Gender And Gender Norm Communications Essay

Gender And Gender Norm Communications Essay The aim of this essay is to analyse how gender norms shape performances of attractiveness and how physical norms and performances of attractiveness are related to the construction of gender and gender norms. In the first section, definition of gender and gender norms will be provided and reference is made to theories put forward by academics in the field of gender studies. Following this, attractiveness in terms of the body as a form of capital will be evaluated with a particular focus on physical attractiveness. In the third section, this paper will produce some insight into how masculinity and femininity are represented in the media and the impact of media on the construction of gender and gender norms as well as performances of attractiveness. Finally, the concept of â€Å"metrosexual† and â€Å"tomboy† will be presented as a primary example of new tendencies to challenge traditional gender norms in order to support the idea that gender norms are not fixed and subje cted to be changed over time. 1. Gender and gender norm To begin with, it is essential to consider what is meant by gender and gender norms. This section will explore the definition of gender and gender norms and reference is made to the works of academics in the field of gender studies. Gender, in Hermess words, â€Å"is the cultural significance given to biological difference of reproductive organs. It refers to men and women, as well as to appropriate ways to be a man or a woman (masculinity and femininity)† (Hermes,2007,p.190). It can be seen that, in Hermess account, peoples gender are socially constructed , are culturally built upon male or female bodies. This notion of gender is widely accepted in our society and many feminists defined ‘gender in relation to ‘sex. Feminists assume that sex is biological given and gender is cultural or social construction of this given sex (Gauntlett , 2002). When it comes to gender, it not only means that one is man or woman, â€Å"but rather a set of meanings that sexes assume in particular societies. The operation of gender in our society takes up these sets of meaning, organizes them as masculinity or femininity, and matches or line them up with male and female bodies† (Cranny-Francis et al, 2003, p.3). In other words, feminists argued that people will have certain kinds of identity or role due to the fact that they are ‘male or ‘female in terms of biology (Gauntlett, 2002). In 1987, West and Zimmerman conceptualise ‘gender not â€Å"as set of traits, nor variable, nor a role† but as something people ‘do recurrently in their interactions with others in social life. They stated that: â€Å"Doing gender involves a complex of socially guided perceptual, interactional, and micropolitical activities that cast particular pursuits as expression of masculine and feminine ‘natures† (West and Zimmerman,1987,p.14). For instance, when a man hold a womans hand and guide her across the street, he â€Å"does† being masculine and his partner â€Å"does† being feminine when she allows to be guided (West and Zimmerman,1987). In West and Zimmermans account, â€Å"doing gender is unadvoidable† because societys structure is based on the â€Å"essential† differences between male and female. In other words, individuals just can make their activity accountable by performing it as a woman or a man. Butler: â€Å"the binary divide between masculinity and femininity is a social construction built on the binary divide between men and women which is also a social construction (Gauntlett,2002,pp.135)†. No distinction btw sex and gender A person has a masculine gender not really base on he has a male body or not. Gender is socially constructed and is performed by the individual subject through the repetition of à   through the process of social construction(butler) Gender is a performance -> link: the performance of attractiveness is the performance of gender, people express their masculinity or femininity through their performance of attractiveness. So, what is the embodiment of masculinity and femininity? How can we assess the masculinity or femininity of a person? It depends on gender norms. Gender is a performance, therefore, gender norm can be understood as the social expectation of people to perform their gender in everyday life. Gender norm is a set of rules of social order (gender is the repetition of acts -> people everydays actions reinforce and reproduce a set of expectations -> a kind of social structure -> its varied in different context such as history or culture and flexible, can be changed over time) (see Giddens in Gauntlett) In our society, gender norms seem to be established base on how people look in term of physical appearance due to the fact that they are male or female , how they present their self, what kind of activities they take part in. Gender as a social structure: Giddens (1998) notes that: â€Å" Society only has form, and that form only has effect on people, in so far as structure is produced and reproduced in what people do† (quoted in Gauntlett, 2002,p.95). It can be implied that 2. Attractiveness in term of body as a form of capital 3. Attractive men and women and the representation of gender in the media ( Masculine and feminine gender norms) Who can be seen as attractive (discuss about traditional gender norms) Masculinity and femininity in media Media change gender norms In summary, gender is unstable and subject to change in different context and in different time. As Hermes (2007†,p.191) put it: â€Å"Gender does not assume the same cultural significance everywhere, and gender codes have changed significantly over time†. 4. ‘Metrosexual and ‘tomboy: against the traditional norms In an attempt to demonstrate the idea that gender norms are flexible and can be changed, this section will produce some insight into the concept of ‘metrosexual and ‘tomboy which can be seen as against the traditional masculine and feminine norms. â€Å"By understanding gender as the crucially important difference between men and women, heterosexuality maintain itself as absolute norm†. or â€Å"we understand the difference btw men and women as fundamental and as the norm† (Hermes, 2007,p.197) -> masculinity in many ways is defined as how not to appear to be effeminate , femininity is meant not to be masculine -> link to â€Å"metrosexual†and â€Å"tomboy†-> challenge the traditional norms. ‘Metrosexual Conclusion To bring this paper to a close, I summarise the main points here: gender norms shape performances of attractiveness, at the same time are changed and reconstructed by the way individuals perform their gender. Media as a guidance has exerted far reaching influence on peoples perception of gender norms and performances of attractiveness. Moreover, by representing counter-hegemonic images such as ‘metrosexual man, media has played a vital role in the reconstruction of gender and gender norms. This paper set out to examine how gender norms shape performance of attractiveness. Firstly, in order to define gender and gender norms, a literature review was presented. Secondly, this essay produced some insight into how attractiveness in terms of the body as a form of capital and discussed how physical norms and performances of attractiveness are related to the construction of gender and gender norms. In the third section, the effect of the media on peoples performances of attractiveness was considered through the way masculinity and femininity are represented in advertising, magazine, and television. In attempt to demonstrate the idea that gender norms are flexible and can be changed, evidence was presented in relation to the concept of ‘metrosexual and ‘tomboy. In conclusion, this assignment suggested that gender norms remain crucial to performances of attractiveness in our society and varied in different context such as history or culture. It could be argued that by the way people choose to perform their gender as well as perform their attractiveness, they are simultaneously reinforcing and changing gender norms.

Discuss the Techniques Used by Shakespeare to Present Othello’s Transformation

Discuss the Techniques Used by Shakespeare to Present Othello’s Transformation The transforming of Othello is perhaps one of the most important parts to the play. Shakespeare uses a number of techniques to get across the monumental change in Othello and to dramatically present both the characters and the story. Perhaps the most climatic of all the approaches is Othello’s given state of mind. To begin with, he is calm, reserved and commanding, knowing what he wants and how he is to get it.Shakespeare consigned Othello short, impressive imperatives like ‘stand there’ to demonstrate his amount of control. Othello continues to use majestic language throughout the beginning of the play: ‘but look’ and ‘keep up’. As most of his orders are realized, again it indicates Othello’s ability to obtain all he desires and his assertive stride. Othello’s vocalization style immediately evokes a loud and proud man, standing before us w ith great authority, whilst also holding his own and without revealing his purpose.He says ‘most potent, grave, and reverend signiors’ to display the amount of respect he has for those above him, lavishing them in glorifying adjectives: ‘noble and approved good masters’ and ‘gracious patience’, flattering them to acquire all he wishes. Othello continues to appear humble and reserved, ‘rude am I in my speech†¦ little bless’d with the soft phrase of peace’, when covertly he knows and understands he has an ulterior motive, and understands how to proceed to succeed in this motive.Othello has been given an ability to be sycophantic, in order for those listening to be taken in by his sweet flattery, so he can get in their head, and make them conceive to his demands. Othello does, after all, still remain with his confident and unflappable manner: ‘I have ta’en away this old man’s daughter’, is just o ne is the few examples of the audacious and defiant demeanour he pronounces us with. Othello’s character is not distressed when clarifying the obvious, and is not afraid to express it in such a style that could be portrayed as abrupt and ungracious.However, due to the earlier honeying of his words, Othello can get away with saying such things in a comparable scheme. Essentially, he knows what he is doing. Othello displays an ability to use staggering poetic images: ‘Keep up your bright swords, for the dew will rust them. ’ This shows a lyrical side to him and is just another way he expresses his assurance. It is delicate language, and is said in a dignified fashion, flaunting his unobtrusive authority and his dexterity to remain unruffled.Othello could be powerful, persuasive and emphatic, simply by becoming a profitable raconteur, and drawing his listeners into the tale. The story of Othello and Desdemona’s love (act 1, scene 3), was told so one could see how impressive Othello could be; he could stand in front of a court, confidently and surely, divulge an account, and use elaborate images, captivating all around him completely, when the person he is challenging is one of higher authority. To the audience we view him as an intimidating person, making us quiver in our seats and look to him as one that can hold himself no matter what.Later on, however, Othello changes the manner in which he speaks ‘– Handkerchief — confessions’. He changes to prose, signifying numerous things. Perhaps it is announcing to us that he is now a puppet, a minion, rather than a high general; also that he has lost all his earlier fluency and rhythm. His language is broken and erratic, much like the way he is thinking. When once Othello used the imperatives, by the end of the play, he is succumbing to the orders given by others. ‘Do it not with poison, strangle her’ Iago tells Othello, and Othello is very easily swayed : becoming the passive one.He not only has no control over those around him, but cannot even control his own actions and his own mind. Previously, Othello could stand in front of the Venetian Court and persuade them to listen to his version of events, giving him extravagant respect, whereas the later on in the play one reads, we see him transformed to the afore mentioned minion characteristics. If one was respected by others, they would not say ‘Damn her, lewd minx! ’ and ‘O damn her! ’ It is aggressive and emotive, bordering out of control, and is a complete contrast to his previous, calm self.Othello would not return to that sturdy, serene and placid man he once was. When he uses base language (‘damn’ and ‘lewd’), this again, shows us his metamorphosis to one who has become far more moronic, and lower in the hierarchy. ‘Keep up your bright swords, for the dew will rust them’ is a demonstration of the imagery that Sha kespeare presents Othello with. The majority of his imagery is fairly theatrical, establishing his assurance, as he can execute such extravagant mental images, and carry them off.It also shows that his mind is in a harmonious situation, and is not poisoned, giving him the ability to elect images that would be effective in the circumstances: ‘of moving accidents by flood and field, of hair-breadth escapes ‘ the imminent deadly breach’. Thereafter, we see all his images transforming to become grotesque and incongruous, ‘rather be a toad’. Toads are slimy, unbecoming animals, and Shakespeare is giving us perception to what Othello has been corrupted to adorn. ‘Vapour of a dungeon’ is just another example of the putrid imagery Othello is given.His change in images (both what we acknowledge, and the thoughts of Othello) is monumental, and therefore disturbing. When Othello is speaking to others, we can observe his reaction to what is said. At the beginning, this would not help us perceive much, as he may be thinking one thing, but say another in an entirely believable manner. This was when Othello’s soliquies mattered. Nearer the end, however, Othello was in such a predicament that he always said what he was thinking, and all his emotions were displayed.He is ruled now by what he feels, not by what is right, not what would make sense to the man he once was. In one soliquy he says ‘for I am black’ which indicates insecurity, something that would not have bothered him before. Othello is also feeling sexually insecure, ‘I am abused’, thus feeling sorry for himself. However the earlier Othello would have no reason to be, because he had everything he wanted: ‘boasting is an honour’. Not only is he insecure, he also starts to hold an inability to keep his anger under control.This, in turn, represents a lack of power. ‘Think, my lord! ’ shows his frustration, and the pa ssage that follows unveils a simmering exasperation. This creates tension, as we are waiting for Othello to pronounce us with an unleashed fury. In contrast, when Othello would get angry beforehand, a dignified response was ensued, ‘Good signoir, you shall more command with years than with your weapons’. Even in the face of danger, Othello used to manage keeping control of both himself, and the situation.The change in punctuation is significant to the change in Othello, as it gives us an insight as to how he is reacting, and his state of mind. In the first instance, Shakespeare does not render Othello with too many questions or exclamations, revealing his capacity to remain unruffled and collected. The lack of questions signifies that Othello knows all, and does not question situations or people. Later on, we see the transformation, as Othello is seen to use many more exclamations: ‘not their appetites! ’, ‘the tranquil mind! ’, ‘content! , ‘ambition virtue! ’, ‘glorious war! ’†¦ The list goes on. This implies excitement, anger and perturbation. Before he may not have needed to become animated; if he did, he could keep it under control; perhaps so he could manipulate others. Now, however, he is emotive and dramatic, contrasting his earlier emotions. The new use of question marks expresses Othello’s stupidity and confusion: ‘what didst not like? ’ Not only does this verify his turmoil, but he is also questioning himself. It’s another example of his new found insecurity: ‘is’t possible? Shakespeare has made it as such Othello cannot understand what is going on around him, making him an easier target to wield. Othello’s ‘Love’ for Desdemona was so powerful and passionate, ‘that I love the gentle Desdemona’. Othello wished to marry her, even though it will cause an inimitable eruption. ‘I loved her’ again shows that is his Love was influential (much like him). Othello loves Desdemona so much that he was prepared to ruin his hard-earned career for her, ‘I would not my un-housed free condition put into circumscription and confine for the sea’s worth’.He talks about her countless times throughout the first part of the play and it demonstrates how dominant she has been in his life. Then, however, he goes on to describe her as ‘lewd minx’ disclosing to us that he holds an unaccustomed hatred toward her; he uses ‘fair devil’ at one point, an oxymoron, establishing two things: he is confused, and he loves Desdemona, but hates her also. Moreover, Othello rarely uses her name, when nearing the end of the play: ‘with her, lest her body’, ‘lie with her’ etc, which shows us that he cannot bear to say it.To begin with, however, he would use ‘Desdemona’ regularly, as though by saying her name, it would bring him closer to her, and that’s all he wanted. ‘If I do prove’ discloses the fact that he doth endeavour to believe that Desdemona still Loves him, perhaps because he couldn’t imagine it any other way. Not merely this, but again it is demonstrates his freshly found insecurity and vacillation. Perhaps the most dramatic of the changes presented when looking at Othello’s bestowed behaviour towards Desdemona, is when he hits her.He strikes her accompanied with ‘devil’. Desdemona is simply perplexed, and responds, ‘I have not deserved this’. Her retort explains that what he has done is unconventional for him, and that there is no reason behind the attack. Lodovico plays a vital part when noticing the change between the lovers. He saw how in love they were since the rudiments of the play, and how that has modified. He goes from one extreme to the next, so we see the monumental adaptation between their love through Lodovico’s eye s.He reacts to Othello hitting Desdemona as such: ‘would not have been believed in Venice’, whereas earlier he could see that they were in love. Cassio used to be Othello’s lieutenant, and was when Othello had his own state of mind, his own sense of morals, indicating Cassio was of the correct calibre when it comes to his job. After Othello had been poisoned, however, ‘now art thou my lieutenant’, Othello promotes Iago. It demonstrates his conversion in trust, and reveals that he has almost been twisted to the maximum. It is as though he must have Iago there to endure ‘if thou dost love me, show me thy thought’.He is insecure and paranoid, and must know what Iago is thinking. Dramatic irony also comes into the equation here, as we know Cassio is the one that Othello should accredit, but Iago is the one he believes. Ultimately, this creates tension in the audience. Again, Othello’s soliquies elucidate a great deal when it comes to how he is thinking. ‘O curse of marriage’ tells us that Othello no longer appreciates the idea of marriage, and ‘had rather be a toad, and live upon a vapour of a dungeon, than keep a corner in the thing I love’.Before, we knew that he held certain adoration for marriage, as he decided to espouse Desdemona although it would cause havoc. This soliquy also deduces a great deal about his sentiments, as we see him with pessimistic view-points: ‘Tis destiny unshunnable, like death: even then this forked plague is fated to us’. Finally, Othello returns to his imperturbable self, opening with imperatives on his last speech: ‘soft you’. He is confident again ‘I have done the state some service, and they know’t’. Othello goes on to realise he has been ‘wrought’ by Iago, and ‘perplex’d in the extreme’.He describes Desdemona as a ‘pearl, richer than all his tribe’ and discerns that he threw away something beautiful and vulnerable, due to Iago’s cunningness. Othello finishes with ‘I took by the throat the circumcised dog, and smote him, thus’ indirectly calling himself the enemy, as he stabs himself after the last word. Othello’s veil that was put there by Iago was ripped away and he must have feel satisfaction from realising the truth; however we know he loves Desdemona, as he ends his life because of what he has done, and what he believed to be true.

I Have a Dream vs. The Unknown Citizen - 1444 Words

Comparing I Have a Dream with the Unknown Citizen Introduction Throughout history, there are those moments that will help to redefine society and the way everyone thinks. In some cases, this will take place with a speech that was given. While at other times, it will occur in the form of a poem or literary article. In the I Have a Dream speech and the poem titled Unknown Citizen there is a focus on contemporary society along with the changes that are evolving. To fully understand how this taking place requires comparing and contrasting them with each other. Once this occurs, is when we can offer specific insights about how the two are discussing the status quo and its transformations. I Have a Dream In the I Have a Dream speech, Martin Luther King was illustrating how it has been nearly 100 years since the end of slavery. However, despite these changes, there are still tremendous amounts of inequality and prejudice that exist towards African Americans in society. 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Women And Women s Rights Essay - 1219 Words

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