ARTIST EXPOSÉ Peaches (Merrill Nisker)
Performance, Hybridity and Resistance
Much previous scholarly work has noted the gendered nature of humor and the notion that women use comedy in a different way than do their male peers. Drawing on prior work on gender and humor, and my ethnographic work on teen girl cultures, I explore in this article how young women utilize popular cultural texts as well as everyday and staged comedy as part of a gendered resource that provides potential sites for sex-gender transgression and conformity. Through a series of vignettes, I explore how girls do funny and provide a backdrop to perform youthful gendered identities, as well as establish, maintain, and transgress cultural and social boundaries. Moving on to explore young women and stand-up I question the potential in mobilizing humor as an educational resource and a site in which to explore sex-gender norms with young people.
James K. Beggan
space that privileges men relative to women and reinforces a conventional gender hierarchy. Simultaneously, however, external ejaculation foregrounds performance dynamics that normalize unrealistic expectations for men's sexuality that can, in turn
Being “Boy,” Being “Filipino,” Being “Other”
In this article I draw on data gathered from focus groups hosted in the summer of 2012 and speak to the diverse literature within the field of masculinity studies. More specifically, I explore the role that race and place plays in the performance
Assessing the Impacts of Biology and Navigational Experience
Mariah G. Schug
seemed to be more visible in the community and might, therefore, engage in more spatial thinking through navigating outside their homes. This experience, the Munroes thought, might explain boys’ better performance on spatial tasks. With their curiosity
exquisite second to meet at the egg's innermost heart. —Rebecca Horn, A Rather Wild Flirtation Rebecca Horn's art both constrains and resists constraint. 1 Her kinetic sculptures and performance pieces play on the struggle between dissonant objects and
Revising the Family Story
take on the voices of others is part of a compulsive performance of trying on cultures, races, ethnicities, ages, and classes outside her own as she strives to reach beyond her identity and limitations as a “little white kid.” Thebes’s language is
The Construction of Boyhood through Corporal Punishment and Educational Discipline in Taare Zameen Par
their rhetoric of meritocracy, opportunities for doing boyhood are rather circumscribed, and limited by the quality of a boy’s academic performance. With India taking its place on the global stage as an expanding economic and political power, it becomes
Gust A. Yep, Sage E. Russo, and Ryan M. Lescure
Offering a captivating exploration of seven-year-old Ludovic Fabre’s struggle against cultural expectations of normative boyhood masculinity, Alain Berliner’s blockbuster Ma Vie en Rose exposes the ways in which current sex and gender systems operate in cinematic representations of nonconforming gender identities. Using transing as our theoretical framework to investigate how gender is assembled and reassembled in and across other social categories such as age, we engage in a close reading of the film with a focus on Ludovic’s gender performance. Our analysis reveals three distinct but interrelated discourses—construction, correction, and narration—as the protagonist and Ludovic’s family and larger social circle attempt to work with, through, and against transgression of normative boyhood masculinity. We conclude by exploring the implications of transing boyhood gender performances.
In this article I examine the performances of black girlhood in two texts by Ntozake Shange—the choreopoem “for colored girls who have considered suicide when the rainbow is enuf” (1977) and the novel Sassafras, Cypress and Indigo (1982). The black girls whom Shange portrays navigate anti-black racism in their communities, domestic violence in their homes, and explore their connections with spirit worlds. In both these works, Shange stages black girls who make decisions based on their understanding of the spheres of influence that their race, gender, and age afford them in an anti-black patriarchal world dominated by adults. I draw, too, from Patricia Hill Collins’s work on feminist standpoint theory and black feminist thought to introduce the term black girl thought as a theoretical framework to offer insights into the complex lives of black girls who live in the post-civil rights era in the United States.