Gender school : Om ett partnerskapsarbete med jämställdhets- och diskrimineringsproblematik inom arbetslivet inom arbetslivet

Utvecklingspartnerskapet Gender School har varit uppdelat i två huvuddelar. Den ena har utgjorts av en kartläggning och analys av s.k. Brytprojekt. Syftet var att ta tillvara erfarenheter, till exempel i fråga om använda metoder och vilka resultat som hade uppnåtts inom dessa projekt, för att sedan på bred front sprida resultaten. Den andra delen av Gender School har utgjorts av sex olika delprojekt som i olika avseenden har rört att utveckla metoder för ökad jämställdhet och minskad diskriminering i arbetslivet. Studien syftar till att beskriva och tolka de processer, resultat och erfarenheter som verksamheten inom partnerskapet Gender School har gett upphov till. Ambitionen är i första hand att resultatet skall vara kunskapsgenererande i betydelsen att erfarenheterna kan bidra till att öka kunskaperna och medvetenheten om de processer som bidrar till att skapa ojämställda och diskriminerande förhållanden i arbetslivet, d.v.s. att resultatet av de olika delprojekten kan blottlägga några av de mekanismer som bidrar till en segregerad arbetsmarknad. En annan ambition är att undersöka hur ett partnerskap arbetar och fungerar, d.v.s. vilka för- respektive nackdelar som är möjliga att utkristallisera från detta partnerskap.

The Influence of Gender and Facial Appearance on Voting Practices

Women’s faces tend to naturally retain more neonate features than men. These features, such as a greater eye height, a smaller nose area, and a wider smile, would cause women to have more immature faces than males. Interestingly, women who have these facial features are often perceived as more attractive than women with mature facial features. These findings imply that women would be judged less competent than men, and that immature-faced women would be perceived as less competent and more attractive than mature-faced females. Given the direction of political leadership in our country, this has interesting implications for females that are vying for leadership positions. Thus, our study examined the effects of both candidate gender and facial features on voting likelihood, and perceptions of attractiveness and competence, by pairing pictures with neutral party platforms.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.