Search Results (14)

How do Kashmiri women, seeking justice for the enforced disappearance and detention of their male relatives, navigate and negotiate with the gendered borders of ‘spaces of legality’? Drawing on ethnographic research and interviews with key stakeholders, this article uses spaces of legality, exemplified by courts, police stations, and judicial bodies, as its primary analytical sites to examine the multiple ways Kashmiri women traverse from ‘home’ into a masculine, public space. The theoretical framework argues that pre-existing patriarchal norms, in collusion with militarization and conflict-induced hypermasculinity, engender an intangible gendered border for women in Kashmir. In navigating this border, they engage in what we term ‘emotional mobility’, an infra-political agentic movement that results in renegotiating their roles, both at home and outside. Full article

This article, Queering Militarism in Israeli Photography, examines Adi Nes’s Soldiers series, a body of work that interrogates the intersections of queerness, militarism, and nationalism within Israeli society. By employing a distinctive “military circus” aesthetic, Nes challenges the rigid heteronormative and hyper-masculine archetypes embedded in Israeli military identity. His staged photographs depict soldiers in circus-inspired performative poses, blending military discipline with elements of the carnivalesque to subvert conventional representations of military masculinity. This approach creates spaces where queerness, vulnerability, and fluid identity defy the rigid confines of nationalist narratives. Using queer studies frameworks, performance theory, and postcolonial critique, this article analyzes Nes’s depiction of soldiers as both military subjects and circus performers, examining how these representations disrupt the “naturalness” of gender, power, and identity within the Israeli national ethos. Through a close reading of key images—such as the fire-breathing soldier, the acrobat on a tightrope, and the strongman figure—this article argues that Nes critiques homonationalism and exposes the co-optation of LGBTQ+ identities into militaristic frameworks. His images juxtapose exaggerated masculinity with homoerotic and introspective vulnerability, positioning the queer body as both a participant in and a subverter of the national narrative. Drawing on contemporary queer theory—including José Esteban Muñoz’s concept of “disidentification”, Eve Kosofsky Sedgwick’s theories of queer shame and performativity, and perspectives on temporality, failure, and counterpublics following Elizabeth Freeman, Jack Halberstam, Michael Warner, and Sara Ahmed—this article frames queerness as an active site of resistance and creative transformation within the Israeli military complex. The analysis reveals how Nes’s work disrupts Zionist masculinities and traditional militaristic structures through a hybrid aesthetic of military and circus life. By reimagining Israeli identity as an inclusive, multi-dimensional construct, Nes expands queer possibilities beyond heteronormative confines and homonationalist alignments. This merging of critical queer perspectives—from the destabilizing of discipline and shame to the public visibility of non-normative bodies—posits that queer identities can permeate and reshape state power itself, challenging not only the norms of militaristic nationalism but also the boundaries of Israeli selfhood. Full article

What are the political, gender, and theological implications at stake when associating Jesus with modern combat and righteous violence? Jesus is rendered in combative form across media—i.e., live-action films and shorts, animated television, sketch comedy, graphic novels, and video games. This rendition occurs at a confluence of meaning, most immediately for the sake of generating comedy through juxtaposition (in this case, rendering the meek with a sword) and/or reaffirming Jesus’ prominent cultural value through an association with other popularly mediatized entities. Beyond these initial layers of significance, however, I argue that Jesus becomes associated with violence and brutality for the sake of de/legitimizing politically conservative ideologies with respect to Christianity and American exceptionalism, redeeming the crisis of “domesticated masculinity” and fortifying traditional masculine norms, and theologically reinstituting popular paradigms of low Christology. Ideological “manhood” remains traced to one’s ability to perform traditional gender roles (i.e., family provider, community protector, and father/procreator). To capture the discrepancy that Jesus of Nazareth, as presented in canonical gospels, largely concerns none of these roles, I analyze the hypermasculine Christ, and the various weapons he employs, as part of a popular genealogy of Western value systems and discourse. Though in this article I reference some examples of non-American media, I reserve my analysis and commentary for the stakes and implications of what it means for U.S. Americans to produce and consume such content. In short, I submit that popular America idolizes itself in the form—one amidst many—of a naïve, combative, and boorish Christ: an arrogant and, at times, narcissistic man with delusional views of the world made dangerous through invasive power and authority. Western entertainment has deemed the United States (through its fictional stand-ins) as morally failing yet still chosen. Within this logic, American Christians need not reform their ways as long as they cultivate evidence of their exceptionalism. Full article

This paper attempts to bring queer perspectives to interfaith dialogue in India. It will first consider what is interfaith dialogue and will situate interfaith dialogue within the framework of a theology of religions and a theology of missions. It will then offer an evaluation of some works accomplished by National Council of Churches in India with regard to the question of interfaith dialogue and sexuality. Finally, it will look at whether Christians in interfaith dialogue can learn anything from a queer reading of Hindu sacred texts. Full article

Sport cultures transmit values for anticipated conduct. Recent events have resulted in injuries/deaths of National Collegiate Athletic Association (NCAA) student-athletes, usually during off-season football training. Through media reports, strength and conditioning coaches (SCC) have been allegedly involved by incorporating military-style training (MST). Mental toughness (MT) has been associated with hypermasculine subcultures in sports. For the first time, perceptions of collegiate SCCs were chosen to contribute to the development of cultural best practices in sports, via a multiphase mixed-method design (Phase 1, n = 465; Phase 2, n = 72; Phase 3, n = 99). Quantitative and qualitative data were collected aiming to confirm and explore the use of MST in the NCAA, its connection to SCCs, its association with MT development, and the role of the media. MST is uncommon in the NCAA. MST takes place mostly during the off-season in the form of physical, in-scope protocols while football is the most common sport. MST promotes MT. The recent media backlash is considered unfounded. Cultures promoted by SCCs do not indicate conformity of student-athletes to unethical/unhealthy expectations. Future sport psychology research and practice should continue to prioritize culture, cultural identities, and physical and mental well-being. Full article

Introduction: Currently Europe regards itself as a leader in the global race towards smart automated transport. According to ERTRAC, European Road Transport Research Advisory Council, automated driving innovation is motivated by technological advancements as well as “social goals of equality”. This article analyzes to what extent such dimensions of gender and diversity have become visible in smart car advertisements and how they correspond with the notion of Gender-Smart Mobility, which signifies equal and accessible transport solutions. Methods: Guided by theoretical notions of gender scripts and discourse analysis, this article addresses how perspectives of smart technology, gender, and class are carved out and handled in YouTube videos applied as marketing tools. Using visual analysis as a method, videos from well-known car producers such as BMW and Volvo are scrutinized. The visual analysis includes a presentation of the car company, descriptions of the most relevant YouTube videos, and discussion of the findings. Results: The visual analysis of the Volvo and BMW YouTube videos points to the lack of inclusiveness. There continues to be a prevalent reproduction of gendered stereotypes in the videos, not least in the notion of ‘hyper masculinity’ storytelling by BMW and how leaders (be they women or men) look, i.e., middle-class people. Volvo, on the other hand, has maintained its focus on female professionals in parallel with the introduction of new and energy-saving cars. Yet, a rather one-sided presentation of a professional business-woman is depicted as a replication of the businessman. Conclusion: In the final section, it is assessed how the visual branding complies with the notion of Gender-Smart Mobility, a concept that was developed in the EU Horizon 2020 project TInnGO. The two brands meet the Gender-Smart Mobility indicator, but only to some degree. None of the companies are fully inclusive, and it is difficult to label them as gender-smart and sustainable despite their ambitions of feeding into the green transition. Full article

Legal feminist theories have troubled dominant conceptions of statehood, revealing the threat of the ‘Other’ as integral to the hegemonic masculinity of powerful states. In this paper I provide a critical gendered discourse analysis of the UN Security Council’s response to the Islamic State of Iraq and Syria (ISIL). I consider the role of personification in constituting legal subjects as states (persons) and excavate this from the Council’s resolutions concerning Iraq. In constituting ISIL as a barbaric, hypermasculine terror group in relational opposition to the state of Iraq, the Council draws on gendered normativities ordinarily veiled by seemingly objective legal criteria as to the creation of states. Whilst the state of Iraq is constituted through the hegemonic model of statehood, one premised upon democratic, liberal Westphalian ideals, it is still subject to the paternalism of the Security Council. In this way, the state of Iraq is framed as failing to reach a particular masculine standard of statehood, and is thus subject to the continuation of ‘civilising’ discourses. Thus, instead of asking whether ISIL is or is not a state under international law, it is revealing to consider how responses to it work to maintain and (re)produce a graded, hierarchical international community of states. Full article

This article explores contestations around ideas of India, citizenship, and nation from the perspective of Indian Muslim female university students in Delhi. In December 2019, the Hindu majoritarian government introduced new citizenship legislation. It caused widespread distress over its adverse implications for Muslims and a large section of socio-economically deprived populations. In response, millions of people, mainly from Dalit, Adivasi, and Bahujan backgrounds, took to the streets to protest. Unprecedentedly, young Muslim female students and women emerged at the forefront of the significant public debate. This situation disrupted the mainstream perception of oppressed Muslim women lacking public voice and agency. Drawing on the narratives of the Indian Muslim female students who participated in these protests, this article highlights their conceptions of, and negotiations with, the idea of India. In doing so, this article reflects on the significance of critical feminist protest as a form of “public pedagogy” for citizenship education as a powerful antidote to a supremacist, hypermasculine, and vigilante idea of India. Full article

Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens? Full article

Building on Patrick Brantlinger’s description of imperial Gothic fiction as “that blend of adventure story with Gothic elements”, this article compares the narrative formula of adventure fiction to two tales of haunting produced in a colonial context: Rudyard Kipling’s “The Mark of the Beast” (1890) and Arthur Conan Doyle’s “The Brown Hand” (1899). My central argument is that these stories form an antithesis to adventure fiction: while adventure stories reaffirm the belief in the imperial mission and the racial superiority of the British through the display of hypermasculine heroes, Kipling’s and Conan Doyle’s Gothic tales establish connections between imperial decline and masculine failure. In doing so, they destabilise the binary construction between civilised Western self and savage Eastern Other and thus anticipate one of the major concerns of postcolonial criticism. This article proposes, therefore, that it is useful to examine “The Mark of the Beast” and “The Brown Hand” through a postcolonial lens. Full article

Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur. Full article

My research investigates the growing phenomenon of Prison Shakespeare—a rapidly expanding community of prison arts programs in which ensembles of men or women who are incarcerated work with outside facilitators to stage performances of Shakespeare. This article is drawn from my first-hand research on Jonathan Shailor’s Shakespeare Prison Project, a program for men who are currently incarcerated at Racine Correctional Institution in Wisconsin. This article is based on my observations of two Shakespeare Prison Project (SPP) rehearsals, their 2017 performance of The Merchant of Venice, and focus groups that I conducted with fifteen members of the ensemble. This article focuses on casting practices and explores the ethical paradox that arises within the hypermasculine environment of men’s prisons, where men cast to play women’s roles face a heightened risk of violence, and yet, where creating positive representations of women is of paramount importance for disrupting the violent misogyny demanded by that hypermasculine environment. Setting SPP in relation to other programs for men, I demonstrate how certain casting practices risk perpetuating toxic masculinities, while others demonstrate the potential to foster alternative masculinities. Based on the insights offered by participants, I argue further that this process is contingent upon the ensemble’s authorization of those alternative masculinities. Full article

Disney’s Hercules (1997) includes multiple examples of gender tropes throughout the film that provide a hodgepodge of portrayals of traditional conceptions of masculinity and femininity. Hercules’ phenomenal strength and idealized masculine body, coupled with his decision to relinquish power at the end of the film, may have resulted in a character lacking resonance because of a hybridization of stereotypically male and female traits. The film pivots from hypermasculinity to a noncohesive male identity that valorizes the traditionally-feminine trait of selflessness. This incongruous mixture of traits that comprise masculinity and femininity conflicts with stereotypical gender traits that characterize most Disney princes and princesses. As a result of the mixed messages pertaining to gender, Hercules does not appear to have spurred more progressive portrayals of masculinity in subsequent Disney movies, showing the complexity underlying gender stereotypes. Full article

Moana (2016) continues a tradition of Disney princess movies that perpetuate gender stereotypes. The movie contains the usual Electral undercurrent, with Moana seeking to prove her independence to her overprotective father. Moana’s partner in her adventures, Maui, is overtly hypermasculine, a trait epitomized by a phallic fishhook that is critical to his identity. Maui’s struggles with shapeshifting also reflect male anxieties about performing masculinity. Maui violates the Mother Island, first by entering her cave and then by using his fishhook to rob her of her fertility. The repercussions of this act are the basis of the plot: the Mother Island abandons her form as a nurturing, youthful female (Te Fiti) focused on creation to become a vengeful lava monster (Te Kā). At the end, Moana successfully urges Te Kā to get in touch with her true self, a brave but simple act that is sufficient to bring back Te Fiti, a passive, smiling green goddess. The association of youthful, fertile females with good and witch-like infertile females with evil implies that women’s worth and well-being are dependent upon their procreative function. Stereotypical gender tropes that also include female abuse of power and a narrow conception of masculinity merit analysis in order to further progress in recognizing and addressing patterns of gender hegemony in popular Disney films. Full article