, 1876–1884

Carlos Zúñiga Nieto

Mexican emotional standard of child-rearing that promoted the individual cultivation of honor, the management of anger, and the use of fear as discipline, drawing on well-known European pedagogic theories on boyhood in late nineteenth-century Mexico

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Becoming a Gentleman

Adolescence, Chivalry, and Turn-of-the-Century Youth Movements

Kent Baxter

. They, too, shape and direct fear, love, pity, anger, essentially aright. (1904: I:viii, II:443) Thus the stories, which grow “slowly and naturally in the soul of the race,” provide a code of behavior that will guide the developing adolescent in the

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“Loving and Cruel, All at the Same Time”

Girlhood Identity in The Craft

Emily Chandler

banding together, their strength once they form a group, and Sarah’s vulnerability following her exile, The Craft gives dimension to this fear. This is arguably where a key relevance of the film for girl audiences lies: The Craft is literally a horror

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Wally Cleaver Goes to War

The Boy Citizen-Solider on the Cold War Screen

Ann Kordas

This paper examines the ways in which instructional films, television shows, and television commercials both depicted and sought to construct the experience of American boyhood in the decades immediately following World War II. During the Cold War, many American adults feared that boys lacked the “masculine” qualities required by future defenders of the United States. Believing that boys needed additional instruction in appropriate gender behavior, educators turned to a new film genre: the classroom instructional film. Films in this genre emphasized the importance of patriotism, respect for order and authority, and the need for emotional and physical discipline in American males. Television shows and toy commercials also encouraged boys to envision themselves as future soldiers and defenders of freedom.

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Girls, Power and Style

Social and Emotional Experiences of the Clothed Body

Emilie Zaslow

Drawing on ethnographic research with a diverse group of teen girls, this article asks how play with style is understood and enacted. By positioning girls' everyday transactions with style beside their engagement with style in media, this article demonstrates that girls live with a cultural discordance between the girl power media discourse of style as choice, power, and resistance, and the reality of their own, often disempowered, experiences with style. Bound by the promise of upward social mobility, the fear of losing status, and the risk of remaining in the low income and middle class communities in which they were raised, the girls in this study feel regulated and, at times, hurt by the required performance of the clothed body.

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Freak Temporality

Female Adolescence in the Novels of Carson McCullers

Alison Sperling

specifically associated with the adolescent fear of out-of-control growth that threatens to expose the girls’ underlying sense of their own queerness and to render them undesirable in the future. McCullers’s formulation of girlish adolescence, where growth and

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Sexy Health Carnival

One Small Part of Indigenous Herstory

Alexa Lesperance

breaking down barriers of fear, stigma, and shame. And so I felt it was important to provide as much information, and support, for issues we face like suicide, HIV and AIDS, sexually transmitted infections (STIs), and shame related to sexuality, so that we

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Daniel Lewis

's mind is Macbeth's line in Act 2 Scene 2 where he refers to sleep as “the death of each day's life.” While the specific memory is of an actor and a performance he enjoyed, the focus on this line brings out an underlying fear that, as sure as day leads to

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Heta Mulari

fear ( Aaltonen 2006 , 2017 ; Koskela 1997 ), and in relation to how girls locate themselves creatively in different urban settings ( Andersson 2003 ; Christensen 2011 ; Sixtensson 2018 ). However, studies on young femininity in public transport

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Wooden Man

Coetzee or the Possibility of Differend as Ethics

Teresa Joaquim

, of the dynamics of power and the multiplicity of faces and subjectivities that are inscribed in it—and oftentimes made largely invisible. This power reveals itself in the form of fears , in the relation to oneself and others; namely, the underlying