Bibliografie tematiche / Chinese masculinities

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Letteratura scientifica selezionata sul tema "Chinese masculinities"

Autore: Grafiati
Pubblicato: 3 aprile 2025

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Articoli di riviste sul tema "Chinese masculinities"

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Williams, Bryn. "Chinese Masculinities and Material Culture". Historical Archaeology 42, n. 3 (settembre 2008): 53–67. http://dx.doi.org/10.1007/bf03377099.

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Jenkins, Tim. "Book Review: Chinese femininities/Chinese masculinities: a reader". Progress in Development Studies 4, n. 2 (aprile 2004): 155–56. http://dx.doi.org/10.1191/1464993404ps084xx.

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Jiang, Jiani, Bruce A. Huhmann e Michael R. Hyman. "Emerging masculinities in Chinese luxury social media marketing". Asia Pacific Journal of Marketing and Logistics 32, n. 3 (20 novembre 2019): 721–45. http://dx.doi.org/10.1108/apjml-07-2018-0256.

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Abstract (sommario):
Purpose The purpose of this paper is to investigate masculinity in Chinese social media marketing for global luxury fashion brands through two studies. Design/methodology/approach Study 1 compares physical characteristics of males in visually oriented US (Instagram) and Chinese (Weibo) social media posts promoting global luxury fashion magazine brands (e.g. Vogue, Cosmopolitan, GQ and Esquire). Study 2 examines the prevalence of and Chinese consumers’ responses (reposts, comments and likes) to different masculinities depicted in luxury fashion brand-sponsored Weibo posts. Findings Male portrayals for Chinese audiences feature more characteristics associated with emerging East Asian hybrid masculinities – “Little Fresh Meat” (LFM) and “Old Grilled Meat” (OGM) – than associated with global or regional hegemonic masculinity (i.e. the scholarly Wén and action-oriented Wu). Wén remains common in social media posts for luxury fashion goods, but LFM and OGM engender more consumer responses. Practical implications Chinese luxury fashion marketing depicts masculinity more similarly to other East Asian marketing than to Western marketing. Some luxury fashion brands are struggling for acceptance among Chinese youth. Luxury fashion marketers should incorporate hybrid rather than hegemonic masculinities to prompt more favorable responses among Chinese consumers, especially younger female target markets. Originality/value Growing female occupational and consumer power and shifting male employment from blue-collar to white-collar jobs have influenced media portrayals of masculinity. Social media marketing for luxury fashion brands demonstrates the prevalence and appeal of hybrid masculinities in China.
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_, _. "Representation of Diasporic Chinese Wen Masculinities in A Native of Beijing in New York and A Free Life". Journal of Chinese Overseas 14, n. 1 (23 aprile 2018): 5–21. http://dx.doi.org/10.1163/17932548-12341365.

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Abstract This article mainly draws on Kam Louie’s wen/wu paradigm of Chinese masculinities and R. W. Connell’s concept of hegemonic masculinity to examine the representation of diasporic Chinese wen masculinities in the popular Chinese television drama A Native of Beijing in New York and Ha Jin’s novel A Free Life. The article argues that the two texts suggest there is no monolithic and static diasporic masculinity among contemporary immigrant Chinese wen men in the US; rather, immigrant Chinese wen men are constantly negotiating, forming and performing their diasporic masculinity according to their specific financial conditions, personal aspirations, as well as the economic situations in China.
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Zhang, Xiaoxiao. "Narrated oppressive mechanisms: Chinese audiences’ receptions of effeminate masculinity". Global Media and China 4, n. 2 (16 aprile 2019): 254–71. http://dx.doi.org/10.1177/2059436419842667.

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Masculinities are widely believed to be oppressive mechanisms for men, but a detailed, systematic picture of these concrete mechanisms is largely lacking. The present analysis of audience reception illustrates four oppressive mechanisms of effeminate-masculinity acting on straight men: normative conceptualization, emotional distancing, discursive stigmatization, and behavioral punishment. The sub-dimensions of these four oppressive mechanisms are also discussed, particularly emotional aversion, patriarchal contempt, stigmatic labeling, essentialist classification, and isolation. Moreover, the symbolic codes of hegemonic masculinity and effeminate masculinity in the Chinese context are explicated. Based on the analysis, flight from the feminine is the core characteristic of Chinese hegemonic masculinity and the source of discrimination against effeminate masculinity. These oppressive mechanisms found in the Chinese context can enrich understanding of the broad literature on masculinities. It is highly possible that the narrated mechanisms also exist in the reception of masculinities in other cases. The clear pattern found in the present case, therefore, is meaningful and relevant for future studies.
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Hird, Derek. "Moral Masculinities: Ethical Self-fashionings of Professional Chinese Men in London". Nan Nü 18, n. 1 (1 novembre 2016): 115–47. http://dx.doi.org/10.1163/15685268-00181p05.

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Through qualitative interviews and examination of textual sources, this essay investigates the gendered, class and cultural subjectivities of transnational, highly-educated Chinese men living and working in London. Narrative analysis of the interviews of two participants suggests that they exhibit hybrid “bricolage masculinities,” which incorporate elements from Western educational and corporate cultures, and also appropriate concepts and practices from the Confucian tradition of moral self-cultivation. A discussion of contemporary texts that support the revival of Confucian masculinities illuminates the discursive context in which the participants’ ethical self-fashionings take place. The study argues that the cosmopolitan yet culturally embedded masculinities of the participants are suggestive of how professional Chinese men, as they step onto the world stage, seek to insert themselves more advantageously into local and global power relations of gender, class and nation.
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Lowe, John, Máirtín Mac an Ghaill e Chris P. Haywood. "The Cultural (Re)production of Masculinities". Asian Journal of Social Science 44, n. 4-5 (2016): 600–625. http://dx.doi.org/10.1163/15685314-04404007.

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In Asian societies, the framing of contemporary masculinities and femininities remains under-theorised. This article critically examines the interplay between schooling, Indonesian Chinese ethnicity and the (re)production of male entrepreneurial masculinities manifested in teenage boys’ sexual/gender subjectivities and identity formation. The qualitative data obtained from an anonymous Chinese-Christian majority international school in Indonesia’s capital city, Jakarta, illustrate how patrimonial practice, in conjunction with repudiations and identifications in an elite educational environment shape gender and specific ways of being male that also “speak” Chineseness. This exploratory case study aims to contribute a theoretically-led empirical intervention which locates Chinese ethnicity and masculinity within their socio-cultural schooling specificities as a prelude to discussing new directions for researching gendered ethnicity and education in Indonesia.
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Yiu Fai Chow. "Martial Arts Films and Dutch–Chinese Masculinities". China Information 22, n. 2 (luglio 2008): 331–59. http://dx.doi.org/10.1177/0920203x08091549.

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Louie, Kam. "Chinese Femininities/Chinese Masculinities: A Reader. Susan Brownell , Jeffrey N. Wasserstrom". China Journal 50 (luglio 2003): 167–68. http://dx.doi.org/10.2307/3182265.

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Chow, Yiu Fai. "Book review: Chinese Masculinities in a Globalizing World". China Information 29, n. 3 (novembre 2015): 402–4. http://dx.doi.org/10.1177/0920203x15611873b.

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Tesi sul tema "Chinese masculinities"

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Chiu, Chun-huang, e 邱春煌. "Repression and Identification: Mapping Chinese Masculinities in Farewell to My Concubine". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/44842940836539871618.

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Abstract (sommario):
碩士
靜宜大學
英國語文學系研究所
92
Farewell to My Concubine is originally a Chinese opera, in which a concubine commits suicide to show her loyalty to her defeated lord. But Lilian Lee and later Chen Kaige appropriated it by making the protagonist Dieyi loyal to himself only. Dieyi is delivered to an opera school by his courtesan mother when he is a boy. During his apprenticeship there, he is forced to play the roles of women because the master considers him as having the "potential" to take up this task. He becomes famous for playing the role of the aforementioned concubine, to the extent that offstage he lives like her and falls in love with his brother Xiaolou, who plays the lord. Xiaolou, by contrast, is a masculine man who can distinguish well between onstage performance and offstage life. He marries a courtesan named Juxian, whose advent poses a threat to Dieyi and his bond with Xiaolou. A love triangle is then unfolded in the name of loyalty and ends with betrayal. At length, Dieyi is able to recognize that the play "had all been a fake" and that "[h]e would not die for love." From the three persons, we may find that the force of culture is in play. Dieyi is a man who wants to learn to be feminine; Xiaolou is a man who wants to learn to be heroic; and Juxian is a courtesan who wants to learn to be loyal. Their role models are all created by men in accordance with a Confucian order-based system, which may hark back to both nature and childhood experience. This thesis attempts to first find out how culture appropriates nature, and then to examine how culture initiates the boy into manhood, as well as how culture constrains and excludes woman and the homosexual. The Chinese order-based system, constituted principally by three levels of persons—the patriarch at the center, the all-men''s group as the framework, and woman and the homosexual on the edge, assigns every person a task according to his or her sexuality. Immersed in a group aura that is an ensemble of leadership, brotherhood and traditions, man acts according to ren and yi and achieves wen and wu in order to continue to rule. Meanwhile, excluded by the group aura are both woman, who is required to be obedient and homebound, and the homosexual, who cannot fit into either gender straitjacket. This thesis, by exploring the system from the inside to the outside, aims to seek an approach to examining Chinese masculinities, to deconstruct the gender high wall, and to make some contributions to the Chinese sex/gender studies.
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Libri sul tema "Chinese masculinities"

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Susan, Brownell, e Wasserstrom Jeffrey N, a cura di. Chinese femininities, Chinese masculinities: A reader. Berkeley: University of California Press, 2002.

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Chinese Femininities Chinese Masculinities. University of California Press, 2002.

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Kam, Louie, a cura di. Changing Chinese Masculinities. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208562.001.0001.

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Hinsch, Bret. Masculinities in Chinese History. Rowman & Littlefield Publishers, Incorporated, 2013.

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Hinsch, Bret. Masculinities in Chinese History. Rowman & Littlefield Publishers, Incorporated, 2013.

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Masculinities In Chinese History. ROWMAN & LITTLEFIELD, 2013.

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Brownell, Susan, e Jeffrey N. Wasserstrom. Chinese Femininities/Chinese Masculinities: A Reader. University of California Press, 2002.

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8

Louie, Kam. Chinese Masculinities in a Globalizing World. Taylor & Francis Group, 2014.

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Louie, Kam. Chinese Masculinities in a Globalizing World. Routledge, 2014. http://dx.doi.org/10.4324/9781315884646.

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Louie, Kam. Chinese Masculinities in a Globalizing World. Taylor & Francis Group, 2014.

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Capitoli di libri sul tema "Chinese masculinities"

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Lei, Jun. "Modern Intellectual Masculinities in Transformation". In A World History of Chinese Literature, 277–87. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003167198-30.

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Ng, How Wee. "Working-Class Masculinities in Postsocialist Chinese Television: Mediating (Im)potency and Reproducing Transnational and Localised Inequalities". In Border Masculinities, 21–43. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-68050-2_2.

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Brownell, Susan, e Jeffrey N. Wasserstrom. "Introduction: Theorizing Femininities and Masculinities". In Chinese Femininities/Chinese Masculinities, 1–42. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-003.

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"Index". In Chinese Femininities/Chinese Masculinities, 451–62. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-030.

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Larson, Wendy. "6. The Self Loving the Self: Men and Connoisseurship in Modern Chinese Literature". In Chinese Femininities/Chinese Masculinities, 175–94. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-012.

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"Contributors". In Chinese Femininities/Chinese Masculinities, 447–50. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-029.

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Jankowiak, William. "14. Proper Men and Proper Women: Parental Affection in the Chinese Family". In Chinese Femininities/Chinese Masculinities, 361–80. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-024.

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"Introduction". In Chinese Femininities/Chinese Masculinities, 287–90. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-019.

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Laqueur, Thomas. "Foreword". In Chinese Femininities/Chinese Masculinities, xi—xiv. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-002.

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"Introduction". In Chinese Femininities/Chinese Masculinities, 195–98. University of California Press, 2003. http://dx.doi.org/10.1525/9780520935303-013.

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