The influence of physical attractiveness and gender on perceived competence of sportscasters

The media tends to represent female athletes as women first and athletes second (Koivula, 1 999). The present study investigated whether this same trend was present for female sportscasters, using a self-presentational framework. Self-presentation is the process by which people try to control how others see them (Leary, 1995). One factor that may influence the type of image they try to project is their roles held in society, including gender roles. The gender roles for a man include dominance, assertiveness, and masculinity, while the gender roles for a woman include nurturer, femininity, and attractiveness (Deaux & Major, 1 987). By contrast, sports broadcasters are expected to be knowledgeable, assertive, and competent. Research suggests that female sports broadcasters are seen as less competent and less persuasive than male sports broadcasters (Mitrook & Dorr, 2001; Ordman & Zillmann, 1994, Toro, 2005). One reason for this difference may be that the gender roles for a man are much more similar to those of a sportscaster, compared to those of a woman. Thus, there may be a conflict between the two roles for women. The present study investigated whether the gender and perceived attractiveness of sportscasters influenced the audience's perceptions of the level of competence that a sportscaster demonstrates. Two hundred and four male (n =75) and female (n =129) undergraduate students were recruited from a southern Ontario university to participate in the study. The average age of the male participants was 21 .23 years {SD =1 .60), and the average age for female participants was 20.67 years {SD = 1 .31). The age range for all participants was from 19 to 30 years {M = 20.87 years, SD = 1 .45). Af^er providing informed consent, participants randomly received one of four possible questionnaire packages. The participants answered the demographic questionnaire, and then proceeded to view the picture and read the script of a sports newscast. Next, based on the picture and script, the participants answered the competence questionnaire, assessing the general, sport specific, and overall competence of the sportscaster. Once participants had finished, they returned the package to the researcher and were thanked for their time. Data was analyzed using an ANOVA to determine if general sport competence differs with respect to gender and attractiveness of the sportscaster. Overall, the ANOVA was non-significant (p > .05), indicating no differences on the dependent variable based on gender (F (3, 194) = .631, p = .426), attractiveness (F (3, 194) = .070, p = .791), or the interaction of the two {F (3, 194) = .043,/? = .836). Although none of the study hypotheses were supported, the study provided some insight to the perceived competence of female sportscasters. It is possible that female sportscasters are now seen as competent in the area of sports. Sample characteristics could also have influenced these results; the participants in the current study were primarily physical education and kinesiology students, who had experience participating in physical activity with both men and women. Future research should investigate this issue further by using a video sportscast. It is possible that delivery characteristics such as voice quality or eye contact may also impact perceptions of sportscasters.

M(e)a(t)sculinity: Investigating Veg(etari)an Men's Understandings of Masculinity

Using focus group methods, this project examines six men’s experiences of becoming vegetarian and the unique interaction between two identities commonly assumed to be in conflict: vegetarianism and masculinity. Included in this report is an overview of the contemporary debates in gender theory, with specific attention paid to men and masculinity. Seen through the lens of poststructural gender theory and the notion of multiple masculinities, this report demonstrates how vegetarian men challenge, negotiate and assert themselves as men both within the dominant culture and within their own vegetarian communities. This project bridges two existing bodies of work - poststructural gender theory and critical animal studies - to bring a more nuanced and better-articulated critique of gender to existing studies of the relationship between meat and masculinity and to offer this examination of meat consumption and gender performance as an illustration of the valuable applications of poststructural gender theory within critical animal studies.

Gender and Genre in 21st Century Visions of Sherlock Holmes

Sherlock Holmes has been one of the most-adapted characters in literature since his first appearance in A Study in Scarlet in Beeton's Christmas Annual in 1887. Each new adaptation must offer innovations that bring freshness and contemporary appeal to time-worn stories and concepts or risk irrelevancy; analyzing these changes closely sheds light on shifts in societal constructs. Taking this as a starting point, this thesis examines Sherlock and Elementary from a perspective of feminism and queer theory via methods of discourse and genre analyses, with texts ranging from 1931 to the present as objects of comparison. The research illuminates constructions of masculinity as they have changed over time, particularly the movement from an orderly, stable, rational construction of hegemonic masculinity to one that is chaotic, often violent, and anti-heroic in at least some aspects while still being invested in the status quo.

Faulkner adapting Faulkner : gender and genre in Hollywood and after

Cette dissertation propose un nouveau récit des expériences de William Faulkner à Hollywood afin de réévaluer la deuxième moitié de son œuvre de fiction. Dans ses premiers projets de scénarios de films, Faulkner a choisi d’adapter des œuvres de fiction qu’il avait publiées antérieurement. À la lumière de l’utilisation du genre —autant des films que des personnes— par les studios d’Hollywood pour organiser la production et le marketing des films, la fiction de Faulkner apparut soudainement comme perverse et ses représentations de la masculinité comme homoérotiques. Dans les premiers jets de Turn About et de War Birds, Faulkner s’approprie les normes du genre hollywoodien pour nier ces connotations sexuelles. Ses révisions ultérieures révèlent un recul systématique par rapport à la perversité d’Hollywood et au genre du woman’s film, au profit de la performance de la masculinité propre aux war pictures. Ses révisions réimaginent également des matériaux qui sont au cœur de son œuvre de fiction. Quand il se remet à écrire de la fiction, Faulkner répète cette approche narrative dans des nouvelles telles que “Golden Land” et “An Odor of Verbena,” deux récits qui rompent avec les pratiques et le style de ses premières fictions majeures. Les conséquences découlant de cette influence hollywoodienne—une volonté d’éradiquer toute connotation sexuelle, l’adoption authentique plutôt qu’ironique du mélodrame générique, et une rhétorique morale explicitement construite comme une négation d’Hollywood—se manifestent plus tard dans des textes aussi divers que The Reivers, Compson Appendix, ou son discours de réception du Prix Nobel. Vues sous cet angle, les dernières fictions de Faulkner deviennent une composante essentielle de son œuvre, fournissant une base nouvelle pour réexaminer la place des genres narratifs populaires, du genre et de la sexualité dans son cycle de Yoknapatawpha.

Revisiting the gentleman : a study of hegemonic masculinity in the works of Jane Austen

L’augmentation grandissante de l’attention portée dans les études sur la masculinité tant à la littérature féminine qu’à ses auteurs incite les chercheurs à se pencher de nouveau sur l’icône qu’est le gentilhomme, sur la réponse qu’offre la littérature du XVIIIe siècle face à cette idéalisation de la masculinité, et comment ces standards ont contribué à façonner nos propres perceptions des différenciations des rôles sexuels. Ce mémoire présente une analyse des personnages masculins des romans de Jane Austen, Emma, Persuasion et Mansfield Park, à travers le concept de « masculinité hégémonique » de R.W. Connell, concept qui a eu un impact certain dans les recherches retraçant comment l’histoire et l’hégémonie ont fabriqué les attentes sociales et nationales envers l’homme anglais. Les livres expliquant la conduite à avoir pour être un gentilhomme viril ont sans aucun doute perpétué ces idéaux. À travers l’étude de la politesse, de la sincérité et de l’héroïsme, perpétuellement renouvelés afin de correspondre aux nouveaux idéaux de la masculinité, cette thèse étudie les livres éducatifs influents, notamment de Locke, Knox et Secker, afin de comprendre de quelle façon la masculinité hégémonique est devenue une partie intégrante du discours et de l’éducation à l’époque de la Régence anglaise. Les œuvres d’Austen ne cesse de rappeler la vulnérabilité de l’hégémonie en rappelant constamment au lecteur l’importance des expériences et de la croissance personnelle, et ce, peu importe le sexe. Néanmoins, ses romans correspondent tout de même à ce que devrait être une éducation appropriée reposant sur les règle de conduite, l’autonomie, le travail et la sincérité; lesquels, tel que l’histoire analysée dans ce mémoire le démontrera, appartiennent également aux idéaux du nationalisme anglais et de la masculinité.

"Gender trouble" westernien : les représentations genrées dans les westerns de l'âge d'or étasunien (1948-1962)

Les westerns de l’âge d’or étasunien (1948-1962) mettent en scène un "gender trouble" en créant des personnages de femmes et d’hommes qui empruntent les uns et les autres aux caractéristiques genrées associées par la société nord-américaine et occidentale en général aux genres binaires du féminin et du masculin. Ce trouble genré se développe entre autres par la volonté de trois hommes de recréer la cellule familiale nucléaire conventionnelle dans "Red River" (1948) de Howard Hawks, par le rapport de peur et d’oppression du groupe social sur les individus dans "High Noon" (1952) de Fred Zinnemann et "Johnny Guitar" (1954) de Nicholas Ray, ainsi que par la rencontre opposant l’homme de l’Est et l’homme de l’Ouest dont les idéologies et les valeurs divergent dans "The Man Who Shot Liberty Valance" (1962) de John Ford.

Engendered Conversations: Gender Subversion Through Fictional Dialogue in Lawrence, Hemingway and Forster

This dissertation examines gendered fictional dialogue in popular works by D.H. Lawrence, Ernest Hemingway and E.M. Forster, including Howards End (1910), The Sun Also Rises (1926) and Lady Chatterley’s Lover (1928). I apply Judith Halberstam’s notion of female masculinity to direct speech, to explore how speech traits inform modernist literary aesthetics. My introduction frames this discussion in sociolinguistics, Judith Butler’s theory of performativity, M.M. Bakhtin’s discourse theory, and gender studies. It provides an opportunity to establish experimental dialogue techniques, and the manipulation of gendered talk, in transgressive texts including James Joyce’s Ulysses (1922), Virginia Woolf’s Orlando (1928) and Radcyffe Hall’s The Well of Loneliness (1928). The first chapter discusses taboos and dialect in D.H. Lawrence’s fictional dialogue. The second chapter establishes gender subversion as a crucial element in Ernest Hemingway’s dialogue style. The third chapter contrasts Forster’s latently gendered speech with his techniques of dialect emphasis and dialect suppression. Finally, my conclusion discusses gender identity in the poetry of Dorothy Parker and Baroness Elsa von Freytag Loringhoven, and the temporality of gender in “Time Passes” from Virginia Woolf’s To the Lighthouse (1927). New Woman characters like Lady Brett Ashley typified a crucial moment in women’s liberation. They not only subverted stereotypes of womanhood through their dress or sexual freedom, they also adopted/adapted masculine idiom to shock, to rebel against and challenge male dominance. Different speech acts incited fashionable slang, became a political protest symbol or inspired psychoanalytic theory. The intriguing functions of women’s masculine speech in early twentieth century fiction establishes the need to examine additional connections between gender and talk in literary studies.

Assessment of construct validity and reliability of the inventory of masculinity and femininity in adolescents and young adults Colombian

This study evaluated the construct validity and reliability of Femininity and Masculinity Inventory-Imafe (Lara, 1993), and calculated standardized punctuations for Colombian teenagers and young adults. Participants were 1527 male and female, between 15 and 42. The general and scale reliability was evaluated through Alfa and Guttmann coefficients, and the factor analysis was used to estimate the construct validity. Standardized punctuations were obtained for gender, since there were statistically significant differences for sex in the six scales of the instrument. The inventory presented reliability values that oscillated between .76 and .88, and the factorial analysis showed three factors coherent with the factors found in its original validation. Correlacional inter-scales analysis and sex-differences were theoretically consistent.

‘Trying to be a Man': J. M. Barrie and sentimental masculinity

This article discusses the treatment of sentimentality in the fiction of J.M. Barrie, focusing in particular on Tommy and Grizel (1900). It place the discussion in the context of wider debates over sentimentality in Victorian culture and explores the intersection between these and discourse of gender and sexuality in the late nineteenth century.

Spectacle/gender/history: the case of Gone with the Wind

The essay asserts that, since pioneering work in the 1970s and 80s (in Screen in particular), the study of classical Hollywood cinema has failed adequately to acknowledge and understand the role of spectacle therein. This essay outlines theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible to the practice of close analysis. Seeking to discuss spectacle in precise terms and in particular contexts, I define two kinds of spectacle associated with the historical film: ‘the decor of history’ and ‘the spectacular vista’. The example of Gone with the Wind illustrates the interrelationship between these two kinds of spectacle and their associations with particular ideas of femininity and masculinity. This gendering of spectacle is related to ‘the historical gaze’, a performative gesture that exemplifies the wider rhetoric of historical films, in their seeking to address the historical knowledge of the film spectator and to uphold a vision of history as being driven by powerful men, aware of their own destiny. Over the course of the three famous hilltop scenes in Gone with the Wind, one can plot Scarlett O'Hara's increased access to this kind of foresight and fortitude coded as ‘masculine’. This character arc can also be traced through Scarlett's shifting place within the film's use of spectacle: she begins the film wholly preoccupied with the domestic world of lavish parties and beautiful gowns; however, after her encounter with cataclysmic history visualized as a vast, terrible spectacle (the fall of Atlanta), Scarlett assumes the role occupied by her broken and emasculated father.

Men and gender relations

Discusses theoretical, political and personal perspectives on men's lives within the context of patriarchal gender relations and examines the potential for men to move beyond patriarchy towards egalitarian non-exploitative relations with women.

Re-gendering labour: class and gender determinants of New South Wales electoral behaviour 1930-32

Historians have neglected tbe impact of female enfranchisement on Australian electoral outcomes. This papers employs multivariate analysis to explore electoral behaviour in New South Wales during the Great Depression. It argues that women were less prone to support Labor than men, but that women in paid employment constituted a partial exception to this pattern. In 1932 the conservative parties significantly eroded Labor's working-class support. Part of this success was due to the ability of employers to coerce workers with the threat of dismissal. Female wage earners were particularly vulnerable to this coercion. Conservative electoral appeals recast masculinity in terms of family responsibility rather than class assertion. Conflict in the household economy possibly influenced women to vote against Labor due to its identification with the cause of male breadwinners. Overall female voting behaviour was more stable than that of men and this despite the higb profile of issues that would have been expected particularly to influence female voters.