共查询到20条相似文献，搜索用时 31 毫秒
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sj Miller 《Multicultural Perspectives》2018,20(2):70-80
Gender and gender identity are policed by the social environment in myriad ways. For those who challenge normative binaries, they can be positioned to experience different forms of violence. Though mindsets, social movements, and changes in policies have spurred material, social, and economic gains for those who challenge expectations of gender identity binaries, schools continue to inherit dichotomous messages about gender identity. On one hand, schools are expanding anti-bullying policies by enumerating gender identities, shifting names of Gay-Straight to Queer and Sexuality Alliances to attend to intersectional identities, addressing gender identity concerns in professional development trainings, but the field of teacher education has yet to systemically and longitudinally address gender identity for students from pre-K to university levels. As a result, educators are left ill-prepared about how to affirm and recognize gender identity in coursework, curriculum, and pedagogy. As we come to understand how and in what ways schools foreclose possibilities for students to experience gender identity self-determination, shifts in awareness can open up possibilities for schools to honor and liberate gender identities. 相似文献
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《Popular Communication》2013,11(2):89-109
This study investigates the ways in which gender transgression and "queering" are used as an indicator of deviance and villainy in children's animated full-length movies. Through an analysis of male villains in 10 full-length animated movies, this article examines the ways in which gender transgression creates what is termed a "villain-as-sissy" archetype that signifies villains as deviant and enhances the positive gender qualities of heroes. Further, this study discusses the potential impact this pattern of representation may have in terms of limiting and reinforcing heteronormative gender roles and promoting negative associations about gays. 相似文献
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John Nguyet ERNI 《Inter-Asia Cultural Studies》2013,14(1):86-108
Abstract In this paper, gender negotiations in the production, musical forms, and consumption of Cantopop are taken as a cultural exemplar for a social and political imagination of ambivalence, which seems to be shaping popular life in Hong Kong. It has three focal points – musical forms and expressions of Cantopop (style, lyrics, iconography, affect), gender politics, and ‘everyday‐ness’ – which converge to mark a notable cultural logic performing an enlarging sense of ambivalence about a city that has seen a shift from high moments of economic prosperity to the current postcolonial uncertainties. In other words, Cantopop signals a shift in our sensibilities, a redrawing of our affective map of everyday life after an important historical and politico‐administrative shift. In a sense then, this paper explores Hong Kong's changing identity within the sight and sound of popular culture, by specifically tracing some of the ways in which gender politics is inscribed, coded, negotiated, performed, or simply flirtingly posed on the surface of popular culture. 相似文献
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Erina Ogawa 《Journal of Intercultural Communication Research》2019,48(3):185-202
Identity is prominent in academia, despite it being difficult to define and measure due to its dynamic and multifaceted nature. In Japan, awareness of the make-up of Japanese youth is increasingly crucial as Japan becomes a more internationalized and ageing society. This paper examines, by identity mapping and discriminant analysis, the cultural identities of 94 Japanese youth. While strong Global identities separated the respondents with from without overseas experience, ties to National identities and Relationships were found respectively for males and females. This paper suggests that regarding the study of cultural identities, gender does matter – at least in Japan. 相似文献
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《Popular Communication》2013,11(1):23-31
The upsurge in media vehicles aimed at adolescent girl audiences has given birth to a "new breed" of teenage heroine, one whose embodiment of nontraditional gender roles has drawn widespread acclaim. This essay offers critical perspectives on this new genre, situating the figures of the new girl heroines in their sociopolitical contexts and examining them through the lens of critical feminist theory. The essay concludes that the oppositional gestures offered by these new girl heroes are swiftly recuperated within larger, conventional discourses of race, class, beauty, desire, and embodiment. 相似文献
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《Popular Communication》2013,11(2):111-130
Studies of gender, science fiction television, and fan culture have often asserted that female fans resist patriarchy by negotiating cultural texts through such practices as fan fiction and interactive deliberation. This analysis holds that specific motivation and context must be considered to advance such a claim, especially in light of undercurrents of misogyny contributing to such phenomena as "slash" fan fiction authored by women and dealing with romances between male heroes. This study assesses the practices of fans, relevant text, and production factors in the context of particular, gender-related issues surrounding the series Farscape and Stargate SG-1, and finds that activities often thought to be emancipatory can, in fact, reproduce hegemony, and that fans sometimes appropriate resistive rhetoric in defense of hegemonic proclivities. 相似文献
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Adrian MARTIN 《Inter-Asia Cultural Studies》2013,14(2):258-270
AbstractExamining two Vietnamese films, one made in the North in 1959, and another produced in the South during the American War in 1971, this article contends that Vietnam's landscape serves as an affective site for a gendered construction of nationalism within key moments in Vietnamese history. In analyzing the attachments that the Vietnamese and Vietnamese diaspora feel towards their country, I explore a topic rarely discussed in US film scholarship and historicize these filmmaking efforts to demarcate a different way of viewing Vietnam in film. This study demonstrates the importance of understanding how gender and affect are projected onto landscapes in a national cinema like Vietnam's. More exactingly, it emphasizes that affects underlying Vietnamese nationhood and war are undergirded by the political economy of film and filmmaking. My arguments point to the modes of production and circulation of film, which shape the making of affect in Vietnam War discourse. My analyses are framed by the questions: how is affect inscribed in Vietnamese film, and what are its effects on notions of belonging and nationhood? In what ways has affect traveled about Vietnam in the past and present moment? Who is able to access such representations, and why does this matter? 相似文献
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