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Constructions and Performances of gender

Constructions and Performances of gender. ECS 110 . Some Basic Definitions. Sex Biological Primary Characteristics Secondary Characteristics Gender Socially Constructed Multiple/Contested Meanings. Male Female. Masculine Feminine. Caster Semenya. Sex? Gender?.

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Constructions and Performances of gender

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  1. Constructions and Performances of gender ECS 110

  2. Some Basic Definitions • Sex • Biological • Primary Characteristics • Secondary Characteristics • Gender • Socially Constructed • Multiple/Contested Meanings Male Female Masculine Feminine

  3. Caster Semenya Sex? Gender?

  4. Some Basic Definitions REDUX • Sex • Biological • Primary Characteristics • Secondary Characteristics • Gender • Socially Constructed • Multiple/Contested Meanings Male Intersex Female Masculine Feminine

  5. Gender as Social Construction What this means? • Gender is located within discourses that construct masculinity and femininity in particular, often unequal ways. • It is not necessary for things to be as they are. If they have been made this way, they can be unmade. • What this doesn’t mean? • That gender is therefore not real. • That biology plays no part in this construction.

  6. Disney (1963) “Summer Magic”

  7. Gendered Discourse:Binary Oppositions • Male • Masculine • Rational • Mind • Culture • Active • Female • Feminine • Emotional • Body • Nature • Passive

  8. The Discursive Field • Constellations of meaning • Male • Masculine • Rational • Mind • Culture • Active • Female • Feminine • Emotional • Body • Nature • Passive

  9. Youdell – Scene 1: sitting Year 11 (aged 15–16) assembly. Each tutor group in the year group forms a single line seated on the wooden hall floor. Teachers are seated on chairs/benches or stand leaning against the wall. The room is full and students sit close together. A degree of body contact is unavoidable. Girls sit cross-legged, with upper bodies drooping over the legs. They hold their hands in their laps, those wearing skirts hold the fabric and/or their hands to conceal groins. Girls also sit with touching knees bent up close to the chest, feet flat on the floor and chin resting on knees. They wrap their arms around their bent legs, either over the shin or between the calf and the thigh. Again, girls wearing skirts hold the fabric and/or their hands to conceal groins. Where space will allow, girls sit with legs close together and outstretched, leaning the upper body either forward over the legs or backward resting on a straight arm with hand flat to the floor. Boys also sit with legs crossed, bent up or outstretched. Bent knees are rarely touching, pulled up close to the chest, or hugged. Outstretched legs lie apart. Boys also sit with one leg bent up and one lying on the floor, outstretched if space will allow. Bent knees are used to rest forearms or elbows. Boys often lean backwards and prop themselves up with braced arms. Boys at the back of the hall recline further, leaning on one forearm flat to the floor with outstretched legs crossed. (Fieldnotes)

  10. Things to notice about constructions of gender… • Banal • Embodied

  11. Youdell – Scene 2: seduction/assault Year 11 (aged 15–16) food technology lesson. Students are engaged in both practical and writ- ten work and there is a degree of free movement around the room. Lucy (girl, White) is watching Mridula and Avtar (girls, Indian) cook. Owen (boy, White) stands behind wraps his arms around her head. The front of his body is pressed up against her back. Lucy exclaims: ‘Owen!’ as she wriggles. He removes his arms. As they continue to watch Owen continually touches Lucy, he pulls her by the arms and shoulders and moves her from one standing position to another. Lucy wriggles and giggles as Owen does this. At another moment in the lesson Lucy watches Manny (boy, White) cook. Stuart (boy, Black) approaches her and hold her by the arm, he tugs at her, exerting enough force to pull her towards him. As he moves her around he tries to punch her upper arm. Lucy pulls against Stuart and dodges to stay out of reach of his punching arm. Eventually one of Stuart’s punches makes contact with Lucy’s upper arm. Lucy exclaims in pain ‘Arrrgh, Stuart!’ Stuart releases his hold on Lucy, chuckles and wanders away. (Fieldnotes)

  12. Things to notice about constructions of gender… • Banal • Embodied • Tacit • Constant • Agency?

  13. Questions to consider….? In your groups • Record some of the ways that violent masculinity is shown as constructed in the essay. (3-5 minutes) • What do you think schools can be doing to interrupt the production of violent masculinity and support the building of a 'culture of consent'? (10 minutes)

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