'The seven things all men love in bed' : young women's magazines and the governance of femininity

Rather than passing judgment of the content of young women’s magazines, it will be argued instead that such texts actually exist as manuals of self-formation, manuals which enroll young women to do specific kinds of work on themselves. In doing so, they form an effective link between the governmental imperatives aimed at constructing particular personas – such as the sexually responsible young girl - and the actual practices whereby these imperatives are operationalised.

Youth, femininity and self-shaping

The arguments in this paper concerned the manner in which young people learn to construct specific types of relationships with themselves. The analysis of this self-making is accomplished by applying Foucault’s four-part model of self-formation, to an examination of the role of manuals such as young women’s magazines in the shaping of various aspects of the ‘youthful self’. The intention has been to provide a set of tools for approaching the issue of young women's magazines which avoids some of the problems associated with critical theory - a paradigm which translates such magazines almost exclusively in terms of social control.

Narrative review of changing medical and feminist perspectives on menopause : from femininity and ageing to risk and choice

Meanings and descriptions of menopause have shifted focus over the past century and a half; more particularly the past sixty years has seen a shift from descriptions of hormone decline and its relation to ageing, femininity and symptoms of menopause since the 1960's to the possibility for preventive medicine afforded by menopause. Medicine is not a static field in its construction of menopause. It has changed, not least by its engagement (positively or negatively) with critique from both within (epidemiological) and without (feminist and social sciences). In this review we identify three recent changes: (1) Increasing concern with women's decision-making. (2) The emergence from within medicine of the rejection of the use of language which defines menopause as a condition of deficiency. (3) New insights from postmodern and poststructural analyses of menopause that examine the epistemological foundations of medical and feminist concepts of menopause and contest fixed descriptions of the experience of menopause. Key aspects of a ‘medical menopause’ nevertheless remain constant: menopause is a loss of hormones that results in predictable effects and risks and may be ameliorated by hormone replacement therapy. A question therefore emerges about how and to what effect medical practitioners have engaged with critiques of the medical menopause?

Femininity, mental weakness and difference : male students account for anorexia nervosa in men

The purpose of this study was to examine how men account for the diagnosis in men of anorexia nervosa (AN), a condition commonly associated with women. Male students participated in focus group discussions of topics related to AN. Discussions were tape-recorded with participants' consent, transcribed, and then analyzed using discourse analysis. The participants spontaneously constructed AN as a female-specific condition. When asked to account for AN in men, they distanced AN from hegemonic masculinities in ways that sustained both dominant masculine identities and gender-specific constructions of AN. These findings show how issues of health and gender are interlinked in everyday understandings of AN. Future researchers might usefully consider how the construction of gender-specific illness implicates wider notions of both feminine and masculine gender identities.

The examination of the traditional femininity and women’s lives in ancient China

This thesis explores the evolution of the concept of traditional Chinese femininity in relation to women’s lives in ancient China (221 BCE – A.D.1840). It proposes that the traditional Chinese femininity had been trying to seek a balance between the permanent principles and contingency plans for the stability and development of the society, which caused women’s humiliation and freedom. In reality, politicians and thinkers in ancient China had been transforming the concept of femininity itself to make it more adaptable to the social conditions of that time. This may be discussed in terms of three aspects. Firstly, the traditional concept of Chinese human relationships, including the ethical order, always emphasised the influence of individual behaviour on others and the overall stability and linked development of family, society and nation. Thus, both men and women, must be placed within this interrelated, interacting and cooperating relationship. Secondly, the association of family and country created an overlap of family and public affairs, which, objectively, facilitated the movement of women from the inner to the public arena. Thirdly, the notions of political and ethical morality and of men’s virtues and women’s virtues were integrated because of the union of family and nation. Therefore, typically virtuous women could be a source of encouragement for men and, furthermore, men formulated their virtues in the public space by formulating women’s virtues in the private space. The shaping of the gender image and concept of women in ancient China reflected the country’s changing cultural and gender norms. Chinese femininity and lifestyles, like Chinese history, were a continuous presence in the society but were also constantly changing. Through this study, it could be noted that Chinese women were not hidden and that their subjectivity and the concepts motivating them were not merely devised by a male-dominated society and culture.

The new woman, femininity and modernity in Margery Allingham's detective novels of the 1930s /

This thesis examines Death of a Ghost (1934), Flowers for the Judge (1935), Dancers in Mourning (1937), and The Fashion in Shrouds (1938), a group of detective novels by Margery Allingham that are differentiated from her other work by their generic hybridity. The thesis argues that the hybrid nature of this group of Campion novels enabled a highly skilled and insightful writer such as Allingham to negotiate the contradictory notions about the place of women that characterized the 1930s, and that in dOing so, she revealed the potential of one of the most popular and accessible genres, the detective novel of manners, to engage its readers in a serious cultural dialogue. The thesis also suggests that there is a connection between Allingham's exploration of modernity and femininity within these four novels and her personal circumstances. This argument is predicated upon the assumption that during the interwar period in England several social and cultural attitudes converged to challenge long-held beliefs about gender roles and class structure; that the real impact of this convergence was felt during the 1930s by the generation that had come of age in the previous decade-Margery Allingham's generation; and that that generation's ambivalence and confusion were reflected in the popular fiction of the decade. These attitudes were those of twentieth-century modernity--contradiction, discontinuity, fragmentation, contingency-and in the context of this study they are incorporated in a literary hybrid. Allingham uses this combination of the classical detective story and the novel of manners to examine the notion of femininity by juxtaposing the narrative of a longstanding patriarchal and hierarchical culture, embodied in the image of the Angel in the House, with that of the relatively recent rights and freedoms represented by the New Woman of the late nineteenth-century. Pierre Bourdieu's theory of social difference forms the theoretical foundation of the thesis's argument that through these conflicting narratives, as well as through the lives of her female characters, Allingham questioned the Hsocial myth" of the time, a prevailing view that, since the First World War, attitudes toward the appropriate role and sphere of women had changed.

Discourses of Masculinity and Femininity in The Hunger Games: "Scarred," "Bloody," and "Stunning"

This article explores how characters in The Hunger Games trilogy are portrayed relative to Connell's gendered discourses of hegemonic masculinity, marginal masculinity, and emphasized femininity. We briefly review the plot of The Hunger Games trilogy and then discuss the ways in which three of the characters are represented with respect to societal gendered discourses, heteronormativity, and the use of violence. We argue that the ways in which these aspects are portrayed relate to the main characters' performance of discourses of hegemonic masculinity (Gale), marginalized masculinity (Peeta), and a complex amalgamation of the two that also draws somewhat on emphasized femininity (Katniss). Finally, we conclude that, while the trilogy could be read as taking a feminist stance with a strong female protagonist, it nonetheless also constrains Katniss in heteronormative ways.

Between the spheres : male characters and the performance of femininity in four victorian novels, 1849-1886

“Between the Spheres: Male Characters and the Performance of Femininity in Four Victorian Novels, 1849-1886” définit le célibataire domestique, analyse les effets de l’érosion des frontières entre les domaines public et privé et retrace l’évolution du discours public au sujet de la masculinité dans quatre œuvres: Shirley écrit par Charlotte Brontë, Lady Audley’s Secret de Mary Elizabeth Braddon, Daniel Deronda par George Eliot, et The Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson. En identifiant le célibataire domestique comme personnage récurrent à la dernière moitié du dixneuvième siècle, cette dissertation démontre comment ce personnage arrive à représenter l’incertitude face aux questions de sexualité, non seulement dans des rôles féminins mais aussi dans les positions de l’homme dans la société et la remise en question du concept de la masculinité. Tout comme il y eu de femmes à l’affût de la liberté au-delà du domaine privé, des hommes aussi cherchèrent leur liberté au sein du domaine domestique par des performances féminines. Le célibataire domestique rapporte sur le concept New Woman de cette période par sa tendance de promouvoir de nouvelles définitions de la masculinité victorienne et les limites entre sexes. Le célibataire domestique passe du domaine public, plutôt masculin, vers le domaine privé, plutôt féminin en participitant dans le discours féminin, tel que les sujets de le domesticité, la chastité, la moralité, le mariage, et l’amour. En s’inspirant de l’analyse des domaines public et privé par Jürgen Habermas, cette dissertation revoit les rôles de ces domaines et leur élasticité dans les quatre œuvres en question ainsi que le sort des célibataires domestiques. L’assignation de sexe à ces domaines mena à la recherche de nouveaux formes de masculinité, produisant une définition de mâle liée au statut de la femme dans le domaine privé. Le célibataire domestique se déplace facilement entre ces domaines sans souffrir d’accusations de tendances effeminées ou d’aliénation sociale, à l’encontre des conséquences qu’ont souffert les personnages femelles pour leur comportement inhabituel. Chaque chapitre de cette dissertation considère les changements dans le discours de la sexualité afin de suivre la migration du célibataire domestique du domaine féminin au milieu du dixneuvième siècle jusqu’un nouveau domaine à la fin de siècle qui estompe la distinction rigide crue être en place tout au long de la période victorienne.

Daughters of Lilith : transgressive femininity in Bram Stoker’s late gothic fiction

Daughters of Lilith: Transgressive Femininity in Bram Stoker’s Late Gothic Fiction explore le thème de la transgression féminine dans quatre romans gothiques de Bram Stoker. En combinant les études féministes et les études de genre, cette thèse examine les différents visages de la dissidence féminine à travers Dracula (1897), The Jewel of Seven Stars (1903), The Lady of the Shroud (1909) et The Lair of the White Worm (1911). Dans ces textes, la transgression est incarnée par la femme hystérique, la mère monstrueuse, la femme exotique et la New Woman. De plus, le traitement de ces stéréotypes féminins révèle une certaine tolérance envers la dissension féminine chez l’auteur. Souvent perçu comme un écrivain conservateur, Stoker est plutôt qualifié de progressiste dans cette thèse. L’inclusion de personnages féminins forts et déterminés à travers ses romans ainsi que ses rapports avec plusieurs féministes et proto-féministes dans sa vie privée témoignent de sa libéralité envers les femmes. Sa largeur d’esprit semble d’ailleurs évoluer tout au long de sa carrière ainsi qu’avec la progression du mouvement suffragiste britannique, une période mouvante à la fin du dix-neuvième et au début du vingtième siècle.

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.

Classed femininity, performativity, and camp in British structured reality programming

This article explores the representations and tonal qualities of British “structured reality” programming. Focusing on The Only Way Is Essex and Made in Chelsea, it investigates their glocalizing of the model established by MTV’s Laguna Beach and The Hills. It argues that while they blur boundaries between docusoap, drama, and soap opera, the British programs also recognize and foreground issues of construction for their reality TV-literate youth audience. It suggests the programs play a key role in their respective channel identities and the ideologies of British youth television, connecting to larger issues of class, gender, and taste. This is articulated through their regional and classed femininities, with the article exploring how the programs draw on classed ideologies surrounding “natural” and “excessive” femininities and of the role of this in their engagement with construction and camp play. This play contributes to the tonal shift offered by the British programs, mixing the melodrama of the MTV programs with a knowing, at times comic edge that can tip into mockery. In doing so, the programs offer their audience a combination of performative self-awareness and emotional realism that situates them clearly within British youth television