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Breaking into the Marathon: Women's Distance Running as Political Activism
In: Frontiers: a journal of women studies, Band 40, Heft 2, S. 1-26
ISSN: 1536-0334
The accidental celebritisation of Caster Semenya
In: Celebrity studies, Band 3, Heft 3, S. 283-296
ISSN: 1939-2400
Reading the Catsuit: Serena Williams and the Production of Blackness at the 2002 U.S. Open
In: Journal of sport and social issues: the official journal of Northeastern University's Center for the Study of Sport in Society, Band 29, Heft 3, S. 338-357
ISSN: 1552-7638
During the 2002 U.S. Open, Serena Williams received a great deal of attention for wearing an outfit described as "a body-clinging, faux leather, black cat-suit." It was not necessarily the catsuit itself that the popular media found especially controversial but rather the visibility of her physique the outfit provided. The ways in which Serena Williams, the outfit, and her body were discussed offers a particular site at which to interrogate the production of blackness in 21st-century, U.S. society. This article argues that the processes of differentiation the popular media used to characterize her are located within racialized discourse. By representing Williams through oppositional rhetorics, that is, setting her multiple identities in contradistinction to other women on the tour, accounts concerning her appearance in the catsuit reproduce the hegemonic racialized order in women's tennis.
Manning Up: Modern Manhood, Rudimentary Pugilistic Capital, and Esquire Network'sWhite Collar Brawlers
In: Journal of sport and social issues: the official journal of Northeastern University's Center for the Study of Sport in Society, Band 44, Heft 1, S. 70-92
ISSN: 1552-7638
Debuting in 2013, Esquire Network's first season of White Collar Brawlers features professional-class men with workplace conflicts looking to "settle the score in the ring." In the show, white-collar men are portrayed as using boxing to reclaim ostensibly primal aspects of masculinity, which their professional lives do not provide, making them appear as better men and more productive constituents of a postindustrial service economy. Through this narrative process, White Collar Brawlers romanticizes a unique fusion of postindustrial white-collar employment and the blue-collar labors of the boxing gym. This construction, which Esquire calls "modern manhood," simultaneously empowers professional-class men while limiting the social mobility of actual blue-collar workers. Based on a critical textual analysis that adopts provisional and rudimentary aspects of Wacquant's conception of "pugilistic capital," we contend that Esquire Network has created a show where men are exposed to and sold an image of "modern manhood" that reifies class-based differences and reaffirms the masculine hegemony of white-collar identities.