scholarly journals “Heroic Hearts”: Masculinity and Imperialism in “Ulysses” and “The White Man’s Burden”

2021 ◽  
Vol 12 (1) ◽  
pp. 4-9
Author(s):  
Autumn Rose Doucette
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
British Colonialism ◽  
New Paradigm ◽  
Victorian Poetry

   This essay aims to uncover how Victorian poetry aided in the construction of a hegemonic masculinity that is ruthless, adversarial, and deemed integral to the success of British imperial work. In promoting this new paradigm, Victorian writers aimed to appeal to men’s egos and spirits, albeit in differing ways: Alfred Tennyson’s “Ulysses” (1842) professes that embodying a masculine—and therefore colonial—role serves to support personal fulfilment, while Rudyard Kipling’s “The White Man’s Burden” (1899) claims that the purpose of adopting such a role lies in the prosperity it brings humanity as a whole. Together, Tennyson and Kipling exemplify not only the fluidity and volatility of Victorian gender roles but showcase the ways in which masculinity became bound to tenets of violence, individuality, and to British colonialism. 

The Question of the Future of Indian Muslims in Malaysia: The Post-Mahathir Legacy Era

2012 ◽  
Vol 11 (1-2) ◽  
pp. 219-246 ◽  
Author(s):  
Ahmad Noor Sulastry Yurni
Keyword(s):  
Paradigm Shift ◽  
Social Economic ◽  
Ethnic Politics ◽  
Muslim Community ◽  
British Colonialism ◽  
Way Of Life ◽  
New Paradigm ◽  
Economic Allocation ◽  
Islamic Resurgence ◽  
The Difference

Abstract Abstract The Malays, Chinese and Indian community in Malaysia have been homogenized since British colonialism. The existence of Indian Muslims’ identity caused a new paradigm shift in Malaysia involving the racial discussion. This paper traces the difference in Indian Muslims’ identities from Indian and the Hindus. I argued that Indian Muslims share Islam as their religion and faith, while maintaining a Malay way of life and custom in their daily practices. In Malaysia, the Indian Muslim community struggled to place their future in terms of social, economic allocation and political justification among the other communities. However, the strength of ethnic politics clearly charted out their involvement in the political base and moved them to fight for their cause and rights. Hence, today’s Indian Muslim community has caused an Islamic resurgence, which has brought a new Indian dimension as a whole.

scholarly journals Mahesh Dattani’s Dance Like a Man: A Depiction of the Trials and Tribulations of an Androgynous Personality

2020 ◽  
Author(s):  
Chhavi ◽  
◽  
Rajiv Bhushan ◽  
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
Indian Society ◽  
Indian Family ◽  
Cultural Domain ◽  
Conventional Practice ◽  
Indian Theatre

Abstract Mahesh Dattani is one of the leading Indian dramatists who responded to the problems of sexuality on the canvass of Indian theatre. He examined various facets of subjugation and marginalization rampant in Indian society. His plays focus on the sub-urban Hindu family and its trifle with gender and alternate sexuality. His plots revolve around the damaging implications of patriarchal constructs and his characters strive for liberty and self-satisfaction beneath hegemonic masculinity, compulsive heteronormativity and prejudiced cultural domain. Regarding his famous play Dance Like a Man, this paper critically examines the existing socio-cultural domain which practices politics of exclusion of androgynous identities behind the façade of peacefully cohabiting heterosexual Indian family and shows how Dattani, has remarkably countered the presentation of the polarized association of gender roles with conventional practice through performance of his protagonist. Set against the backdrop of patriarchal mindset, this paper delineates that the victim of patriarchal norms is not a woman but a man, who has traits of androgyny. It gives a brief account to highlight the significance of androgyny and portrays how androgyny is directly proportional to creativity. It elucidates how androgynous men undergo searing experiences of stigma and social untouchability in a traditional setup and how patriarchal norms reinforce dominant powers of society to stunt the growth of their personality.

scholarly journals The Upshot on Princess Merida in Disney/Pixar’s Brave: Why the Tomboy Trajectory Is Off Target

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 83
Author(s):  
Lauren Dundes
Keyword(s):  
Gender Roles ◽  
Gender Role ◽  
Hegemonic Masculinity ◽  
Final Phase ◽  
Traditional Gender Role ◽  
Gender And Power

Princess Merida, the “tomboy” princess in Disney/Pixar’s Brave, won praise for escaping the strictures of femininity and maternal demands for feminine propriety. In addition to her overt defiance of gender roles and demand for agency, Merida also enacts hegemonic masculinity by mocking her suitors during an archery contest in which she is the prize. The ridicule is the prelude to her dramatic, winning bullseye that feminizes the men, in a scene rich in symbolism about gender and power. In enacting the final phase of the tomboy paradigm, however, Merida reverses her trajectory as her rebellion against femininity ebbs. She then resolves conflict by displaying vulnerability rather than performing brave deeds. This marked shift to a more traditional gender role raises questions about her stature as a model of autonomy able to withstand the pressure to conform.

scholarly journals Don't Be Gay, Dude! How the Institution of Sport Reinforces Homophobeia

2011 ◽  
Vol 2 (2) ◽  
pp. 66-80 ◽  
Author(s):  
Kelsey Lucyk
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
The Media ◽  
Muscular Christianity

Kelsey Lucyk analyzes how the media and the institution of sport have entrenched certain ideals about masculinity meanwhile reinforcing homophobic attitudes towards gender roles in sports. This article focusses primarily on analyzing Canadian sports and makes use of the concept of muscular Christianity to explain hegemonic masculinity as found in the Canadian institution of sport.

scholarly journals Masculinity in Numafung, a Film Directed by Nabin Subba

2021 ◽  
Vol 3 (2) ◽  
pp. 59-70
Author(s):  
Asmita Bista
Keyword(s):  
Gender Roles ◽  
Cultural Practices ◽  
Hegemonic Masculinity ◽  
Cultural Construction ◽  
Cultural Dynamics ◽  
Feature Film ◽  
Male Characters ◽  
Males And Females ◽  
Asymmetrical Power ◽  
Gender Practices

The prevailing gender practices in the Limbu culture promote asymmetrical power relations not only between males and females but also between dominant males and subordinated males. This practice is portrayed in the feature film Numafung by Nabin Subba. Thus, the paper aims to investigate how the practice of hegemonic masculinity has affected the life of individuals, both males and females in Limbu community in the film. It scrutinizes what sort of problems do the conventional masculine roles bring in the characters’ lives. This paper also intends to assess the reasons that force the males to perform the conventional gender roles. To analyze the text, R.W. Connell’s and Michael Kimmel’s idea of masculinity theory has been used as an approach. These theorists propose that masculinity is a constructed entity that is achieved through constant performance: a series of cues observed, internalized and repeated over time. Illuminating the gender practices in the Limbu culture, Numafung unfolds the cultural dynamics of the Limbu society in the light of hegemonic masculinities. The paper concludes that cultural practices such as ‘sunauli- rupauli,’ ‘mangena’ and ‘jari’ keep their hegemonic masculinity intact. The paper further concludes that the male characters of Numafung embrace hegemonic masculinity because gender is a socio-cultural construction; being part of that society, one hardly can escape from the socially enforced gender roles.

The Culinary Gender Binary in an Era of Multiculturalism

2018 ◽  
Vol 43 (4) ◽  
pp. 409-424 ◽  
Author(s):  
Shayan S. Lallani
Keyword(s):  
Gender Roles ◽  
First Century ◽  
Oral Histories ◽  
New Paradigm ◽  
Gender Dynamics ◽  
National Discourse ◽  
Gender Binary ◽  
Italian Immigrants ◽  
Twenty First Century

This article uses oral histories to examine how migration affected the gender dynamics of foodwork carried out by late postwar Italian immigrants in Toronto. Culinary gender roles remained preserved as narrators journeyed to Toronto. However, by the twenty-first century when national discourse emphasized a multicultural Canada—the climax of the shift toward culinary pluralism—the narrators each embodied a range of food masculinities and femininities. They also described other motives to do partake in culinary labor that cannot be categorized by the traditional binary. A new paradigm that accounts for the experiences of migrants encountering the homogenizing forces of multiculturalism is needed.

scholarly journals Freeter, Arafo, House Husband: Shifting Values of Hegemonic Masculinity and Emphasized Femininity in Four Japanese Television Dramas

IZUMI ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 48-57
Author(s):  
Rouli Esther Pasaribu
Keyword(s):  
Gender Roles ◽  
Japanese Society ◽  
Hegemonic Masculinity ◽  
Masculinity And Femininity ◽  
Traditional Gender Roles ◽  
Corpus Data ◽  
Dominant Discourses ◽  
Japanese Television ◽  
At Home

This study examines the shifting values of masculinity and femininity in four Japanese television dramas: At Home Dad (2004), Around 40 (2008), Freeter, Buy a House (2010), and Wonderful Single Life (2012). These corpus data are analyzed using Connell’s concepts of hegemonic masculinity and emphasized femininity. The findings of this study focus on the following: 1. Characters in the four television dramas challenge the dominant discourses of masculinity and femininity by living as freeters, house husbands, and arafos. 2. To criticize hegemonic masculinity and emphasized femininity, these dramas depict the negative aspects of living a rigid lifestyle encompassed by traditional gender roles and feature main characters who show alternative lifestyles of masculinity and femininity. 3. Hegemonic masculinity and emphasized femininity values shadow the emergence of alternative masculinity and femininity in contemporary Japanese society.  

Boys will be boys: an example of biased and exclusive usage

2020 ◽  
Vol 36 (1) ◽  
pp. 205-223
Author(s):  
Steven M. Kaplan
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
Doctoral Dissertation ◽  
Review Of The Literature ◽  
Gender Binary

AbstractBoys will be boys encapsulates most of what is wrong with patriarchy, hegemonic masculinity, gender roles, victimisation of females, and the gender binary, all of which play crucial roles in the continued subjugation and oppression of females in our society. Although most general English dictionaries provide a definition for this expression, this paper will demonstrate how they mischaracterise it, and therefore legitimise the repressive, destructive, and violent manifestations of this cultural mindset. After a brief review of the literature, the paraphrases of meaning that several popular dictionaries provide for this expression will be scrutinised. These will be contrasted with a bias-free and inclusive paraphrase of meaning, to be followed by a discussion and conclusions<fnote> This paper is based on content from my doctoral dissertation, Kaplan (2020).</fnote>.

scholarly journals Transformations of Hegemonic Masculinity and Functions of Female Images in Contemporary Western Films

2020 ◽  
pp. 78-83
Author(s):  
Ksenia Igaeva ◽  
Keyword(s):  
Gender Roles ◽  
Gender Studies ◽  
Mass Culture ◽  
Social Space ◽  
Hegemonic Masculinity ◽  
Consumer Society ◽  
Dominant Type ◽  
Popular Cinema ◽  
Male Roles ◽  
Normative Models

The controversy about modern transformations of consumer society typically is not related to gender studies. At the same time, the spread of mass culture in the consumer society has had a significant impact on the redistribution of gender roles. Gender studies have long been dominated by the study of women's history through criticism of hegemonic masculinity as a system for the distribution of social roles, and economic inequality was only their derivative. Moreover, starting from the first decade of the XXI century, many researchers appear (M. Kimmel, S. Bordeaux, S. Robinson) striving to move away from the established tradition. Thus, according to modern researchers, the concept of "hegemonic masculinity" is controversial. However, it is generally well established in gender studies to describe the power of middle-class white men, their everyday behavior, and normative representations in culture. The purpose of this article is to identify the feedback – the growing influence of the consumption laws, as well as the consumer culture formed on their basis, on the distribution of gender roles in popular Western cinema, which is both a representation and a reinforcement of normative models of social behavior. In modern cinema, the image of a man belonging to the hegemonic type of masculinity undergoes several stylistic changes that allow preserving the former normative ideal. Male images are mimicking in the new social space that has developed in the post-industrial economy, imitating changes in the dominant type of masculinity, which, however, does not lose its power positions. At the same time, the female heroine in popular cinema fails to fundamentally change the established model of normativity: she tries on traditional male roles and becomes a consumer of established stereotypes, refusing to try to change the very system of hegemony.

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