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Hamman, Jaco J. "RECLAIMING CARITAS IN A HYPER-MASCULINE WORLD." Journal of Pastoral Theology 17, no. 2 (October 2007): 29–36. http://dx.doi.org/10.1179/jpt.2007.17.2.003.
Maaranen, Anna, and Janne Tienari. "Social media and hyper‐masculine work cultures." Gender, Work & Organization 27, no. 6 (April 23, 2020): 1127–44. http://dx.doi.org/10.1111/gwao.12450.
Goltz, Dustin Bradley. "Laughing at Absence:InstinctMagazine and the Hyper-Masculine Gay Future?" Western Journal of Communication 71, no. 2 (June 4, 2007): 93–113. http://dx.doi.org/10.1080/10570310701348783.
Lewis, Shakira. "Hyper Sexual, Hyper Masculine? Gender, Race and Sexuality in the Identities of Contemporary Black Men." Sociology of Race and Ethnicity 1, no. 4 (August 10, 2015): 588–89. http://dx.doi.org/10.1177/2332649215597202.
Han, C. Winter. "Hyper sexual, hyper masculine? Gender, race and sexuality in the identities of contemporary black men." Ethnic and Racial Studies 39, no. 8 (October 23, 2015): 1511–13. http://dx.doi.org/10.1080/01419870.2015.1106004.
Callander, Denton. "Hyper sexual, hyper masculine? Gender, race and sexuality in the identities of contemporary black men." Sex Education 16, no. 4 (September 30, 2015): 451–53. http://dx.doi.org/10.1080/14681811.2015.1091215.
Martin, Diane M., John W. Schouten, and James H. McAlexander. "Claiming the Throttle: Multiple Femininities in a Hyper‐Masculine Subculture." Consumption Markets & Culture 9, no. 3 (August 20, 2006): 171–205. http://dx.doi.org/10.1080/10253860600772206.
An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound.
The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films.
The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism.
As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.
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Eshref, Bener. "The white hyper-sexualized gay male: a lack of diversity in gay male magazines." 2009. http://hdl.handle.net/2429/7117.
The gay male community has traditionally been a marginalized population struggling for acceptance within the larger international frame. However since the development of gay magazine publications in the 1990s images of the gay male have been more widely spread throughout mainstream society. This study explores how race, age, body image, and sexuality are stereotyped to represent one standard image of the gay male as found in Western gay magazine publications. This is a quantitative media
analysis, examining images, covers and advertisements in gay male magazines over a period of four years. By engaging in relevant theoretical discourses, empirical evidence, and scholarly research, this study critically analyzes how the gay identity is mediated by both the mainstream and gay publications. Results from the analysis points to wide spread discrimination within gay publications targeted at all gay minorities, which could have detrimental effects on the gay community.
Books on the topic "Hyper-masculine":
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Slatton, Brittany C. Hyper Sexual, Hyper Masculine? Routledge, 2020.
Spates, Kamesha, and Brittany C. Sla. Hyper Sexual, Hyper Masculine?: Gender, Race and Sexuality in the Identities of Contemporary Black Men. Taylor & Francis Group, 2014.
Langenberg, Amy Paris. Buddhism and Sexuality. Edited by Daniel Cozort and James Mark Shields. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198746140.013.22.
In surveying the discursive landscape of ancient, classical, and medieval Indo-Tibetan Buddhist sexual ethics, this chapter takes a Foucauldian approach that holds Buddhist sexual norms and ideals to be an evolving discourse productive of a wide variety of sexual persons. It focuses on the manner in which Buddhist sexual ethics foster states of self rather than Buddhist ethics as a universally applicable set of moral obligations. Topics considered include the theory and practice of brahmacarya, representations of the Buddha as hyper-masculine, the sexual upāyas of bodhisattvas as articulated in Mahāyāna teachings, the revalorization of sexual union as a yogic practice in medieval Indian and Tibetan Tantra, and articulations of lay ethics in the scholastic traditions of classical and medieval India and Tibet. This chapter also contextualizes instances of sexual abuse in contemporary Western Buddhist saṅghas and notes the emergence of a distinctive queer Buddhist discourse.
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Maree, Claire. queerqueen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190869618.001.0001.
Queerqueen examines the editing and writing of queer excess into Japanese popular culture through mediatization of queerqueen styles. The book illustrates how a diversity of gender identifications, sexual orientations, and discursive styles are packaged together as if to form a homogenous character—the queerqueen. In a range of genres from conversational dialogue books to lifestyle television and animations, queerqueen styles are configured as crossing into popular media via the body of the authentically “queer male,” whose “authentic” speech is produced spontaneously without scripting. Editorial interventions enacted through the collaborative language labor of stenographers and record makers, graphic designers and illustrators, and editorial teams (re)trace the sonic qualities of the queerqueen. Through visual mimesis, contemporaneous citational practices, and the mobilization of nostalgia, queerqueen styles are enregistered as talk that is inherently excessive and in need of containment. Editorial acts of containment such as self-censorship simultaneously expose the sexualized nature of gendered norms of talk in Japanese. It is also here that possible spaces for dissent open up through contestation of the limits to excess. The visual and sonic crossings of gender norms unsettle heteronormative mapping of speech styles onto statically gendered bodies. Strategic use of a variety of linguistic resources such as hyper-masculine forms and hyper-politeness exposes the veneers of technologies that seek to regiment excess. Analysis of the inscription of queerqueen styles reveals metapragmatic stereotypes of gender, sexuality, and desire that are essential to the business of mainstream entertainment.
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Jump, Deborah. The Criminology of Boxing, Violence and Desistance. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529203240.001.0001.
There is an assumption in criminal justice that boxing will immediately work to reduce offending among young men. Many practitioners cite discipline and respect as the desisting elements inherent in a boxing gym. Undoubtedly, these discourses do exist, yet, what if the discipline and the respect garnered in the gym are used for other purposes that are not always conducive to the desistance process? This book will unpick how effective boxing actually is in reducing violent attitudes, and how to ensure that the messages in the gym environment do not support negative attitudes often found outside the ring. Using classic desistance literature (Giordano 2002; Maruna 2001), I make suggestions that are grounded in evidence and theory. Using case studies, and life history interviewing drawn from a psychosocial perspective (Jefferson and Hollway 2000; Gadd 2007; Maruna 2001), this book builds on techniques that uncover the more clandestine reasons for choosing boxing. Working within this psychosocial framework, the desire and the appealing nature of boxing, more often than not, comes from a place of anxiety rather than strength. I will present arguments that suggest boxing’s appeal lies in its capacity to develop ‘physical capital’ (Wacquant 2004), and prevent repeat victimisation. Using case studies, I will reveal stories of men’s victimhood, either via gang violence, domestic violence, or structural disadvantage. I will tell the story of how boxing reshaped their identities and self-concepts, and how the gym came to represent a fraternity and a ‘island of stability and order’ (Wacquant 2004). Additionally, I will present arguments that suggest that boxing is not a panacea for all social ills, and while it has its benefits, it also has a darker side that is coterminous with hyper- masculine discourses of violence, respect, and avoidance of shame.
Book chapters on the topic "Hyper-masculine":
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Brown, Geraldine, and Paul Grant. "Hear Our Voices: We’re More than the Hyper-Masculine Label—Reasonings of Black Men Participating in a Faith-Based Prison Programme." In New Perspectives on Prison Masculinities, 145–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-65654-0_7.
Stevens, J. Richard. "Exploring the Monstrous Feminist Frame: Marvel’s She-Hulk as Male-Centric Postfeminist Discourse." In Monstrous Women in Comics, 31–50. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827623.003.0003.
This chapter shows in the various portrayals of She-Hulk the paradoxes of female agency in a hyper-masculine sphere. She-Hulk is nearly always a giant green woman, but her monstrosity varies depending on the space she occupies. Despite consistently having superhuman powers and a law degree, the varied portrayals of the transformed, incredibly strong She-Hulk and her alter-ego Jen Walters reveal the tenuous agency of a woman in hyper-masculine public spaces, both in the text and in culture more broadly.
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Stark, Jessica. "My Most Secret Boredom." In The Comics of Julie Doucet and Gabrielle Bell, 23–44. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.003.0002.
Comparing a Tintin episode, "The Broken Ear, "with Julie Doucet’s "A Day in Julie Doucet’s Life, "this essay analyze show Doucet's story telling provides a countering perspective to the hyper-masculine, action-motivated crime narratives from the Tint in comics series. In contrast to Hergé’s attention to public space and deliberate objects, Doucet’s visual work explores the home, privacy, disorder, and female boredom. Her text highlights the unintelligible and its gendered significations, offering an example of what a "boring" story can expose. Considering the varying serialities of Hergé's and Doucet’s works, this chapter considers the potential for gendered domains of waiting, in coherence, and the everyday ordinary.
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Naepi, Sereana. "“I Didn't Come to Play”." In Advances in Religious and Cultural Studies, 52–69. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3618-6.ch004.
Pasifika women in the academy face many of the same challenges as other racialised women working in universities. At the intersection of race and gender, we experience the white and masculine imprints of higher education. These imprints lead to Pasifika women experiencing excess labour, infantilization, hyper-surveillance, stranger making, expectations of intelligibility, and desirable diversity. In spite of this daily onslaught Pasifika, women continue to work and engage in higher education and the question needs to be asked: Why? This chapter explores these experiences and more importantly the motivations of Pasifika women to continue to engage with higher education in spite of the systemic exclusion they face.
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Crouch, David. "The Insurgent Woman." In The Chivalric Turn, 149–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198782940.003.0008.
Conduct literature concerning women is frequently adversarial and assumes women are trying to escape male control, and it can range from casually misogynistic to the extreme anti-feminism of clerical tracts. Since European society allowed woman a social role in court and hall and interchange was common between sexes in public, intersexual relations were a major stress point in courtly society, and conduct literature directed at women in society was extensive. Tracts identify the dangers of social interchange, not least the narcissism and predatory nature of male behaviour. Defences were available to vulnerable women in dress, in limiting access, and in the model of the preudefemme, while a new one of ostentatious hyper-religiosity grew up as a response to the emerging masculine hypermorality of Chivalry.
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"Power, Control and Coercion: Exploring Hyper-Masculine Performativity by Private Guards in a Psychiatric Ward Setting." In Power and the Psychiatric Apparatus, 82–112. Routledge, 2016. http://dx.doi.org/10.4324/9781315601816-11.
Junior, Nyasha, and Jeremy Schipper. "But Some of Us Are Strong Believers in the Samson Myth." In Black Samson, 84–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190689780.003.0007.
The African American women discussed in this chapter use the Black Samson tradition to focus on the complex intersections of race and gender. From the Harlem Renaissance to the Black Arts movement, the major artistic and literary movements that helped shape African American culture throughout the twentieth century involved women who found something in Samson’s story that resonated with them deeply. One might think that the story of a hyper-masculine biblical hero would not provide much material for reflections upon the intersections of race and gender in America. Yet, from the playful audacity of Christina Moody’s claim that she could defeat Jack Johnson to the painful predictions from Gaza in Lucille Clifton’s poem dedicated to Ramona Africa, the twentieth century witnessed African American women claiming a place within the Black Samson tradition.
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Scolieri, Paul A. "Seven Magic Years." In Ted Shawn, 285–364. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0006.
This chapter focuses on the “seven magic years” of Ted Shawn and His Men Dancers (1933–40), the first all-male dance company that performed a repertory of hyper-masculine dances throughout the college and sorority circuits in the Depression-era United States. It elucidates the groundbreaking company’s history through details from the correspondence between Shawn and Lucien Price, an editor at the Boston Globe and one of the earliest and most vital supporters of Shawn’s all-male experiment. Price mentored Shawn in the codes of gay history, culture, and literature, all of which made their way into Shawn’s choreography. Based on details from Price’s private journals, the chapter reveals their shared vision and pursuits to liberate societal attitudes toward homosexuality. It also explores Shawn’s ongoing attempts to gain critical attention within the sphere of modern dance, especially from New York Times dance critic John Martin.
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McGaughey, Jane G. V. "Dismemberment at Windmill Point." In Violent Loyalties, 201–26. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621860.003.0008.
This chapter analyses events before, during, and after the 1838 Battle of the Windmill in Upper Canada. It explores how masculine imagery informed the manner in which the Irishmen fighting at Windmill Point were perceived by their peers, their enemies, and amongst themselves. It pays particular attention to local Orangemen who fought in the battle and how that hyper-masculinized and often violent Irish fraternity positioned itself within the frameworks of loyalism, social ascendancy, and imperial defence. In trying to prove their loyalty and gain social respectability within the colony, many of the Irishmen fighting at the windmill ended up reinforcing some of the more basic and crude stereotypes about their ethnicity and gender. The chapter includes gendered analyses of the mutilations that occurred during the battle, and closes by comparing how punishments against rebels in 1838 mirrored those from the 1798 Irish Rising.
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Guarneri, Michael. "Female Vampires." In Vampires in Italian Cinema, 1956-1975, 77–106. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.003.0004.
The chapter zooms in on the cultural instrumentality of the vampire metaphor in Italy by studying Italian-made vampire movies as struggles for gender definition and domination that reflect the zeitgeist of post-war Italy, when a perceived decline in masculine authority due to the vicissitudes of World War Two, the hardships of reconstruction and the post-1958 neocapitalist consumerism went hand in hand with women’s ever-increasing challenges to traditional gender roles. The chapter argues that the female vampires of Italian horror are not simplistically villainous, power-hungry sexual predators that misogynistic-reactionary narratives put to death as a punishment for attempting to subvert the patriarchal status quo. They also are empathy-inducing characters caught between rebellion and hyper-identification with traditional values: victims returning from the grave to seek revenge against their male oppressors, and tragic lovers dreaming of a monogamous heterosexual relationship that looks strangely similar to marriage.
