AbstractDo elites exhibit gender bias when responding to political aspirants? Drawing on theories of gender bias, group attachment, and partisan identity, I conduct the first audit experiment outside the United States to examine the presence of gender bias in the earliest phases of the political recruitment process. Based on responses from 1,774 Canadian legislators, I find evidence of an overall gender bias in favor of female political aspirants. Specifically, legislators are more responsive to female political aspirants and more likely to provide them with helpful advice when they ask how to get involved in politics. This pro-women bias, which exists at all levels of government, is stronger among female legislators and those associated with left-leaning parties. These results suggest that political elites in Canada are open to increasing female political representation and thus should serve as welcome encouragement for women to pursue their political ambitions.
The purpose of these Critical Perspectives is to consider gender gaps in politics with a specific focus on men, as opposed to the traditional focus on women. The study of gender and politics implies the gendered study of both sexes, yet very little scholarship within this large body of research has men as its primary object of study. We argue that a critical focus on men is necessary to understand the nature of male dominance, the way that male power is wielded and perpetuated, and the negative effects this has for politicians and citizens of both sexes. Reframing the question of gender and representation permits the identification of new research agendas focusing explicitly on men's dominance in politics rather than women's marginalization or underrepresentation. New questions and research areas within the field of gender and politics are invoked, and these essays will demonstrate that the study of men, masculinities, and politics is fertile ground for research, requiring much greater exploration.
En este artículo se discuten algunos elementos teóricos y empíricos sobre la noción deidentidad, juventudes y experiencia para problematizar la existencia de un sujetoepistemológico y político de juventudes de minorías sexuales y de género (JMSG) desdela articulación de las normas del género, sus discursos y sus fuerzas institucionales.Se discuten las posibilidades de existencia de este sujeto y se recupera la noción deensamblajes afectivos, para trabajarla en su cruce con la vida en línea que nosproporcionan las tecnologías de la información y comunicación (TIC), para identificaruna topografía y una estética específica de intervención psicosocial con grupos de estasminorías, bajo el afán de construir y de reconocer su sujeto epistemológico y político,y así proponer formas de acción política que atiendan sus necesidad y sus demandas. ; This article discusses some theoretical and empirical elements on the notion of identity,youths and experience to problematize on the existence of an epistemological andpolitical subject of sexual and gender minority youths stemming from the articulationof gender norms, its discourses and institutions. The implications of the existence of thissubject are discussed and the notion of affective assemblages is recovered, to discussits intersection with online life through the use of information and communicationtechnologies (ICT) in order to identify the specific topography and aesthetic ofpsychosocial intervention with these minorities, with the intent of building andrecognizing an epistemological and political subject, as well as propose forms of politicalaction that can attend their needs and demands.
Household gender roles influence infant and young child feeding behaviours and may contribute to suboptimal complementary feeding practices through inequitable household decision‐making, intra‐household food allocation and limited paternal support for resources and caregiving. In Igabi local government area of Kaduna State, Nigeria, the Alive & Thrive (A&T) initiative implemented an intervention to improve complementary feeding practices through father engagement. This study describes household gender roles among A&T participants and how they influence maternal and paternal involvement in complementary feeding. We conducted 16 focus group discussions with mothers and fathers of children aged 6–23 months in urban and rural administrative wards and analysed them using qualitative thematic analysis methods. Most mothers and fathers have traditional roles with fathers as 'providers' and 'supervisors' and mothers as 'caregivers'. Traditional normative roles of fathers limit their involvement in 'hands‐on' activities, which support feeding and caring for children. Less traditional normative roles, whereby some mothers contributed to the provision of resources and some fathers contributed to caregiving, were also described by some participants and were more salient in the urban wards. In the rural wards, more fathers expressed resistance to fathers playing less traditional roles. Fathers who participated in caregiving tasks reported respect from their children, strong family relationships and had healthy home environments. Our research findings point to the need for more context‐specific approaches that address prevalent gender normative roles in complementary feeding in a variety of settings.
Studies have found a stronger association between anger and posttraumatic stress disorder (PTSD) severity in military populations than in nonmilitary populations. Two hypotheses have been proposed to explain this difference: Military populations are more prone to anger than nonmilitary populations, and traumas experienced on deployment create more anger than nondeployment traumas. To examine these hypotheses, we evaluated the association between anger and PTSD severity among never-deployed military service members with nondeployment traumas (n = 226) and deployed service members with deployment traumas (n = 594) using linear regression. We further examined these associations stratified by gender. Bivariate associations between anger and PTSD severity were similar for nondeployment and deployment events; however, gender modified this association. For men, the association for deployment events was stronger than for nondeployment events (β = .18, r = .53 vs. β = .16, r = .37, respectively), whereas the reverse was true for women (deployment: β = .20, r = .42 vs. nondeployment: β = .25, r = .65). Among men, findings supported the hypothesis that deployment traumas produce stronger associations between PTSD and anger and are inconsistent with hypothesized population differences. In women, however, there was not a clear fit with either hypothesis.
In Peru, the adoption of a new school curriculum based on gender equality and nondiscrimination against sexual minorities led to the mobilization in 2016 of organizations connected to conservative churches under the slogan Con Mis Hijos No Te Metas (Don't Mess with My Children). This new countermovement uses street protests, the courts, and Congress to disseminate an antigender agenda that goes beyond its initial opposition to sexual education. Organizations in the countermovement consider the concept of gender to be a dangerous imperialist ideology, arguing that the state violates individual freedoms when it uses gender as one of the pillars of public policy.
This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist. ; Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l'espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l'égard des problématiques d'identité, de sexualité, ...
This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist. ; Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l'espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l'égard des problématiques d'identité, de sexualité, ...
This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist. ; Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l'espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l'égard des problématiques d'identité, de sexualité, ...
This article examines young Muslim women's dissident mentalities, practices, and subjectivities that confront the epistemological conditions whereby right-wing populist (RWP) gender politics operates in Turkey. Relying on frame theory in social movement research and the Foucauldian approach to resistance, dissent, and protest, it explores Muslim feminist critique of RWP gender discourse mainly with a focus on the following issues: (i.) Instrumentalization of the headscarf, (ii.) familialist policies, and (iii.) violence against women and the Istanbul Convention (the Convention on Preventing and Combating Violence Against Women and Domestic Violence). As a result, it demonstrates that young Muslim women's dissident mentalities and subjectivities generate a new "political project", i.e., a set of new meanings and social goals directed at bringing about social change, which comes into being through the act of resistance against RWP gender grammar and carves out new forms of knowledge reclaiming the Islam–gender nexus for a progressive feminist agenda.
학위논문(석사)--서울대학교 대학원 :인문대학 협동과정 비교문학전공,2019. 8. 강우성. ; In this thesis, I examine the complicated way in which gender and sexuality are articulated through the representation of artificial women in two recently released science fiction films, Ex Machina (2015) and Under the Skin (2013). Both films ask similar questions of what it means to be a human/woman by tapping into science fiction tradition to explore the construction of gender through speculated bodies. While these two cinematic texts may initially seem to focus on the different aspect of artificial women, they ultimately re-purpose science fiction trope that profoundly restricts conception of femininity. Both films explore a new way in which artificial women possess a revolutionary potential to reveal the ambivalent nature of femininity. Attention to the construction of artificial women has the potential to reveal the ways in which feminine gender is idealized, controlled and consumed in our culture. The first chapter introduces the landscape of science fiction genre by examining and problematizing the dominant representation of artificial women within the aspect of cultural instrumentality. My enquiry draws mainly from cyborg feminist theories, feminist theories, and utilize feminist film critiques, regarding the construction and performance of gender, and transference of sexist stereotypes to artificial women while exploring the cinematic framing between the genders. In the following chapter on Alex Garland's Ex Machina, I investigate the construction and the spectacle of Ava/Machine's body and the imposition of gender role as well as entrapment of male fantasy. Ava's body is introduced as a part woman and in other parts as a machine, offering a compelling critique of how to think about the constructed nature of femininity. The next chapter is on Jonathan Glazer's Under the Skin. In contrast to Ava, the Woman/Alien's body already appears in a complete form from the very start. The visual process of gendering is more straightforward in the film, allowing the narrative to focus on the development of female consciousness than following the physical transformation into womanhood. ; 이 논문은 공상과학 영화에서 나타난 인조 여성을 대상으로, 최근에 개봉되어 많은 관심을 받은 영화 와 을 중심으로 분석한다. 공통적으로, 이 영화들은 모호한 신체를 통해 젠더 구조를 탐구하는 공상과학적 통념을 바탕으로, 인간/여성이란 과연 무슨 의미를 지니고 있는지에 대한 공통적인 질문을 던지고 있다. 이 작품들은 인조 여성의 재현에 대한 각기 다른 측면에 초점을 맞춘 것처럼 보일 수 있으나, 여성성의 개념을 제한하는 공상과학적 비유를 재설정하고 있으며, 더 나아가 여성성의 양면적인 본질을 드러내는 혁명적인 가능성을 내포하고 있다. 또한, 인조 여성의 실체에 주목하는 것은 대중문화에서 여성 젠더가 어떻게 형상화되고 통제되었으며, 어떠한 방식으로 대중들에게 소비되었는지 파악할 수 있는 방향을 제시하고 있다.따라서, 본 논문의 1장은 '문화 매개체' (cultural instrumentality)라는 개념을 통해서 인조 여성에 대한 통상적 관념에 대한 문제 제기 하는 방법으로 전반적인 공상과학 장르의 소개하며, 2장에서 알렉스 갈랜드의 의 분석을 통해 에이바/기계 몸의 형성, 젠더의 역할, 그리고 인조 여성에 대한 남성 판타지에 대해 설명했다. 반인/반기계적인 신체로 묘사되는 에이바의 몸은 가공된 여성상의 본질에 대한 고찰의 기회를 제공한다. 다음 3장은 조나단 글레이저의 에 대한 것으로, 극 중 등장하는 여성/외계인은 의 에이바와 다르게 첫 등장에서부터 완벽한 '여성'의 몸을 가지고 있다. 이 영화는 여성으로의 육체 변화보다 자의식의 발전에 초점을 맞춘 해석을 통해, 보다 직접적인 젠더링 시각화를 제시했다. ; 1. Introduction.1 2. Woman from the Machine: Ex Machina.12 2.1 The Spectacle of Ava's Body.12 2.2 The Imposition of Gender Role.16 2.3 Entrapment of Male Fantasy.19 3. The Alien under the Woman: Under the Skin.39 3.1 'Becoming' the Woman.39 3.2 Alien/Woman Subjectivity: The Female Gaze.43 3.3 Body Awareness: Feminine Consciousness. 51 4. Conclusion. 59 Bibliography 62 국문초록 67 ; Master