Addressing the contradictions surrounding modern-day femininity and its complicated relationship with feminism and postfeminism, this book examines a range of popular female/feminist icons and paradigms. It offers an innovative and forward-looking perspective on femininity and the modern female self.

In Feel-Bad Postfeminism, Catherine McDermott provides crucial insight into what growing up during empowerment postfeminism feels like, and outlines the continuing postfeminist legacy of resilience in girlhood coming-of-age narratives. McDermott's analysis of Gone Girl (2012), Girls (2012-2017) and Appropriate Behaviour (2012) illuminates a major cultural turn in which the pleasures of postfeminist empowerment curdle into a profound sense of rage and resentment. By contrast, close examination of The Hunger Games (2008-2010), Girlhood (2014) and Catch Me Daddy (2014) reveals that contemporary (...) genres are increasingly constructing girls as uniquely capable of resiliently overcoming and adapting to unforgiving social conditions. She develops an affective vocabulary to better understand contemporary modes of defiant, transformative and relational resilience, as well as a framework through which to expand on further modes that are specific to the genres they emerge within. Overall, the book suggests that exploration of the affective dimensions of girls' and women's culture can offer new insights into how coming-of-age, girlhood and femininity are culturally produced in the aftermath of postfeminism. (shrink)

This interview – conducted by Peter Beilharz and Trevor Hogan with Clinton Walker over the course of three months (July to September 2011) between Melbourne and Sydney via email and Skype – explores the questions of Australian popular culture writing with, against, and of the culture industries themselves. Walker is a leading freelance Australian cultural historian and rock music journalist. He is the author of seven books, five about Australian music. He has been a radio DJ and (...) TV presenter. He compiled and produced four double CD album collections of Australian music – Inner City Sound, Buried Country, Long Way to the Top, and Studio 22. He has been a key writer in several multi-media projects, including the Powerhouse Museum Real Wild Child exhibition and CD-Rom (1995) and ABC TV’s hit documentary series/CD/DVD Long Way to the Top (2001). In 2006, a new US edition of his first book Inner City Sound (with soundtrack CD) was published. His Golden Miles: Sex, Speed and the Australian Muscle Car (2005) has been published in a revised edition in 2009. In 2012, his eighth book, The Wizard of Oz, will be published. Walker is currently writing with Beilharz and Hogan a book called The Vinyl Age: The History of Australian Rock Music, 1945–1995. The interviewers invited Walker to reflect critically on his 35-year ‘career’ as pop avatar, independent writer and critic in the post-war to post-modern Australian popular culture industries. Going from journalism to his path-finding books and television documentaries, the article traces this work’s development both in personal terms and as a symptom of the broader cultural evolution, from the suburbs to pop to art and rock and back again; between London and the provincial cultures of Oz; from one-way American consumerism to local DIY egalitarianism, analogue to digital to global dialogue, youth culture to multi-culturalism, and from the putative low brow to the legimitization process itself of popular culture. (shrink)

This article analyzes selected short stories in Cecelia Ahern’s thirty-narrative collection Roar to see how the perspectives of posthuman and postfeminist critique can be incorporated via the common dystopic umbrella into the mainstream female readership of romance literature. The dystopic worlds created by Ahern in Roar portray inequality and power imbalances with regard to gender and sex. The protagonists are mostly middle-aged women whose family and personal lives are either regulated by dystopic realities or acquire a “dystopic” dimension, the solutions (...) to which are provided by, among other tropes, “posthuman” transformations. Roar introduces other-than-human elements, mostly corporeal alterations, in which the female bodies of Ahern’s characters become de-formed and re-formed beyond androcentric systems of value. The article raises the question of whether feminist and, to some extent, “posthuman” approaches, need to be popularized in such an abridged way as Ahern does in her volume. The answer depends upon the identification of the target audience and their expectations. Ahern’s Roar represents popular literature intended to be sold to as many readers as possible, regardless of their education, state of knowledge, etc. Viewed from that perspective, what some critics could perceive as the collection’s structural weaknesses constitutes its utmost marketing asset. The essay argues that despite not being a structurally innovative work of art, Ahern’s book fulfils the basic requirements of the popular fiction genre, intermittently providing some extra, literary gratification and popularizing rudimentary elements of the posthuman and postfeminist thought. (shrink)

_The Female Trickster_ presents a Post-Jungian postmodern perspective regarding the role of women in contemporary Western society by investigating the re-emergence of female trickster energy in all aspects of popular culture. Ricki Tannen explores the psychological aspects of what happened when women’s imagination was legally and psychologically enclosed millennia ago and demonstrates how the re-emergence of Trickster energy through the female imagination has the radical potential to effect a transformation of western consciousness. Examples are drawn from a diverse (...) range of sources, from Jane Austen, and female sleuth narratives, to Madonna and Sex and the City, illustrating how Trickster energy is used not to maintain power and control but to integrate and unite the paradoxical through humour. Subjects covered include: imagination and metaphor the traditional trickster law and the imagination humour: Eros using logos the postmodern female trickster. This highly original perspective on women's role in contemporary culture will offer readers a new vision of how humour psychologically operates as a healthy adaptation to trauma and adversity. It will be of great interest to all analytical psychologists and psychoanalysts as well as those in women's, cultural, legal and literary studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Altars Where We Worship: The Religious Significance of Popular Culture eds. by Juan M. Floyd-Thomas, Stacey M. Floyd-Thomas, and Mark G. ToulouseMichael R. Fisher Jr.The Altars Where We Worship: The Religious Significance of Popular Culture Juan M. Floyd-Thomas, Stacey M. Floyd-Thomas, and Mark G. Toulouse LOUISVILLE: WESTMINSTER JOHN KNOX PRESS, 2016. 250 pp. $25.00The Altars Where We Worship: The Religious Significance of (...) class='Hi'>Popular Culture is notable for interested readers of religion and contemporary popular culture. The authors expand scholarly understandings of religion and the sacred, but [End Page 194] more important, the spaces where they appear in society by providing analysis of the religious nature of six aspects of American culture. These "meaning-making" aspects of popular culture function as "altars of worship." They are the body and sex, big business, entertainment, politics, sports, and science and technology. How religious devotion and worship are manifest in everyday life of Americans is fully examined. This book offers an alternative entry to classical secularization debates that have garnered the attention of religious scholars across fields of study. Resisting polarized battle lines in which secularization debates have positioned the death of religion on one hand, and its resilience in industrialized societies on the other hand, this book considers the idiosyncratic nature of secularization by foregrounding historical, national, and local differences that exist in various contexts.The authors argue that "religion is important to Americans. But the religion we practice is often not the religion we confess" (1, emphasis in the original). According to them, Americans basically believe in a serviceable, friendly "God" who meets their every desire and need. In contemporary American culture, the objects that are deemed to fulfill Americans' desires and passions become their God(s) and thus their religion(s). They support their argument by citing studies by the Pew Research Center on "America's Changing Religious Landscape" and "'Nones' on the Rise," which indicate a decrease in religious affiliation among adults and a notable tension between Americans' professed religious beliefs and their actual religious practices. Given these trends, they contend that Americans discover and produce religious meaning in places outside traditional or conventional sacred spaces. Consequently, they confess, Americans have "laid our fair share, if not our all" (186) on the six altars of American popular culture. Thus, though studies indicate a trending decline in traditional religious affiliations, for the authors, this does not "sound the death knell of religion" (185). Religion, they insist, exists in different shapes and practices.In The Religious Experience of Mankind (1969), the religious historian Ninian Smart offers a seven-dimensional scheme for the interpretation of religion: doctrinal, mythological, ethical, ritual, experiential, institutional, and material. This scheme is adopted in the book as a framing device for interpreting the religious nature of popular culture. The sevenfold scheme is paralleled in each of the six chapters dedicated to a particular altar. Making their case, the authors draw on and weave thinkers from across disciplines and over time as critical interlocutors—from Friedrich Nietzsche, Rudolf Otto, Paul Tillich, and Robert Bella to Cornel West, Audre Lord, and bell hooks, among many others—in examining the religious significance of popular culture.Although a truly engaging and provocative book, The Altars Where We Worship is not without challenges. Some readers may find certain categories of analysis underdeveloped. For example, what makes big business or politics sites of popular culture? This line of inquiry may raise questions for readers about what constitutes popular culture in general. Such challenges, however, do not [End Page 195] detract from the overall accomplishments and contributions this book offers the study of religion in the United States.Michael R. Fisher Jr.Vanderbilt UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

Like war and politics, philosophy is too important to be left to professionals. Oh Wait_Now I Get It illustrates this basic truth by tackling a broad spectrum of issues, which include: history, religion, government, sex, family, and death. In fact, the entire contemporary cultural scene from the perspective of a thoughtful amateur philosopher is brought forth within this book. Recalling Neitzsche's dictum that all philosophy is also confession, Professor Peter Heinegg begins with some autobiographical pieces on his background, which include (...) seven years in Jesuit seminaries and doctoral studies at Harvard. He then offers approximately three-dozen brief, pointed, and witty essays that focus on present-day issues, but draw upon a lifetime of reading, teaching, and writing about the great literary and philosophical classics. (shrink)

On appearing in 1949, The Second Sex provoked violent controversy in the world of French literary reviews and in the popular press. It was attacked by the religious right wing for daring to speak frankly about female sexuality and by the Communists for taking women's emotional and sexual well‐being as seriously as their economic welfare. Reactions to Beauvoir's text indicate the depth of misogyny at the time of its publication and the ways in which class and educational prestige were (...) used to silence women's subjectivity. (shrink)

ETHICS IS ABUNDANT IN POPULAR CULTURE—IN RADIO TALK SHOWS, television, films, moral advice columns, books and workshops on popular psychology and spirituality, and other venues. This essay explores the ways in which ethics is presented in three select popular settings; the ethical questions addressed in those settings; the moral theories, perspectives, and values that are privileged in opinions offered; and the judgments that are proffered. Of special interest to professional ethicists are the ways in which ethics (...) in popular culture participates in the ways ethics is done in the academy and the ways in which popular media frame and foster ethics differently from the ways the academy does. This article was the Presidential Address at the 2004 Society of Christian Ethics annual meeting in Chicago. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:When We Collide: Sex, Social Risk, and Jewish Ethics by Rebecca J. Epstein-LeviJoshua Stein (bio)When We Collide: Sex, Social Risk, and Jewish Ethics by Rebecca J. Epstein-Levi. Bloomington: Indiana University Press, 2023Sex is messy:Ethicists have an unfortunate habit of speaking of sex—or "good" sex, anyway—in lofty, aspirational terms: the physical and spiritual union of committed partners, the human sharing in divine creativity, the two becoming one, and so (...) on. This image of choreographed perfection is reproduced in popular culture. … But the actual practice of sex, by ordinary people, is not so lofty, so beautifully synchronous. Real sex, even "good" sex, is carnivalesque, even grotesque. Real sex involves fluids, farts, jiggling, grunting, adjustments of position, arms falling asleep, and accidental pinching or pulling of hair … and the making of a vast number of frankly ridiculous faces (83).Rebecca J. Epstein-Levi's When We Collide (2023) challenges us to think about sex as it is, rather than as we are conditioned to talk about it (or as we might sometimes like to imagine it). This is foundational to the book. There is a familiar tradition of sanitizing sex, reducing it to teleology, idealized bodies, heteronormativity, and venerated social institutions. In dispensing with this sanitized illusion, the book adopts a healthier and more honest relationship with sex; in order to have a productive discussion about the ethics of any human activity, that discussion should represent the human activity faithfully. Part of the reason that Epstein-Levi takes this approach is to distinguish Jewish ethics' discussion of sex, which regards sex, and therefore sexual ethics, "as an empirical, lived, and granular phenomenon" (3).Discussions in Jewish sexual ethics should treat sex as a lived social experience and be responsive to the messiness of that experience. Epstein-Levi argues that sanitizing sex through appeal to a nebulous notion of how historical [End Page 99] religious traditions must have been puritanical is ahistorical, chauvinistic, and inconsistent with scholarship on rabbinic texts.This is a striking and perhaps subversive view in our present context. Centrally, many associate "religious views" (especially in sexual ethics) with politically Conservative and purity-driven views characteristic of some Christian traditions. The term "Judeo-Christian" in American political discourse is often used evocatively of the heteronormative, sanitized, idealized posture toward sex that Levi explicitly rejects. Epstein-Levi's book recognizes that rabbinic scholarship underrepresents marginalized communities, including women, LGBTQ+ people, and disabled people. This is the major moral and practical focus of Epstein-Levi's analysis; historical traditions in which dominant moral views are shaped by a particular group often have glaring blind spots. When we recognize those blind spots, as members of that tradition, need to be updated simply to address sex as it exists, not as we idealize it.The book centers Jewish texts and methods of thought, but (in my view) readers who will benefit most from reading Epstein-Levi's book are non-Jewish readers thinking about sex. Epstein-Levi's book illustrates methodological differences in Jewish ethics from other approaches. The ethics of sex should change as our knowledge of sex changes; as we learn about sexual activity and about the social lives of people, we should apply that knowledge to our understanding. For Jewish thought, ethics is discursive, not fixed; our understanding of ethics requires constant consideration and discussion as our understanding of the world changes and improves.One central focus of the book is risk; our knowledge of sex changes as we understand and mediate against the risks involved in sexual activity and as we learn more about how risk works itself. Risk is tied up in all social activity, including sex. The ethics of sex requires discussion of risk but often does so in a way not congruous with the discussion of risk in other areas of social life. "Sex is dangerous. … Sexual intercourse opens us up to risks of infections, violence, and, if we are in possession of functional ovaries and a uterus, pregnancy" (98). All social activity is risky; we are all acutely aware given the prospects of exposure to strains of a novel coronavirus and the way we have changed our... (shrink)

From domestic goddess to desperate housewife, this book explores the importance and centrality of postfeminism in contemporary popular culture.

Since the early 2000s, zombies have become an increasingly significant presence in popular culture. Zombies are social monsters, epitomizing aspects of social horror. What is at once central and yet strangely absent from current debates about zombies is any detailed consideration of sex and sexuality. This oversight is startling, not least since sex is arguably the most intimate form of social engagement, and is a profound aspect of human social identity. What makes the omission even more remarkable is (...) how appositely the zombie reflects socio-sexual desires and fears. Sex and love play crucial roles in numerous zombie narratives. Moreover, the undead have sex with each other and with humans in many contemporary zombie narratives. The unpalatable combination of zombies and sex is provocative, triggering a multitude of questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. This chapter outlines the zombie’s historical development towards sex/uality, setting the context for the various approaches to sex/uality – queer and straight, romantic and pornographic – explored in contemporary zombie media. (shrink)

Lying in Early Modern English Culture is a major study of ideas of truth and falsehood in early modern England from the advent of the Reformation to the aftermath of the failed Gunpowder Plot. The period is characterised by panic and chaos when few had any idea how religious, cultural, and social life would develop after the traumatic division of Christendom. While many saw the need for a secular power to define the truth others declared that their allegiances belonged (...) elsewhere. Accordingly there was a constant battle between competing authorities for the right to declare what was the truth and so label opponents as liars. Issues of truth and lying were, therefore, a constant feature of everyday life and determined ideas of individual identity, politics, speech, sex, marriage, and social behaviour, as well as philosophy and religion. This book is a cultural history of truth and lying from the 1530s to the 1610s, showing how lying needs to be understood in action as well as in theory. Unlike most histories of lying, it concentrates on a series of particular events reading them in terms of academic theories and more popular notions of lying. The book covers a wide range of material such as the trials of Ann Boleyn and Thomas More, the divorce of Frances Howard, and the murder of Anthony James by Annis and George Dell; works of literature such as Othello, The Faerie Queene, A Mirror for Magistrates, and The Unfortunate Traveller; works of popular culture such as the herring pamphlet of 1597; and major writings by Castiglione, Montaigne, Erasmus, Luther, and Tyndale. (shrink)

Egypt witnessed in the last decade, as in many Southeast Asian mega-cities, the reshaping of public space through the creation of new shopping malls and recreation places. This went hand in hand with the `gentrification' of certain areas of the city of Cairo, which is continuing at the expense of pushing away the poor. The 1980s and 1990s also witnessed increasing prosperity among certain classes and the appropriation of new consumer lifestyles. This article attempts to look at the variations of (...) shopping malls in Cairo and the new phenomenon of hybridization of tastes. One can observe the creation of `chic' shopping malls functioning parallel to popular and working-class malls which are frequented by different classes, depending on the various districts of Cairo. These newly created public spaces are gendered. The malls provide new outlets for deprived youth to experience mingling and flirting, in other words, these spaces offer new forms of `mixity' between sexes. A glimpse at the ` grands magasins' is brought up in relation to the history of consumerism in Egypt. This article also analyses the government's official discourse which alienates those living in unplanned and scattered construction as `violent' and unruly and relates it to the new remaking of the town of Cairo. (shrink)

This paper gives an overview of the placebo effect in popular culture, especially as it pertains to the work of authors Patrick O’Brian and Sinclair Lewis. The beloved physician as placebo, and the clinician scientist as villain are themes that respectively inform the novels, The Hundred Days and Arrowsmith. Excerpts from the novels, and from film show how the placebo effect, and the randomized clinical trial, have emerged into popular culture, and evolved over time.

In Zimbabwe, popular music, particularly the Zimdancehall music genre, has become a cultural site where Shona moral values clash with explicit sexual lyrical content despite a censorship regime in the country. This article examines the nature and cultural consequences of the moral decadence that emerges in popular Zimdancehall song lyrics by several musicians. The article illustrates how vulgar language popularises Zimdancehall songs in unheralded ways that foster identities laced with cultural ambivalences that may portray the artists as both (...) famous and depraved. This qualitative study does textual and content analysis of 11 purposively sampled songs with sex terms to elucidate the cultural inconsistencies in Zimdancehall song narratives. Analysis is informed by the Neuro-Psycho-Social theory, which recognises how socio-cultural restrictions are challenged by an emerging ghetto culture like new wine in old bottles. Alternative unsanctioned new popular music genres can be used to permeate the sociocultural system. (shrink)

Sexbots are coming. Given the pace of technological advances, it is inevitable that realistic robots specifically designed for people's sexual gratification will be developed in the not-too-distant future. Despite popular culture's fascination with the topic, and the emergence of the much-publicized Campaign Against Sex Robots, there has been little academic research on the social, philosophical, moral, and legal implications of robot sex. This book fills the gap, offering perspectives from philosophy, psychology, religious studies, economics, and law on the (...) possible future of robot-human sexual relationships. (shrink)

Using Biblical quotes and his own personal beliefs, the author presents analysis and a critique on some of the contemporary viewpoints presented to the public by the popular media, educational leaders, scientists, and politicians.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 623 Jaye Cee Whitehead, Kath Bassett, Leia Franchini, and Michael Iacolucci “The Proof Is in the Pudding”: How Mental Health Practitioners View the Power of “Sex Hormones” in the Process of Transition In the United States today, popular discourse touts the power of “sex hormones” and hormone receptors in the brain to chemically produce gender expressions (manifested (...) in physical sex traits, behaviors, and attitudes) and identities (a sense of self as feminine or masculine). These accounts range from common assumptions that Western ideals of femininity (such as empathy understanding, cooperative orientation, nurturing behavior) and masculinity (rational/spatial understanding, competitive orientation, violent behavior) are produced by corresponding sex hormones, to studies that reduce complex gender identities and macrosocial economic phenomena to presocial, binary, hormonal processes.1 For sociologists, accounts that reduce complex identities to internal hormonal reactions are problematic for two primary reasons: first, they are inaccurate because they fail to examine how hormonal reactions are embedded in a complex cultural process of meaning and interpretation; second, they operate as bioreductive ideologies that obscure the social power inherent to the process of gender identity construction. In what follows, we extend both of these insights by examining mental health 1. For an example of a hybrid popular-scientific account of the power of sex hormones to destabilize economic structures, see Jon Coates and Joe Herbert, “Endogenous Steroids and Financial Risk Taking on a London Trading Floor,” Proceedings of the National Academy of Sciences 105, no. 16 (April 2008): 6167–72. 624 Whitehead, Bassett, Franchini, and Iacolucci practitioners’ divergent interpretations of the power of sex hormones in the process of gender transition.2 In doing so, we examine the cultural power of sex hormones in crafting gender identities without reproducing reductionist interpretations of trans embodiment. Perhaps what is most perplexing about the way we speak of sex hormones is that we know it is inaccurate to describe these hormones as sexed; scientists have acknowledged since the 1930s that they are neither sex specific in their function, nor in terms of their location in male or female bodies.3 In her extensive historicization of sex hormones, Anne Fausto-Sterling concludes that it is more accurate to call androgen- and estrogen-based hormones, “steroid hormones” as they have functions that are not confined to corresponding sexed bodies. In fact she urges scientists to “break out of the sex hormone straightjacket” and to look at steroids as just one of a number of components that are important to the creation of sex and gender, including environment and experience.4 Scholars also point to an inextricable link between the chemical operation of hormones and the social process of constructing meaning, both at the level of social interaction and macrocultural constructions of sex categories and gender ideologies.5 While brain organization/activation theory attributes sex and gender differences to hormonal interactions within the developing brain, Fausto-Sterling questions the distinction between activation and organization by pointing out how “the brain can respond to hormonal stimuli with anatomical changes…hormonal systems, after all, respond exquisitely to experience, be it in the form of nutrition, stress, or sexual activity (to name but a few possibilities ).”6 Drawing from Elizabeth Grosz, Fausto-Sterling argues that the power of hormones is best understood according to the model of the 2. “Gender transition” is a controversial phrase, as it implies that transgendered individuals who receive hormone therapy are changing identities. We are only using it for lack of clear alternative phrasing, not because we believe body modifications change gender identities. 3. See Anne Fausto-Sterling, Sexing the Body: Gender Politics and the Construction of Sexuality (New York: Basic Books, 2000); Rebecca Jordan-Young, Brainstorm: The Flaws in the Science of Sex Differences (Cambridge, MA: Harvard University Press, 2010); and Nelly Oudshoorn, Beyond the Natural Body: An Archeology of Sex Hormones (New York: Routledge, 1994). 4. Fausto-Sterling, Sexing the Body, 193–94. 5. Fausto-Sterling, Sexing the Body. 6. Ibid., 232. Whitehead, Bassett, Franchini, and Iacolucci 625 Möbius strip, wherein internal components of the self are always connected to and continuous with outer components such as culture and environment.7 In other... (shrink)

Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.

This article examines the alchemical ideas and practices of the sixteenth-century Italian surgeon Leonardo Fioravanti.

Social theory can sometimes seem as though it's speaking of a world that existed long ago, so why should we continue to study and discuss the theories of these dead white men? Can their work still inform us about the way we live today? Are they still relevant to our consumer-focused, celebrity-crazy, tattoo-friendly world? This book explains how the ideas of classical sociological theory can be understood, and applied to, everyday activities like listening to hip-hop, reading fashion magazines or watching (...) reality TV. Taking the reader through central sociological texts, Social Theory In Popular Culture explains why key theorists – from Marx to Saussure – are still considered to be the bedrock of sociology and sociological enquiry. Each chapter examines a different key thinker and applies their work to a recognisable aspect of popular cultural, showing how the central issues underpinning classic social thought - class, conflict, gender, power, ethnicity, and social status - can still be readily observed within the modern global world. Encouraging the reader to critique and reflect upon the ways in which classic social theory applies to their own worlds, this is the perfect antidote to dry social theory explanations. It is an eye-opening read for all students and scholars across the social sciences. (shrink)

The aims of this study were to present themes in nursing motifs as depicted in tattoos and to describe how it reflects upon nursing in popular culture as well as within professional nursing culture. An archival and cross‐sectional observational study was conducted online to search for images of nursing tattoos that were freely available, by utilizing the netnographic methodology. The 400 images were analyzed in a process that consisted of four analytical steps focusing on metaphors and meanings (...) in the tattoos. The findings present four themes: angels of mercy and domination; hegemonic nursing technology; embodying the corps; and nurses within the belly of the monster. The tattoos serve as a mirror of popular culture and the professional culture of nurses and nursing practice within the context of body art. Body art policy statements have been included in nursing personnel dress code policies. Usually these policies prohibit tattoos that are sexist, symbolize sex or could contribute and reproduce racial oppression. The results show that the tattoos can be interpreted according to several layers of meanings in relation to such policies. We therefore stress that this is an area highly relevant for further analyses in nursing research. (shrink)

This book explores the construction of gender ideology in early modern England through an analysis of the querelle des femmes - the debate about the relationship between the sexes that originated on the continent during the middle ages and the Renaissance and developed in England into the Swetnam controversy, which revolved around the publication of Joseph Swetnam's The arraignment of lewd, forward, and inconstant women and the pamphlets which responded to its misogynist attacks. The volume contextualizes the debate in terms (...) of its continental antecedents and elite manuscript circulation in England, then moves to consider popular culture and printed texts from the Jacobean debate and its effects on women's writing and the developing discourse on gender, and concludes with an examination of the ramifications of the debate during the Civil War and Restoration. Essays focus attention on the implications of the gender debate for women writers and their literary relations, cultural ideology and the family, and political discourse and ideas of nationhood. (shrink)

In this essay, I attempt to consider a difficult issue: the triangular relationship between the subject, the object and the visual representations of masculinity in the context of male homosexual desire. I outline contemporary circumstances of society’s interaction with popular culture in which gay men form two images of an idealized masculine body: a concept of their own body and a concept of the body they feel sexually attracted to. My concern is to theorize these two kinds of (...) desire and position them in the chaotic landscape of contesting masculinities that increasingly often besiege men via visual media. I differentiate between “straight” and “gay” masculinities as historically they have been represented and negotiated independently. What I want to reflect on is in what ways these masculinities can impact on gay men’s desires—to be a man, and to have a man. Approaching this task produces a rather puzzling picture as interpreting contemporary visual culture poses more questions than it gives answers. I argue that some of these questions are worth pursuing as an empirical inquiry. My objective is to provide a theoretical background such work could be based on. I locate elements of this theory that I find problematic or out-of-date and mention certain aspects of the problem that I believe could be addressed further. (shrink)

Not all original works invoke the encore impulse in their audiences. Those that do generally spawn replications - sequels, spin-offs, or re-makes. This book presents a theory of why some replications succeed and others fail across genres and media.

This is a cultural sociology of some controversial aspects of contemporary popular culture. The book rereads disparaged and vilified cultural objects ranging from gangsta rap and death metal to violent video games, using cultural theories on transgression, the sacred, and the tragic as the interpretive lens.

Many philosophers believe that our ordinary English words man and woman are “gender terms,” and gender is distinct from biological sex. That is, they believe womanhood and manhood are not defined even partly by biological sex. This sex/gender distinction is one of the most influential ideas of the twentieth century on the broader culture, both popular and academic. Less well known are the reasons to think it’s true. My interest in this paper is to show that, upon investigation, (...) the arguments for the sex/gender distinction have feet of clay. In fact, they all fail. We will survey the literature and tour arguments in favor of the sex/gender distinction, and then we’ll critically evaluate those arguments. We’ll consider the argument from resisting biological determinism, the argument from biologically intersex people and vagueness, the argument from the normativity of gender, and some arguments from thought experiments. We’ll see that these arguments are not up to the task of supporting the sex/gender distinction; they simply don’t work. So, philosophers should either develop stronger arguments for the sex/gender distinction, or cultivate a variety of feminism that’s consistent with the traditional, biologically-based definitions of woman and man. (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...) 'Hellraiser'. In other cases, sex and horror are balanced in a manner that thoroughly blurs the distinction between porn and horror. The sustained presence of sex-horror in film suggests that these two elements fit together and the combination is a source of pleasure (entertainment, fascination, intellectual stimulation and so forth) for many. Yet sex-horror is broadly perceived to be disturbing and these negative reactions indicate that sex-horror is a source of trepidation, moral disdain or disgust for some. Thus, it appears that sex-horror inspires directly competing responses. One might conclude that sex-horror itself is paradoxical; that it holds two directly oppositional meanings simultaneously. However, as I will illustrate in this chapter, these dual responses are not as contradictory as they might first appear to be. (shrink)

Historically, American political science has rarely engaged popular culture as a central topic of study, despite the domain’s outsized influence in American community life. This article argues that this marginalization is, in part, the by-product of long-standing disciplinary debates over the inadequate political development of the American public. To develop this argument, the article first surveys the work of early political scientists, such as John Burgess and Woodrow Wilson, to show that their reformist ambitions largely precluded discussion of (...) mundane activities of social life such as popular culture. It then turns to Harold Lasswell, who produced some of the first investigations of popular culture in American political science. Ironically, however, his work – and the work of those who adapted similar ways of speaking about popular culture after him – only reinforced skepticisms concerning the American public. It has thus helped keep the topic on the margins of disciplinary discourse. (shrink)

Family Values shows how the various contradictions at the heart of Western conceptions of maternity and paternity problematize our relationships with ourselves and with others. Using philosophical texts, psychoanalytic theory, studies in biology and popular culture, Kelly Oliver challenges our traditional concepts of maternity which are associated with nature, and our conceptions of paternity which are embedded in culture. Oliver's intervention calls into question the traditional image of the oppositional relationship between nature and culture, maternal and (...) paternal. Family Values also undercuts recent returns to the rhetoric of a "battle between the sexes" by analyzing the conceptual basis of these descriptions in biological research and the presuppositions of such suggestions in philosophy and psychoanalysis. By developing a reconception of maternity and paternity, Family Values offers hope for peace in the battle of the sexes. (shrink)

The article stems from the acknowledgment of the popularity of The Beatles’ faces within popular music and popular culture altogether. Unlike some contemporary and successive male rockstars, the band focused their aesthetic appeal entirely on the faces, omitting other body parts, and therefore keeping astray from a “sex symbol” status in a conventional, eroticized sense. The article analyses the cultural role of The Beatles’ faces in terms of aesthetic features, face expressions, face performances, and extensions/prostheses. These parameters (...) are applied to the chronological development of the face looks adopted by The Beatles during their activity and to the case study of those album covers featuring face close-ups of the band. Additional notes are presented in the area of face representation within the band’s musical repertoire. (shrink)

In the most rigorous articulation of his philosophical system to date, Slavoj Žižek provides nothing short of a new definition of dialectical materialism. In forging this new materialism, Žižek critiques and challenges not only the work of Alain Badiou, Robert Brandom, Joan Copjec, Quentin Meillassoux, and Julia Kristeva (to name but a few), but everything from popular science and quantum mechanics to sexual difference and analytic philosophy. Alongside striking images of the Möbius strip, the cross-cap, and the Klein bottle, (...) Žižek brings alive the Hegelian triad of being-essence-notion. Radical new readings of Hegel, and Kant, sit side by side with characteristically lively commentaries on film, politics, and culture. Here is Žižek at his interrogative best. (shrink)

Richard Schusterman’s book, Ars erotica: sex and somaesthetics in the classical arts of love (Schusterman, 2021) is a path-finding, innovative contribution that breaks the silence around the long-held body-shying academic deprivation to erotic ideas with its free-flowing comprehensive discussion on carnal desire and erotic thoughts. Schusterman provides a panoramic yet vibrantly profound analysis of the aesthetic inclusion into erotic love following the culture of Asian and Western thoughts from the ancient era to the Renaissance. The book’s scope shows the (...) author’s deep inclusive com-mendable research into erotic study. Schusterman is renowned for his original approach to defining popular art and philosophy as an embodied art of living. He is also famous for his trailblazing concept of somaesthetics, rooted in pragmatist aesthetics, with Ars erotica being a fruitful product of his expertise in both. (shrink)

A Sociology of Sex and Sexuality offers an historical sociological analysis of ideas about expressions of sexual desire, combining both primary and secondary historical and theoretical material with original research and popular imagery in the contemporary context. While some reference is made to the sexual ideology of Classical Antiquity and of early Christianity, the major focus of the book is on the development of ideas about sex and sexuality in the context of modernity. It questions the widespread assumption that (...) the anxieties and fears associated with old sexual mores have been overcome in the late twentieth century context, and asks whether the discourses of Queer sexual politics have successfully fractured the binary categories of heterosexuality and homosexuality. A Sociology of Sex and Sexuality will be of interest to students in the fields of sociology, sexual history, gender studies and cultural studies. (shrink)

In all societies that have arrived at a certain degree of social differentiation, there are two types of culture that may be qualified respectively as “popular” and “lettered”. Popular culture is that of the people as opposed to the dominant political and intellectual classes. The latter two may be distinct (but allied), as in ancient India with the pair Brahman-kshatriva. or mixed as in Confucian China with the bureaucracy of scholars-civil servants. The duality between the two (...) kinds of culture may become less distinct with the democratization of power and education as well as with the omnipresent symbolic universe of the media. None the less, it survives, as has been proven by all sociological research on the nature of leisure time as employed by classes in industrial societies, in the “West” and in the “East”. (shrink)

Leaving Safe Harbors offers radical readings of conventional literature, and makes creative use of philosophy, literature, film and popular culture as it maps out a future for progressive education. Award winning author Dennis Carlson re-scripts the myths embedded in the works of Plato, Hegel, Nietzsche and Heidegger and analyzes them alongside such popular phenomena as Ridley Scott's Bladerunner and the British Punk group, The Sex Pistols. In his fluid writing style, he lucidly illustrates how these modern "myths" (...) may serve as models for a new way to think about education, and breathes new life into canonical texts on learning. (shrink)

This paper examines the nexus between popular culture and the problem of corruption in Nigeria within the theoretical framework of the Socratic dictum that “the unexamined life is not worth living”. The paper argues that corruption is a social behavior that is propelled by popular culture and sustained by skewed application of logical thinking in critical decision making. Hence, the paper posits that formal education remains the bedrock upon which corruption can be curtailed and also equips (...) people with logical tools to examine their actions as individuals and its consequences on the larger society. (shrink)

This provocative work provides a radical reassessment of the emergence and nature of Christian sexual morality, the dominant moral paradigm in Western society since late antiquity. While many scholars, including Michel Foucault, have found the basis of early Christian sexual restrictions in Greek ethics and political philosophy, Kathy L. Gaca demonstrates on compelling new grounds that it is misguided to regard Greek ethics and political theory—with their proposed reforms of eroticism, the family, and civic order—as the foundation of Christian sexual (...) austerity. Rather, in this thoroughly informed and wide-ranging study, Gaca shows that early Christian goals to eradicate fornication were derived from the sexual rules and poetic norms of the Septuagint, or Greek Bible, and that early Christian writers adapted these rules and norms in ways that reveal fascinating insights into the distinctive and largely non-philosophical character of Christian sexual morality. Writing with an authoritative command of both Greek philosophy and early Christian writings, Gaca investigates Plato, the Stoics, the Pythagoreans, Philo of Alexandria, the apostle Paul, and the patristic Christians Clement of Alexandria, Tatian, and Epiphanes, freshly elucidating their ideas on sexual reform with precision, depth, and originality. Early Christian writers, she demonstrates, transformed all that they borrowed from Greek ethics and political philosophy to launch innovative programs against fornication that were inimical to Greek cultural mores, popular and philosophical alike. The Septuagint's mandate to worship the Lord alone among all gods led to a Christian program to revolutionize Gentile sexual practices, only for early Christians to find this virtually impossible to carry out without going to extremes of sexual renunciation. Knowledgeable and wide-ranging, this work of intellectual history and ethics cogently demonstrates why early Christian sexual restrictions took such repressive ascetic forms, and casts sobering light on what Christian sexual morality has meant for religious pluralism in Western culture, especially among women as its bearers. (shrink)