Masculine Foes, Feminist Woes: A Response to Down Girl

In her book, Down Girl, Manne proposes to uncover the “logic” of misogyny, bringing clarity to a notion that she describes as both “loaded” and simultaneously “politically marginal.” Manne is aware that full insight into the “logic” of misogyny will require not just a “what” but a “why.” Though Manne finds herself largely devoted to the former task, the latter is in the not-too-distant periphery. Manne proposes to understand misogyny, as a general framework, in terms of what it does to women. Misogyny, she writes, is a system that polices and enforces the patriarchal social order (33). That’s the “what.” As for the “why,” Manne suggests that misogyny is what women experience because they fail to live up to the moral standards set out for women by that social order. I find Manne’s analysis insightful, interesting, and well argued. And yet, I find her account incomplete. While I remain fully convinced by her analysis of what misogyny is, I am less persuaded by her analysis of why misogyny is. For a full analysis of the “logic” of misogyny, one needs to understand how the patriarchy manifests in men an interest in participating in its enforcement. Or so I hope to motivate here. I aim to draw a line from the patriarchy to toxic masculinity to misogyny so that we have a clearer picture as to why men are invested in this system. I thus hope to offer here an analysis that is underdeveloped in Manne’s book, but is equally worthy of attention if we want fully to understand the complex machinations underlying misogyny

Neoliberalisation and 'lad cultures' in higher education

This paper links HE neoliberalisation and ‘lad cultures’, drawing on interviews and focus groups with women students. We argue that retro-sexist ‘laddish’ forms of masculine competitiveness and misogyny have been reshaped by neoliberal rationalities to become modes of consumerist sexualised audit. We also suggest that neoliberal frameworks scaffold an individualistic and adversarial culture among young people that interacts with perceived threats to men’s privilege and intensifies attempts to put women in their place through misogyny and sexual harassment. Furthermore, ‘lad cultures’, sexism and sexual harassment in higher education may be invisibilised by institutions to preserve marketability in a neoliberal context. In response, we ask if we might foster dialogue and partnership between feminist and anti-marketisation politics

Coaches, sexual harassment and education

Sexual harassment in sport has become an active research field within the past decade yet we know relatively little about the characteristics of the harassing coach. How are harassing coaches characterized by their victims, that is, the athletes themselves? Do they demonstrate specific kinds of behaviours? One purpose of this article is to address these types of questions. Another is to assess the usefulness of general classifications of perpetrators of sexual harassment. This is done by examining whether qualitative data from sexually harassed elite female athletes support the various conceptual frameworks for sexual harassment that are presented. Results from interviews with 19 female elite athletes who were sexually harassed by their coaches produced a sport typology that consists of three main types: 1) The Flirting-Charming Coach, 2) The Seductive Coach and 3) The Authoritarian Coach. These types are discussed in relation to the previous classifications to test the degree of fit. The limitations of monolithic classifications are exposed by this exercise: the data suggest that, rather than being one-type only, sexually harassing coaches select from a repertoire that may include several different harassment scripts. They vary these according to situational conditions. The wider limitation of social science classifications, that their categories are not discrete, also applies here. This need not be a practical limitation, however, if the typologies are used as heuristic devices rather than to determine, for example, specific disciplinary outcomes or treatment regimes. Sexual harassment prevention is often either missing from coach education programmes altogether or subsumed within broader themes such as (gender) equity or diversity management. One of the educational values of typologies is that they focus attention on the range of potential sexually harassing behaviours in ways which might otherwise escape attention. Communication styles, postures, gestures and group management techniques are just some of the elements of coaching that can be improved with an understanding of sexual harassment scripts. It is difficult to assess whether feminization of the coaching profession would lead to a less harassing environment. But, since this environment is so closely linked to hegemonic masculinity, and what are often described as traditional male values, we hypothesize that a transformation of the coaching culture, and associated re-scripting of coach behaviour, might be easier if more female coaches were involved in sport

Make Love, Not War?: The Role of the Chorus in Kokoschka’s “Murderer Hope of Women”

In the summer of 1909, two one-acts by the twenty-three-year-old painter Oskar Kokoschka premiered in Vienna in an outdoor theatre built in the garden adjacent to the art museum as part of the second Kunstschau exhibit. The two Kunstschauen (of 1908 and 1909) were organized by Gustav Klimt and his friends in order “to expose the Viennese public to the most shocking and revolutionary forces in contemporary art,” and Kokoschka exhibited in both. The showing of Oskar Kokoschka’s art and his plays cemented his reputation as the most prominent enfant terrible of his day. These exhibitions helped ensure that, by the time he moved to Berlin in 1910, his works would become some of the key contributions to the seminal expressionist journal Der Sturm, gaining Kokoschka a place in the canon of European expressionism

Wicked, Hard and Supple: An Examination of Suzanne Valadon's Nude Drawings of Young Maurice

This article examines the nude drawings Suzanne Valadon made of her young son, Maurice Utrillo. These drawings, depicting Utrillo from late childhood until adolescence, began Valadon's interest in the male nude, which she carried into her later career. Though children appeared often in her work, the drawings of Utrillo are complicated by the relationship between the artist and subject.Publisher allows immediate open acces

Histories of hating

This roundtable discussion presents a dialogue between digital culture scholars on the seemingly increased presence of hating and hate speech online. Revolving primarily around the recent #GamerGate campaign of intensely misogynistic discourse aimed at women in video games, the discussion suggests that the current moment for hate online needs to be situated historically. From the perspective of intersecting cultural histories of hate speech, discrimination, and networked communication, we interrogate the ontological specificity of online hating before going on to explore potential responses to the harmful consequences of hateful speech. Finally, a research agenda for furthering the historical understandings of contemporary online hating is suggested in order to address the urgent need for scholarly interventions into the exclusionary cultures of networked media

Representations and Discourses of Black Motherhood in Hip Hop and R&B over Time

This study will examine how representations and discourses regarding Black motherhood have changed in the Hip Hop and R&B genres over time. Specifically, this scholarly work will contextualize the lyrics of 79 songs (57 Hip Hop songs; 18 R&B songs; 2 songs represented the Hip Hop and R&B genre; 2 songs represented artists who produce music in 5 or 6 genres) from 1961-2015 to identify the ways that Black male and Black female artists described motherhood. Through the use of Black Feminist Theory, and by placing the production of these songs within a sociohistorical context, we provide an in-depth qualitative examination of song lyrics related to Black motherhood. Results gave evidence that representations and discourse of motherhood have been largely shaped by patriarchy as well as cultural, political, and racial politics whose primary aim was to decrease the amount of public support for poor, single Black mothers. In spite of the pathological framing of Black mothers, most notably through the welfare queen and baby mama stereotypes, a substantial number of Hip Hop and R&B artists have provided a strong counter narrative to Black motherhood by highlighting their positive qualities, acknowledging their individual and collective struggle, and demanding that these women be respected

Power, Law and Blood: Sources of Patriarchy in the Middle East

This unpublished article was kindly provided to BU's institutional repository for deposit by the author