Sociological Images

Re-posted to add to the discussion about sexual assault and rape culture in the aftermath of the Steubenville verdict.

On the heels of yesterday’s cartoon making light of lynching published in Eastern Michigan University’s newspaper, Michaela N. submitted an intended-to-be-humorous visual making light of rape in The Purdue Exponent, the Purdue University student newspaper.  Part of a “sex position of the week” series, this one suggests that one man should pass a female partner off to another man without her knowledge.

This is another piece of evidence that suggests that we live in a rape culture: a society that, at best, trivializes and, at worst endorses, sexual assault.

UPDATE: Zoe Hayes, editor-in-chief of The Purdue Exponent, sent along a note asking that we link to their apology.  To their credit, unlike the non-apology issues in the case of the lynching cartoon linked to above, they express genuine empathy, remorse, and responsiveness.

For more indications that we live in a rape culture, see our posts on media coverage of a rape video game and the George Sodini murders, rapists as hyperconformists to ideal masculinity, the rape scene in Observe and Report, and t-shirts endorsing sex with “drunk girls”.

“We don’t know how the results were obtained. The post-doc who did all the work has since left to start a bakery” reads a tweet with the #overlyhonestmethods hashtag. The hashtag is being used for scientists to discuss the elements of their methodology that do not get discussed in “proper” scientific papers.

In response to this series of tweets, others have been reassuring readers that #overlyhonestmethods is a “‘joke” hashtag, and should not be construed to reflect the actual state of scientific work. Why? What’s the big deal?

Part of it is about the ways in which we like to consider science. The societal discourse is that science (particularly lab science) represents a “pure” form of knowledge, unbiased by human perceptions, relationships, and pragmatism.

In some ways, that may be true (if I mix Flourine and Francium, for example, the result is likely to be explosive whether I believe it to be or not), but that does not mean science isn’t shaped by social, cultural, and institutional forces.

For example, the choice of what to research is highly political. During wartime, scientific research is devoted to things that may aid the war effort, from weaponry, to vehicles, to food preservation. Political priorities in certain regions, likewise, direct research dollars into forestry management instead of ecological preservation. The scientists who do this research direct their efforts in this way because that is the research they can get funded.

#Overlyhonestmethods is, among other things, exposing the very real social nature of scientific research, pointing out that scientists may time their experiments so as to avoid being the lab on evenings and weekends. Or that it is sometimes difficult to know how certain results were obtained because people leave the profession and can’t tell you.

These concerns – about recording knowledge, and people’s quality of life at work — exist in every other profession, but in most cases we don’t need to discuss those statements as a “joke.” This is because most other professions do not make the claim of presenting absolute truth. In telling the “unpublished” stories of scientific research, #overlyhonestmethods makes it obvious that scientists are people who face constraints — personal, relational, practical, and institutional — potentially shaking the trust people put in science to offer “the” Truth.

Anastasia Kulpa teaches Sociology at Grant MacEwan University in Edmonton, Alberta, Canada. Her research interests include the sociology of post-secondary classrooms and cultural vehicles for transmitting ideology (class, music, television, etc).

A while back, we featured a post by Mary Nell Trautner and Erin Hatton about the gap in depictions of men and women on Rolling Stone covers. Their study found that women on the cover are not just sexualized, but are generally hypersexualized, whereas men are generally not sexualized at all, and this gendered trend has grown over time.

An anonymous reader sent in an example that highlights this pattern. The British version of GQ is putting out a comedy issue in April. The issue has two covers, one featuring actress Olivia Wilde (via):

The fully-dressed men are “kings of comedy,” while Wilde is a “fantasy figure.” Notice also that the cover on the right that the four female comedians at the bottom are introduced as “sexy.” While these women may be funny, it’s clearly essential that they be hot while being funny; comedic skills alone just won’t do.

GQ created a trailer featuring some of the comedians in the issue. The video consists of 17 male comedians. One woman does make it into the video; at 0:14, Wilde jiggles her boobs:

Because apparently none of those female comedians are worth including as representatives of comedy in the same manner as the men, but only in an explicitly sexualized manner.

I am a huge fan of the television series It’s Always Sunny in Philadelphia, but I want to problematize some of the humor we often take for granted in the show. In a recent interview with Conan O’Brien, Charlie Day discusses some of the changes introduced into the upcoming season of the show. Specifically, about 1:30 in, they discuss the weight gain that Rob McElhenney (“Fat Mac”) accomplished in pursuit of a “funnier” character (image via):

Notice how Charlie Day and Conan laugh—freely and unapologetically—at the prospect of Mac contracting diabetes (especially Conan’s mocking “Go America!” response to the image of “Fat Mac”):

Continue watching the interview to the 4:45 mark; Conan broaches the topic of mental retardation contained in an earlier episode (Season 3 Episode 9: “Sweet Dee’s Dating a Retarded Person”). You will notice that Charlie Day seems more hesitant and calculated in discussing the topic of mental disability. For one, he uses the word “mental disability” rather than the more pejorative “retarded.” You will also notice less of an audience response, a less raucous reaction to the prospect of someone being mentally disabled than to them being fat.

Mental disability, as a largely ascribed status, serves as a less-viable source of humor. That is, laughing at someone who is born a particular way, or gains that status for reasons beyond their control, violates our precepts of political correctness. However, being overweight is often interpreted as caused by a personal character flaw (laziness, gluttony, etc.) and therefore an achieved status. Laughing at fat people, then, is not only socially acceptable, but often encouraged in American comedy.

This highlights the centrality of individualism and personal responsibility in American society. We hold the obese and the overweight accountable for their corporeal deviations. We tend to believe that those who are overweight (and those who contract Type 2 Diabetes) are responsible for their conditions. It then becomes socially acceptable to mock them. On the flipside, mental disability, as an ascribed status, is more likely to be defined as “off limits” as a source of humor. When it becomes a source of humor, as in this case, comedians must save face by saying things like “Nothing against the mentally disabled, but…” as Charlie does at the 5:25 mark—a form of hedging he didn’t feel obliged to include when laughing at someone’s weight.

Who we can laugh at, and whether we have to apologize for doing so, reveals larger cultural discourses, and analyzing humor allows us to understand some of the prevailing moral assumptions we take for granted.

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David Paul Strohecker (@dpsFTW) is getting his PhD from the University of Maryland, College Park. He studies issues of intersectionality, consumption, and popular culture. He is currently doing work on the popularization of tattooing, a project on the revolutionary pedagogy of public sociology, and more theoretical work on zombie films as a vehicle for expressing social and cultural anxieties. He previously wrote for the blog Racism Review and currently blogs at Cyborgology.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

A new submission is a nice addition to this old post.  The newest iteration of this gender-bending game — men in pin-up poses — can be found in the middle of this collection.

Dmitriy T.M. sent in this month’s cover of GQ featuring Sasha Baron Cohen, in Bruno character.  Cohen adopts a pose often used to showcase women’s bodies.  The contrast between the meaning of the pose (sexy and feminine) with the fact that he’s male draws attention to how powerfully gendered the pose is.  His facial expression highlights the ridiculousness of such a powerful gender binary (women look sexy when they pose like this, men look stupid when they do).

Consider:

Commenter MB noted that GQ has some news stands have decided to cover the cover (as if it were porn):

The interesting question might be: When we pose women like men, does it look ridiculous or badass?  And, if it looks badass, what does that say about the way we expect women to look and move?

Here’s another example from artist Rion Sabean, sent in by @SH_lelabo, Tom Megginson, Jesse W., Christie W., Robin D., Stian H., Erin A., Lev H., Kelsey P., Peter S., Rachel S., Lizzy F., Jennifer G., Katrin, Kathrin, Arielle S., and Arielle S. (yes a “Katrin” and a “Kathrin” who both prefer no last initial and, yes, TWO “Arielle S.”s!):

Lots more “men-ups” at Sabean’s website.

And there’s more (after the jump):

(more…)

Every once in a while we here at SocImages pick a fight and a couple of years ago we sunk our teeth into satire and didn’t let go. Satirical humor is often used to expose prejudice and bigotry and it can be damn effective, as many viewers of The Colbert Report will testify.  But it’s also a risky strategy.  It makes fun of by doing; so, for example, it exposes racism by being extremely, over-the-top, no-one-will-ever-believe-we’re-serious racist. Except for… someone might think you’re being serious.  In fact, a significant proportion of political conservatives viewing The Colbert Report believe that he is conservative like them. They recognize that he’s trying to be funny, but they don’t think he’s joking.

In our effort to think more critically about satire, we covered Amy Sedaris’ hipster racism, Ellen DeGeneres’ CoverGirl commercial, a New Yorker cover depicting Obama as a Muslim, covers of the National Review featuring Bill Clinton and Sonia Sotomayor, and board games.  We also featured Jay Smooth’s commentary on Asher Roth using the phrase “nappy headed hos.”

Now Anita Sarkeesian, of Feminist Frequency, offers another illustration of how satire doesn’t always work the way progressives would like it to.  She takes on TV commercials, arguing that ironic racism and sexism is still racism and sexism. Ironic advertising, she argues, allows marketers to “…use all the racist, sexist, misogynist imagery they want, and simultaneously distance themselves from it with a little wink and a nod.”  You be the judge:

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

Tijana Mamula has put together a 50-minute video presenting all of the portrayals of gays and lesbians in ten seasons of the sitcom Friends. Her aim is to illustrate not just the homophobia, but the ease with which gently homophobic humor pervades the series. She writes:

The homophobic jokes, as they appear in the original series, are never violent and most often are not even openly denigratory; rather, they purport to offer an honest and “good-humored” representation of a common, socially sanctioned stance towards homosexuality. Situated within the wide array of jokes in any single episode, this homophobia tends to avoid provoking either aversion or anger, and instead prompts the viewer to be swept away by the hilarity of the situations.

It’s worth watching at least a few minutes:

Via Political Remix Video.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.