Gender Benders in Manolos?

Diese Diplomarbeit beschäftigt sich mit der Repräsentation weiblicher Genderrollen und deren Effekt auf die Zuseher der HBO-Serie Sex and the City. Obwohl die Serie den Eindruck erweckt, eine Liberalisierung des Frauenbildes bewirken zu wollen werde ich belegen, dass das Gegenteil der Fall ist und patriarchale hegemonische Machtverhältnisse reproduziert werden. Zu Beginn wird ein kurzer Überblick des Begriffes Post-Feminismus und Film Studies im Allgemeinen gegeben. Die folgende Analyse basiert auf Judith Butlers Performativitätstheorie, welche die Grundlage für die Konzepte der Stereotypisierung und Susan Sontags’ Camp bildet. Mit Hilfe dieser Methoden werden die drei Episoden „Boy, Girl, Boy, Girl“, „The Real Me“ und „All That Glitters“ analysiert; Ziel hierbei ist es, Gender Performanzen zu dekonstruieren um die konservativen Werte der Serie aufzudecken. Darüber hinaus wird aufgezeigt auf welche Weise der Zuseher mit Idenitfikationstechniken an die Serie gebunden wird und welche Auswirkungen dies herbeiführt

THE DEPICTION OF WOMAN BENDER’S MASCULINITY IN MICHAEL TEITELBAUM’S THE TALE OF SOKKA

This study has focuses to analyze the masculine women in the novel TheTale of Sokka as the characters Katara and Toph represent the nature ofmen: masculine; strong, tough, and intelligence. For male gender,masculinity becomes dominant in their nature as it is being defined in thisstudy that masculinity stands for the nature of man as they are strong andassumed born to lead. Thereforth, it is interesting to discuss that on howhaving the character of masculinity in women shape the women differentlyas different than any women in general. Masculinity theory was used toanalyze the character of women benders in the novel: Katara and Toph,including their attitude, characters; the way they interact with the menbenders in the battle. In essence, this study is under descriptive qualitativeresearch where the primary data were taken from the novel entitled TheTale of Sokka, along with a few resources related to the theory ofmasculinity, taken from literary journal and thesis which became thesecondary data used in this study. The theory of masculinity was also usedas the core to find out the impact of being masculine for a woman in thesociety, in this context, being masculine for women benders are importantfor them to raise their status among the patriarchal society. The results ofthis study are divided into two: first, by being masculine, women actuallycan be more confidence to actualize themselves. Second, by being masculine,Katara and Toph can achieve and got the admission from men benders thatwomen can be equal with men in the battle.Keywords: Masculinity, Impact of masculinity, woman benders

Potential Architecture

The exhibition brings together new work: sculpture, drawings and models created by Lucy + Jorge Orta during their research on new organic and modular architecture as a result of their collaborations with the Greenham partnership and other communities across Europe. Lucy Orta’s practice from the early 1990s began with a series of artworks that combined architecture, fashion and social intervention. Produced in collaboration with her partner, these works took the form of temporary refuges, prototype survival clothing, portable shelters, and tent villages for symbolic emergency situations exploring notions of identity, architecture and communication through workshops and community based actions. In 2002, Orta began working on a series entitled Totipotent Architecture marking a shift away from the body and the transient shelters, to more permanent proposals for sculpture and interventions in urban space. Totipotent Architecture is a reflection on the process of differentiation the human cell undertakes from its embryonic state, to a defined cell structural organism, the wonderful building block of our body

Gender Benders: Shakespeare\u27s Rosalind and Woolf\u27s Orlando

English Renaissance playwright, William Shakespeare and twentieth century modernist author, Virginia Woolf’s works, “As You Like It” (1599) and “Orlando” (1928), respectively posit a vision of gender that transcends the physical sex of the body. The play’s heroine, Rosalind, and the novel’s protagonist, Orlando, each challenge the stability of the binary categories of male and female, demonstrating how gender is not absolute but rather a constantly adapting and evolving construct. This thesis traces the development of Rosalind and Orlando by analyzing and comparing both protagonists’ journeys towards concordia discors, considering how gender transformation plays a pivotal role in helping both figures transcend prescribed gender roles and restraints placed upon them by family and society. Both Rosalind and Orlando mount challenges to prescribed gender norms during periods when conservative gender roles were strictly enforced. By doing so, each character positions themselves as pivotal and progressive representations of gender performance for their time

Sex and the city: a postfeminist point of view? Or how popular culture functions as a channel for feminist discourses

The existing literature concerning post feminism shows a diversity of ideas among scholars; a polarization between opponents and supporters becomes salient. By rearticulating post feminism as a fundament of third-wave feminism and situating it within the context of the 21st century (Genz, 333-353), we endeavor a more revisited vision on the representation of post feminism in popular culture. Post feminism is a new form of empowerment, adjusted to the contemporary societal context. It focuses on agency, freedom, sexual pleasure, consumer culture, fashion, hybridism, humor, and a renewed focus on the female body. In popular media texts, the fiction series Sex and the City is often considered a signboard of post feminist discourse. In this article, we analyze the representation of post feminism in Sex and the City. Using an in-depth thematic film analysis, we analyzed whether and how post feminist themes are presented in the series

Queerness for Kids: A Content Analysis of LGBTQ Narrative Picture Books

Children’s picture books function as socializers with both stated and subtextual messages (Aronson et al 2017, Capuzza 2019, Kern 2020, Sciurba 2017). Inclusive picture books contain messages that can affirm marginalized identities and broaden normative worldviews (Capuzza 2019, Epstein 2012, Mokrzycki 2020). However, there are often harmful norms and stereotypes even in inclusive literature (Capuzza 2019, Epstein 2019, DePalma 2014). This study analyzes the interplay of inclusive and normative messages within the context of Lesbian, Gay, Bisexual, Transgender, or Queer (LGBTQ) picture books. I compiled a dataset that represents a near-census of all narrative picture books containing at least one LGBTQ character published between 2010 and 2020. I aim to answer the questions of what LGBTQ narrative picture books are available and what messages they contain. I found 260 picture books, which were almost evenly split between gender and sexuality books. Over half the books in my near-census use the LGBTQ identity as the conflict of the story and the majority were set in the real world. Moreover, I find both normative narratives and stories that suggest a more inclusive direction within my sample. I consider my findings in relation to previous literature on inclusive pictures books in general, and the limited existing literature on LGBTQ picture books in particular

Developing ideas and concepts in teamwork research:Where do we go from here?

PurposeThis editorial seeks to explore changes in both teamwork and developments in teamwork research over the last decade.Design/methodology/approachThe editorial review importantly focuses on the key debates that emerge from the papers covered in this special issue.FindingsA review of the papers in this special issue, as well as historical analysis of teamwork research, indicate that while traditionally, analysis of teamwork was embedded in a manufacturing archetype, much of the contemporary research on teamwork is centred on service sector work where issues of cultural diversity, customer service, and lack of normative integration or task interdependence are increasingly apparent. This editorial suggests that we need to take account of the expansion of the service sector when attempting to conceptualise teamwork and the challenges that collective forms of working in such an environment bring.Originality/valueThis editorial and the special issue more generally provide an important contribution to the development of understanding of how changes in the workplace have had an impact on organisational and academic interest in teamwork.</jats:sec