Добірка наукової літератури з теми "Androgynous people"

Androgynous fashion trends incorporate men’s and women’s clothing elements and are often embraced by individuals who challenge traditional gender norms. This research project aims to explore the reactions of religious individuals to non-binary people wearing androgynous clothing in everyday life. Using a narrative inquiry approach, this research collects interview data to analyze critical issues from the informants’ points of view. Informants were selected through an Outcome-based sampling method from Muslim-majority communities and Islamic college. Examining the responses of community members and students is essential to understand their attitudes toward critical issues better. Research analysis involves two distinct stages. <em>First</em>, it is essential to identify patterns in the data obtained from the two groups of informants based on the derived themes. <em>Second</em>, these patterns must be thoroughly compared with theoretical perspectives to ensure that comprehensive and holistic data is produced. Research indicates that religious individuals and students often share different perspectives regarding non-binary individuals who opt for an androgynous appearance.

Fashion styles are closely related to their social and cultural background. Clothing is a product of materials and ideas. Clothing satisfies people physically and psychologically. Androgynous style is not a recent development; it was, is and will continue to be popular, which is special in fashion history. Androgynous style is prevailing currently. Despite its appearance, androgynous style is closely connected to social and cultural influences, for example, mass media, lifestyles and improvements in production methods in the clothing industry. In this paper, there is a deep examination of androgynous style, the significance of and reasons for its popularity with societies from the past up to today.

Введение. Образ андрогина, начиная с «Пира» Платона, служит осмыслению темы любви, проблемы поиска антропологической цельности. Широкую палитру вариантов осмысления андрогинности дает модернистская литература рубежа ХIX–ХХ вв., в традиции которой вписывается творчество современного писателя Лены Элтанг. Цель – проанализировать воплощение мотива андрогина в романе Л. Элтанг «Каменные клены». Материал и методы. Работа М. Элиаде «Мефистофель и Андрогин, или Тайна целостности», исследования образа андрогина в литературе Серебряного века и философии И. А. Едошиной, Е. С. Турутиной, Н. А. Копыловой, труды Б. М. Гаспарова и И. В. Силантьева о мотивном анализе. Результаты и обсуждение. В «Каменных кленах» андрогинные мотивы проявлены в коллизиях взаимоотношений центральных персонажей Саши Сонли и Луэллина Элдерберри, сводных сестер Саши и Эдны, представлены в нескольких вариантах, включая «интерсексуальные переодевания» (М. Элиаде), жертвоприношение. Обретение любви, обеспечивающее антропологическую и онтологическую полноту бытия, сопряжено с преодолением трудностей (мотивы прохождения испытаний, разгадывания загадок, выбор суженого). Соединение двух людей в гармоничное целое передано через метафорические образы женщины и мужчины: «автор – читатель», «хозяйка гостиницы – постоялец». Л. Элтанг принципиально дистанцируется от телесной семантики мотива андрогина, актуализируя его символический смысл: соединение со второй половиной трактуется как встреча автора со своим читателем, готовым стать соавтором. Заключение. Роман Лены Элтанг «Каменные клены» вписывается в традиционную, начиная с Античности, интерпретацию образа андрогина, выражающего идею «реинтеграции противоположностей» (М. Элиаде), преодоления одиночества, обретения антропологической и онтологической полноты и целостности личности. Андрогинные мотивы раскрывают в романе темы любви и творчества. Обретение Другого и соединение с ним, подобное по сути андрогинности, дает центральным персонажам романа смысл существования. Introduction. Lena Eltang’s novel “Stone Maples” fits into the traditional, since antiquity, interpretation of the androgynous image associated with the idea of “reintegration of opposites” (M. Eliade), the problem of finding the Other to gain the anthropological and ontological completeness and integrity of the individual. The aim is to analyze the semantics of the androgynous motif in L. Eltang’s novel “Stone Maples”. The theoretical and methodological basis of the research is the work of M. Eliade “Mephistopheles and Androgynes”, the research of I. A. Edoshina, E. S. Turutina, N. A. Kopylova, devoted to the image of androgynes in the literature of the Silver Age and philosophy. Results and discussion. In “Stone Maples”, androgynous motifs are manifested in the conflicts between the central characters of Sasha Sonley and Llewellyn Elderberry, the half-sisters of Sasha and Edna. Androgynous motifs are presented in several versions: homosexual attraction, “intersex disguises”, sacrifice, as well as through specific metaphors of connecting two people into a harmonious whole “author-reader”, “hotel hostess-guest”. Finding love, which provides the anthropological and ontological completeness of being, is fraught with difficulties (motives for passing tests, solving riddles, choosing a betrothed). L. Eltang fundamentally distances hirself from the bodily semantics of the androgynous motif, actualizing its symbolic meaning: unity with the second half is interpreted as a meeting of the author with his reader, who is ready to become a co-author. Conclusion. Androgynous motifs reveal the themes of love and creativity in the novel. Only the acquisition of the Other gives the fullness and meaning of existence.

<em><span>The study aims to determine the difference in adolescents ' creativity is reviewed from the role of androgynous and non-androgynous sex. This research uses quantitative methods. The research Data is obtained from sex role scale (BSRI) and Figural test of type B sub Test 3 (circle). The sample in this research is the students of XI SMA Negeri 4 </span><span lang="EN-ID">Sungai Penuh</span><span>. The number of samples in this study was 84 people. The results showed that there was no difference between the creativity of teenagers who had androgynous sex roles and teenagers who had non-androgynous sex roles (P = 0646, p &gt; 0.05). From the results of this study can be concluded that in addition to the sex role factors, psychological safety factor and psychological Freedom factor also determines the development of individual creativity.</span></em>

The aim of the research was to determine the psychological gender against the background of a partner’s support and the spouse’s workplace. The research involved a group of 503 married women and men, including 354 professional soldiers - of who 152 have participated in military missions and 202 work in Poland. The research included also 149 women - 94 wives of soldiers participating in missions and 55 women in relationship with soldiers doing their job in Poland. To collect the data for research the nonprobability snowball and purposive sampling methods have been applied. The research was conducted in 2013. The respondents, in majority showing androgynous characteristics, perceive the support on the part of their families as average or very low. Substantial differences as to the psychological gender and support have been observed in the group of soldiers doing their service in their home country. The feminine men and people with unspecified gender identity seem to receive the lowest support, while the androgynous people and male men experience the highest one. Interesting dispersion of results has been observed - the lowest for the group of feminine men, the highest for the androgynous ones

Androgyny is a gender role that has several positive characteristics such as adaptive coping strategies and less violent viewpoints. To examine the relationship between gender, gender roles, and attitudes towards violence, 161 individuals were administered the Bem Sex Role Inventory and a violence questionnaire. It was hypothesized that a significant number of non-androgynous people would have a great predisposition towards violence. The mean violence score was higher for men than for women, however, there was no difference between androgynous individuals and others. There were no significant interaction effects. Results are surprising when compared to previous research. It may be that more and more people, regardless of their interpersonal style, are moving towards a view which does not condone violence.

Androgyny combines masculine and feminine characters at once. Despite the fact that the way one’s talk, gestures, emotions, interests and talents are indicators of androgyny, fashion or the way they dress has become the main indicator. While the existing literatures deal more on characteristics, behavior, interests and talents, and self-representation through social media, this article is focused on how androgyny men exptress their gender through fashion. This study was conducted in the city of Makassar which involved 12 male college students. They are varied based on age (between 20 and 24 years), and profession (master of ceremony, model, dancer, make up artist, disc jockey). Data was collected using in-depth interview, focus discussion group (FGD), and observation as the primary data sources as well website and social media (i.e. Instagram), as the secondary data sources. The study indicates that androgynous men is not transgender because they did not want to become “like women”, as transgender do. Besides, androgynous men classify themselves higher than transgender, from both appearance and social class. Although androgynous men may express their androgynousness through behavior, interests and talents, fashion is the most significant aspect that indicates a person's androgynousity. Androgynous men express androgyny more through fashion than others because through fashion their existence is easily recognized, as it is combining between masculine and feminine characters. Androgynous fashion is divided into two, less masculine-more feminine and less feminine-more masculine. Whether an androgynous man is more feminine or more masculine, depending on their performance and perception towards what is being performed. The motives of androgynous men are divided into two, the first is “because-to-motive” and “in-order to motive”. While the former includes influencing by peer group, having sense of comfort, feeling self satisfaction, and being professional; the latter consists of expecting to be socially accepted and to be accepted as normal people.

Abstract - Androgynous fashion in Indonesia is becoming known to the public through several androgynous influencers or content creators. They managed to express themselves as androgynous figures on social media, one of which was Instagram. Every influencer has the influence to encourage people, especially their followers to try to follow their lifestyle, or imitate their dress style. The theory used in this study is the theory of Computer Mediated Communication or CMC where the theory is a communication process using computer technology media. This research uses a positivistic paradigm, a quantitative approach, survey methods, and the nature of explanatory research. The total population is 809,000 followers from the @joviadhiguna instagram account and taking samples using the slovin formula with a large 10% error rate, so as to get 100 samples. Data analysis used correlation test, simple linear regression, determination test, and t test. The result of the research is the correlation value is 0.626 (6.26%) then the t_count value is 7.948 above the t_table value of 1.985 with a significance value of 0.00.

Three studies investigated inferences about physically androgynous (PA) people. In Experiments 1 and 2, participants rated the personality, gender-role behavior, occupation, and sexual orientation of male, female, and PA targets in a within-subjects design. Targets were presented in color photos in Experiment 1 and in verbal descriptions in Experiment 2. Experiment 3 used verbal descriptions in a between-subjects design. In all three studies, participants inferred that the traits and behaviors in the PA targets were less gender-typed than those in the male and female targets. Participants also inferred that the PA targets were more likely to be homosexual and less likely to be heterosexual than the male and female targets. These results indicate that people draw conclusions about psychological characteristics from a person's physical appearance, but challenge Brewer's (1988) and Fiske and Neuberg's (1990) descriptions of how gender affects this process. Assumptions about PA people may also reinforce butch/fem stereotypes of lesbians and gay men.

The hypothesis that androgynous people are more satisfied with life than others was tested by administering the Personal Attributes Questionnaire and the Satisfaction with Life Scale to 245 undergraduates (111 men and 134 women). Results strongly supported the tested hypothesis for men but not for women.

This chapter focuses on Noël Coward’s 1930 comedy Private Lives to illustrate how queer modernist performance might pass as light entertainment in the theatrical mainstream. Written shortly after Coward read Virginia Woolf’s Orlando, Private Lives engages with classical and early twentieth-century ideas about androgyny and in doing so subverts interlinked sexual and aesthetic norms. The play’s main characters, Amanda and Elyot, are ambiguously gendered, yet together form a heterosexual couple that recalls the separated halves of the lost androgyne or third sex of Aristophanes’s myth of love in Plato’s Symposium. This queering of heterosexuality through androgynous male and female “other halves” combines with the play’s emphasis on fleeting moments of present happiness to derail comedy’s traditional movement toward marriage, reproduction, and social continuity, anticipating more recent queer resistance to what Lee Edelman has called “reproductive futurism.” While achieving enduring popular success, Private Lives thus queered comic form and fostered queer spectatorship.

The letters of Paul are among the most commonly cited biblical texts in ongoing cultural and religious disputes about gender, sexuality, and embodiment. This book reframes these uses of the letters by reaching past Paul toward other, far more fascinating figures that appear before, after, and within the letters: androgynous females, castrated males, enslaved people, and barbaric foreigners. Each of these ancient figures deployed in these letters is situated within a specifically Roman imperial setting, an ambiance that cast them as complicated, debased, and dangerous. While the letters repeat and reinscribe the prevailing perspectives on this constellation of embodied figures, this project repositions them by implementing key insights from queer studies. In juxtaposing them against more recent figures of gender and sexual variation, also subject to vilification and marginalization, this project provides a series of alternative angles on these figures and the assemblies who spark and receive these letters, then or now. In staging a series of “touches across time,” Appalling Bodies defamiliarizes and reorients what can be known about both the historical figures active in these ancient communities and those rhetorical figures that continue to be activated in contemporary settings. The aim is not to claim, anachronistically, that these figures are somehow identical to each other; rather, it is through anachronistic juxtaposition that the book highlights contingent connections—partial, particular, but shared practices of gender, sexuality, and embodiment that depart from prevailing perspectives and demonstrate a range of unexpected impacts for the interpretation of politically and religiously loaded literature.

Abstract Back to Methuselah: A Metabiological Pentateuch (1922), a five-part play cycle by George Bernard *Shaw, written in 1918-20. It is partly an expression of his belief in the ‘creed’ of Creative Evolution and partly a radical satire on human folly, all too apparent at the end of the First World War. The framing conception is that only the extreme longevity of Methuselah and other biblical patriarchs could pro vide humanity with the necessary wisdom for self government. In the first play, set in the Garden of Eden, a female Serpent instructs Adam and Eve (offspring of primal, androgynous Lilith) that the universal forces of change are imagination, desire, and the will. In Parts II and III of the cycle, the population of the world divides into ‘short-livers’ and the more highly evolved ‘long-livers’, while England changes from a socialist bureaucracy to a hierarchy run by Africans and Chinese. Part IV (‘The Tragedy of an Elderly Gentleman’) is set in Galway Bay in AD 3000. It dramatizes a conflict between a gentlemanly English autocrat and a society of sinister long-livers, ending with his extermination by a female Oracle who deploys a powerful mesmeric field. By this stage the world has become a tamer place with the disappearance of the Jews and the Irish. Part V (‘As Far as Thought Can Reach’) is set in AD 31,920. The action is dominated by the He-Ancient and the She-Ancient, two immensely old beings who spend their time in contemplation, removed from the pleasures and squabblings of the younger people (one of whom hatches out of an egg as a pretty 17-year-old). The apparently joyless life of the Ancients hints at Shaw’s ambivalence about his evolutionary forecast. The cycle concludes with the appearance of Lilith, who proclaims the final transition to a state of pure intel ligence in a ‘vortex freed from matter’.