Hombres y masculinidad ¿un cambio de modelo?

En las últimas décadas hemos asistido a un importante impulso en las investigaciones centradas en el análisis de las masculinidades. Este hecho no es casual y se debe fundamentalmente a dos razones. Una de carácter político, relacionada con el cuestionamiento de una sociedad representada exclusivamente en términos masculinos. Una segunda razón de carácter científico, ¿si la feminidad debía ser explicada por qué no la masculinidad? Ambas razones han incidido en la desnaturalización de una supuesta masculinidad de carácter universal y en la profusión de investigaciones tendentes a desvelar: las formas sociales de construir a los hombres, los mecanismos de reproducción del poder inscritos en los cuerpos, los desiguales modelos sociales en torno a lo masculino, las relaciones de dominación que se producen entre hombres y mujeres, y entre los propios hombres. Este cuestionamiento teórico de “lo masculino” ha estado muy vinculado al papel de los movimientos sociales y especialmente del feminismo y los movimientos de liberación sexual, que han jugado un papel central en la redefinición del papel de hombres y mujeres, y por tanto en la búsqueda de nuevas alternativas a los modelos tradicionales, también entre los propios hombres. En las páginas siguientes nos aproximaremos precisamente a la noción de masculinidad y masculinidades, incidiendo en su carácter relacional y cambiante, así como en sus distintas significaciones.

"If God hadn't invented woman men would have had to do so" - construction of female identities in Parade's End by Ford Madox Ford

The subject of the thesis is Parade's End (1924–1928) by Ford Madox Ford. The thesis focuses on the portrayal of female identities and femininity in the context of societal changes in the beginning of 1900s and also uses two of Ford's essays about gender and women's rights as background. The construction of female identities is discussed via different themes. The themes are marriage, divorce and infidelity; motherhood, modernity and emergence of new gender identities in post-World War I environment, and polyamory as a solution for adulterous practices and empty, unhappy marriages. Parade's End portrays superficially modern female identities, but ends up enforcing women's role as mother and traditional femininity. However, the novel suggests that the strict gender boundaries are starting to fracture after WWI. This is depicted by portraying the men representing new masculinity as feminised and emphasising androgyny and boyishness when discussing representations of new femininity.

Ghost Tree Social

GHOST TREE SOCIAL tells a coming out story of sorts. In terms of style, many of the poems are short, imagistic lyrics, though some are extended catalogues. Specific natural images—lakes, rivers, and snow—are often contrasted with cultural markers. The imagistic poems are thinking through the work of Sylvia Plath. The catalogue poems shift between diaristic, narrative, and critical modes, responding to the poetry of Elizabeth Bishop and the essays of Edouard Glissant. Voice-driven fragments disrupt the more traditional lyric poems. The fragments fall between formal lyrics like confetti from a gay club’s rafters; or the fragments hold the lyric poems in bondage. The lyric poem then re-signifies as form through resonances with the other discursive and poetic form of the fragment. Following critical writers such as Adrienne Rich and Audre Lorde, the re-signification of lyric form reflects the need for new signs for self and community organized queerly as opposed to more typical binary categories—man or woman, living or dead, rich or poor, white or black—where the first term is privileged and the second term often denigrated.

Fault Line

FAULT LINE examines the fragile humanity connected to the themes of sexuality, violence, addiction, family dynamics, and death. The book is not broken into sections; rather, as poems build upon one another to explore a narrative arc, FAULT LINE tracks a single speaker’s experience from girlhood to the verge of independent womanhood. The speaker employs formal structures such as the prose poem, sestina, and particularly the list poem to examine the fluidity of inner experience and also the culture at large while challenging the narrow definitions of femininity and masculinity. FAULT LINE works to not only address the question of blame but also the literal breaks in lines of poetry. By looking at a single speaker’s struggle, the book, like life, is both humorous and horrifying.

The Ultimate Secrecy: Feminist Readings of Masculine Trauma in Vietnam War Literature

It is a widely acknowledged and often unquestioned fact that patriarchy and its modes of behaviour and social organization favour the appearance of trauma on the weakest (and defenceless) members of society: women. In the last decades, trauma seems to have taken the baton of typically female maladies such as 19th c. hysteria or 20th c. madness. Feminists in the 20th c. have long worked to prove the connection between the latter affections (and their reflection in literary texts) and patriarchal oppression or expectations of feminine behaviour and accordance to roles and rules. With Trauma Studies on the rise, the approach to the idea of the untold as related to femininity is manifold: on the one hand, is not trauma, which precludes telling about one’s own experience and keeps it locked not only from the others, but also from ourselves, the ultimate secrecy? On the other hand, when analyzing works that reflect trauma, one is astounded by the high number of them with a female protagonist and an almost all-female cast: in this sense, a ‘feminist’ reading is almost compulsory, in the sense that it is usually the author’s assumption that patriarchal systems of exploitation and expectations favour traumatic events and their outcome (silence and secrets) on the powerless, usually women. Often, traumatic texts combine feminism with other analytical discourses (one of the topics proposed for this panel): Toni Morrison’s study of traumatic responses in The Bluest Eye and Beloved cannot be untangled from her critique of slavery; just as much of Chicana feminism and its representations of rape and abuse (two main agents of trauma) analyze the nexus of patriarchy, new forms of post-colonialism, and the dynamics of power and powerlessness in ethnic contexts. Within this tradition that establishes the secrecies of trauma as an almost exclusively feminine characteristic, one is however faced with texts which have traumatized males as protagonists: curiously enough, most of these characters have suffered trauma through a typically masculine experience: that of war and its aftermath. By analyzing novels dealing with war veterans from Vietnam or the Second World War, the astounding findings are the frequent mixture of masculine or even ‘macho’ values and the denial of any kind of ‘feminine’ characteristics, combined with a very strict set of rules of power and hierarchy that clearly establish who is empowered and who is powerless. It is our argument that this replication of patriarchal modes of domination, which place the lowest ranks of the army in a ‘feminine’ situation, blended with the compulsory ‘macho’ stance soldiers are forced to adopt as army men (as seen, for example, in Philip Caputo’s Indian Country, Larry Heinemann’s Paco’s Story or Ed Dodge’s DAU: A Novel of Vietnam) furthers the onset and seriousness of ulterior trauma. In this sense, we can also analyze this kind of writing from a ‘feminist’ point of view, since the dynamics of über-patriarchal power established at the front at war-time deny any display of elements traditionally viewed as ‘feminine’ (such as grief, guilt or emotions) in soldiers. If trauma is the result of a game of patriarchal empowerment, how can feminist works, not only theoretical, but also fictional, overthrow it? Are ‘feminine’ characteristics necessary to escape trauma, even in male victims? How can feminist readings of trauma enhance our understanding of its dynamics and help produce new modes of interaction that transcend power and gender division as the basis for the organization of society?

Metamorfoses: identidades e papéis de género. Um estudo com Transhomens

Este estudo, de carácter exploratório, tem o objetivo de perceber como se processam as (re)aprendizagens dos vários papéis de género em transhomens, atendendo aos processos de adaptação ao nível social, comportamental e da perceção de si na (re)construção da identidade. Para a concretização deste trabalho, recorreu-se à recolha de informação, através de uma estratégia metodológica qualitativa e utilizou-se um questionário analisado através do método de análise de conteúdo, segundo Laurence Bardin (1979). Participaram neste estudo 20 transhomens (pessoas cujo sexo designado no registo de nascimento foi feminino, mas que se identificam com o género masculino). As principais conclusões sugerem que existem mudanças ao nível dos sentimentos, perceção de si, comportamentos, identidade de género e relação com o corpo que resultam do processo de redesignação sexual. Verifica-se que as aprendizagens e pressões para a conformidade aos estereótipos de género resultam por vezes em comportamentos intencionais na construção das feminilidades e masculinidades. Verifica-se também a consciencialização destas intencionalidades, bem como uma progressiva libertação desses comportamentos e dos constrangimentos a eles associados, o que resulta numa apropriação e autoidentificação de si mais liberta, consequentemente de uma vida mais feliz. Esperamos com este trabalho contribuir para o conhecimento e visibilidade das identidades trans, em específico dos transhomens, na tentativa de desconstrução de estereótipos sociais; Metamorphoses: Identity and Gender Roles. A Study with Transmen Abstract: This study of exploratory nature aims to understand the process of (re)learning the various gender roles in transmen, in relation to the social and behavioural processes of adaptation and self-perception in the (re)construction of identity.To do this work, we gathered information, outlined a qualitative methodological strategy and used a survey using the content analysis method according to Laurence Bardin (1979). 20 transmen participated in this study (people whose sex assigned at birth registration was female but identify with the masculine gender). The main findings suggest that there are changes in the level of feelings, self-perception, behaviour and relation with the body that result from sex reassignment process. It appears that the learning and pressures for conformity to gender stereotypes sometimes result in intentional conduct compliance in the construction of femininity and masculinity before and after the sex reassignment process. You can also verify the awareness of these intentions, as well as a gradual release of these behaviours and constraints associated with them, which results an appropriation and self-identification of himself more free, thus a happier life. We expect this work to contribute to the knowledge and visibility of the trans people, in particular the transmen in an attempt to deconstruct social stereotypes.

Masculinidad y feminidad: ¿De qué estamos hablando?

Recibido 15 de marzo de 2012 • Corregido 04 de octubre de 2012 • Aceptado 07 de noviembre de 2012A continuación se presentan diversas ideas creadas alrededor del tema de la masculinidad y feminidad. El objetivo es esclarecer dichos conceptos desde un punto de vista crítico y de género sensitivo, en un lenguaje sencillo. El fin es que la información sea accesible a una mayor cantidad de personas; eso, sin menoscabar la importancia de transmitir las ideas desde un carácter académico y científico. Por tanto, se busca aclarar el carácter de ambos conceptos en la construcción de su identidad, principalmente para el hombre que cimienta su identidad a partir del rechazo de lo que es femenino. Se trata de mostrar cómo dichas construcciones son atravesadas por diversos mandatos sociales que se expresan según la cultura en la que se desarrollen; además, se plantea el reto de la educación para deconstruir estereotipos ligados a los géneros.

Metamorphoses of Endymion and Selene: Dominance, Objectification, and Necrophilia

The aim of the research is to understand the transformations of the myth of Endymion and Selene from the Ancient World to the Contemporary Times with regard to the intersection of dominant femininity and objectified masculinity. The final goal is to show how these two macro-concepts have been represented according to a dialectical mechanism of cultural constants and variations of which the myth stands as a privileged plane of study. This connection will be explored in detail alongside with the eroticization of the sleeping and dead male body, to which its erotic agency is to be restored, by a woman who explicitly shows an erotic desire towards him. These two marginal desires are analysed from the point of view of the dialectic antagonistic to hegemony, and their expressive effects are examined in different media: literary, artistic, cinematographic. This relationship between the two lovers is marked by a significant presence of death that in the first part of the thesis is called female proto-necrophilia, while in the last part is named female necrophilia. The relationship that is in established between the two is a clear example of how anti-normative desires have undergone numerous attempts of neutralization and have increasingly become an expression of the medicalization of the uncanny. Female necrophilia is in fact the last step of a mythical romance that undermines the normative and hegemonic construction of ordinariness, but at the same time manifests its expressive and irrepressible power throughout the literature and arts of the Global North. To examine this in depth, the research is divided into five chapters.

Bimbo: a gender analysis

This thesis aims to propose a gender analysis of the bimbo, that is the stereotype of a sexually attractive yet stupid woman. The presence of this cultural phenomenon in a number of aspects of mainstream pop culture gives rise to interesting research that deals with linguistics, the notion of prejudice, truth, and morality. Starting from notable bimbo figures like Marilyn Monroe, going through Anna Nicole Smith, and ending with the rising Gen Z Bimbo TikTok, this work reads the bimbo as a gender performance of femininity thanks to the lens provided by philosophers Judith Butler and Jean Baudrillard. The bimbo’s link to cosmetic surgery makes it possible to trace a brief outline of the feminist theory in relation to the understanding of the body as a political site. Ultimately, the subtle borders between the reenactment of the male gaze and a conscious reappropriation will be discussed. Because of the contingent nature of the bimbo, the purpose of this work is not necessarily to rewrite her as a feminist, but to present and embrace the at times contradicting multitudes of this pop culture trope.