Archive: 2011

Societies are permeated with visual images. This means that images dominate our lives. However, no other images confront us so frequently as advertising images. They belong to the moment. We see them as we turn a magazine page, as we drive past a billboard, and as we visit a website.  However fleeting, they are powerful agents of socialization.

Sociologist Erving Goffman described and exhibited subtle features of gender displays in his book Gender Advertisements. One significant feature that he noted was the ritualization of subordination in which women are portrayed in clowning and costume-like characters. This still rears its ugly head in today’s advertisements.

According to Goffman, “the use of entire body as a playful gesticulative device, a sort of body clowning” is commonly used in advertisements to indicate lack of seriousness struck by a childlike pose (p. 50).

Images reproduced in Gender Advertisements (Goffman, 1979, p.50)

Advertisement found in a file-hosting web site:

The clownish poses represent in these images clearly remind us some photos of female hysterics taken by Jean Martin Charcot (1825-1893) who was not only a neurologist but also an artist.

Charcot was the inventor/discoverer of the female psychic affliction of “hysteria” at the Salpêtrière asylum in Paris that confined four thousand incurable or mad women. For delving into the nature of hysteria, Charcot armed himself with photography. He extensively photographed the different stages and forms of hysteria and calibrated them into a general type called “the great hysterical attack.” Charcot believed that this attack proceeds in four phases, the second of which is called clownism or so-called illogical movements.

Image taken by Charcot and reproduced in Invention of Hysteria (Didi-Huberman, 2003, p.147)

Charcot used the clowning to delegitimate so-called hysterical women, and Goffman saw such representations for what they are, a way to portray women as inferior, emotionally childlike, unserious.  Over 100 years later, images of clowning women are still used to reinforce gender discrimination and position females as inferior.

References:

Didi-Huberman, G. (2003). Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière, translated by Alisa Hartz. Cambridge, Mass: MIT Press.

Goffman, E. (1979). Gender advertisements. Cambridge, MA: Harvard University Press.

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Zahra Kordjazi earned her M.A. in Teaching English as a Foreign Language, with a special interest in social semiotics, gender, visual literacy, and sociolinguistics. This post is based on her thesis, Images Matter: Gender Positioning in Contemporary English-Learning Software Applications, a semiological content analysis of gender positioning.

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Recently I posted about the loss of genetic diversity in industrial agriculture, partially due to increasing concentration at every link in food commodity chains, from the farm to the grocery store. This image from the Centre for Research on Globalization, sent in by Rick T. of the University of Western Ontario, illustrates the process of concentration at the farm level. In the U.S., the total number of farms has fallen from an all-time high of over 6.3 million to just over 2.2 million. Meanwhile, the average size per farm nearly tripled between 1900 and 2007, from 147 to 418 acres.

A 2010 USDA report provides detailed information about the structure of U.S. agriculture. For instance, overall, average farm household income is higher than the U.S. average, though I’d rather see the median income to reduce the impact of outliers on the calculation. But as the bottom line shows, farm households are highly dependent on non-farm income for their survival. Overall, farm income accounts for less than 20% of the total income of farming families:

And as we saw recently with the mortgage interest deduction program, the benefits of farm subsidies are unevenly distribution. Small-scale family farms (defined as operator-owned farms with less than $250,000 in sales — which does not mean $250,000 in profit, of course) make up 88.3% of all farms in the U.S., while large-scale family farms (operator-owned farms with sales over $250,000) are 9.3%:

While small-scale family farmers receive the majority of land-retirement payments — that is, subsidies in return for taking land out of agricultural production — large-scale family farms are the major beneficiaries of commodity payments such as price supports that subsidize the cost of production:

Of course, that doesn’t mean that small-scale producers don’t benefit from farm subsidy programs, but as with the mortgage interest tax deduction, they are set up to reward size — the more you have, the more you get. Whether farm subsidies are essential to preserving small family farms or actually hurt them by artificially supporting capital-intensive large-scale production is a topic of much debate within agricultural circles.

In Buying In: What We Buy and Who We Are, Rob Walker discusses one of the central dilemmas facing marketers: they are trying to get large numbers of people to buy the same thing, while convincing them that doing so in no way makes them conformists. How do you “keep it real” (a phrase repeated ad nauseam by the marketers Walker interviewed) and appear authentic and non-conformist while trying to get as many people as possible to buy the same product?

One solution is to frame buying your product not as a boring act of conformity, but instead as a way of expressing your own unique personal identity. Buying a product you’ve seen advertised doesn’t detract from your authenticity, it enhances it — even if you’re buying a mass-produced product that thousands or even millions of other people purchased identical copies of.

Bec G. sent in this an ad from Jeanswest Australia that illustrates this, asserting that their jeans are “as unique as you”:

Of course, as Bec pointed out, the models they chose to represent how unique Jeanswest customers are are all pretty uniformly thin, even the pregnant woman.

Sarah F. sent in another example. The Australian website for the sandwich chain Subway asks customers whether their preferred sandwich is unique:

I filled out the quiz, creating the only thing I ever get if I eat at Subway: a standard veggie sandwich, no tomatoes. I was then asked to give this amazing item its very own name, to be saved for posterity on the Subway website (if they approve the name): “You’ve just created a Sub that is a reflection of you, so let’s give it a name. Feel free to be creative, after all this is YOUR creation!”

Then it was time for the big reveal. The webpage reinforced the message that designing my very own personalized sandwich from their relatively limited stock list of ingredients is an important expression of my inner being:

I was so nervous! What if my sandwich wasn’t special? Was the honey oat bread too mainstream a choice? Oh, why didn’t I go with the chipotle sauce?!

But it all turned out ok!

In Australia, at least, I now know that my Subway sandwich choice separates me from the masses. What a relief!

Cross-posted at Montclair SocioBlog.

Changes in language seem to just happen. Nobody sets out to introduce a change, but suddenly people are saying “groovy” or “my bad.” And then they’re not. Even written language changes, though the evolution is slower.

Last weekend, I saw this sign at a goat farm on Long Island.

WER’E ??

I used to care about the apostrophe, but after years of reading student papers about “different society’s,” I have long accepted that the tide is against me. The apostrophe today is where spelling was a few hundred years ago – you can pretty much make up your own rules.

Sometimes the rule is fairly clear: use an apostrophe in plurals when leaving it out makes the word look like a different word rather than a plural form of the original. Change the “y” in “society” to “ies” and it looks too different. “Of all the cafe’s, I like the one with lime martini’s.” The “correct” version is cafes and martinis. but I think they take a nanosecond or two longer to mentally process.

Or these

Technically, it should be “ON DVDS.” But DVDS looks like it’s some government agency (I gotta go down to the DVDS tomorrow) or maybe a disease.

It’s not always easy to figure out what rule or logic the writer is following. The little apostrophe seems to be plunked in almost at random. Not random, really. It’s usually before an “s.” But why does Old Navy say, “Nobody get’s hurt”?

There’s a prescriptivist Website, ApostropheAbuse.com, that collects these (that’s where I found the DVDS and Old Navy pictures). They’re fighting a losing battle.

Technology matters – I guess that’s the sociological point here. The invention of print and then the widespread dissemination of identical texts herded us towards standardization. Printers became a separate professional group (not part of the church or state), and most of them were in the same place (London). They had a stranglehold on published spelling.

For the last few decades, anyone could be a printer. The page you are now reading might harbor countless errors in punctuation and spelling (though spell-checkers greatly reduce misspellings), but it looks just as good as an online article in the Times, and it’s published in a similar way to potentially as many readers. And now there’s texting. It’s already pushing upper case letters off the screen, and the apostrophe forecast doesn’t look so good either. But what will still be interesting is not the missing apostrophe but the apostrophe added where, by traditional rules, it doesn’t belong.

I still can’t figure out WER’E.

Mandi B. sent in this straightforward example of the way that women are positioned as commodities in advertising.  The email ad for Spirit Airlines reads “Trade Up for a Better Flight Awards Card” and illustrates that trade with a new car, a younger look, and a lady in red.  What does the lady have to do with it? Absolutely nothing. But it works because we’re accustomed to thinking of sexy women as prizes for men’s success.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Deeb Kitchen sent in an essay at The Brookings Institution with a graph comparing the number of hours worked and earnings in middle-class, two-parent households (the 10% of households that are in the very middle of the income distribution).   Controlling for inflation (results are in 2009 dollars), we see that these households are earning more, for sure, but also working more.  In other words, they’re getting about as much buck for their bang as they were in 1975.

The authors of the post argue that the 26% increase in the number of hours worked is due mostly to mothers increasing their work hours.  Wages, as you can see below, have been stagnant for fathers, but gone up for mothers:

See also: more men and less women earning poverty wages and why did married mothers go to work.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Megan H. and Ami R. sent in contrasting examples of using gender to market fuel-efficient cars. Megan saw this ad (one in a series that plays on the “I’m a Mac/I’m a PC” Apple ads) advocating electric cars over gasoline-powered ones. In this ad, femininity is associated with environmental responsibility. The most stereotypically masculine man in the ad — the blue-collar worker in a hard hat and filthy clothes — represents the harmful oil industry. Beneficial, good wind energy, on the other hand, is personified by a pretty woman in a filmy dress. Her beauty renders the bad guys speechless:

Dodge, on the other hand, wants to distance its claims to fuel efficiency from any association with femininity. Ami found this ad for the new Dodge Charger in the magazine for Go! Chapel Hill, an organization that advocates less car use:

So here, fuel efficiency with is also associated with femininity, but in the negative sense of emasculation. The Charger is the one exception to the other fuel efficient cars out there. You can get better gas mileage and still protect your manly reputation.

For other examples of gender representations of the environment or environmental movement, see our previous posts on femininity and benign nature, using PETA tactics to oppose the BP oil spill, nature in vintage men’s magazines, and even girls can drive electric cars!

Cheerleading started in the United States in the late 19^th century as a male activity whose purpose was to organize crowds cheering at football games.   In 1923, women joined cheerleading squads and have increasingly dominated this sport.  Cheerleading traditionally features chanting, gymnastics, and tumbling.  The dominant image of cheerleaders  is a perky, always smiling, female who fits a particular body mold.

However, in the late 1970s, a new style of cheerleading emerged in North Carolina and Virginia.  This African American originated style of cheerleading is called “Stomp n Shake”.  Stomp n Shake cheerleaders have the same goals as “traditional cheerleaders” — to motivate their sports team and raise the enthusiasm of fans. However, Stomp n Shake uses African American dance/stepping aesthetics and African American bragging and insult traditions (dozens/snapping) to “pump up” their audience.  Some Stomp n Shake squads include tumbling and stunts in their repertoire, while other squads don’t.  Mostly women, Stomp n Shake cheerleaders rarely smile.  Instead their goal is to look serious and intimidating when they are chanting their cheers and performing their cheer routines.  As the name implies, hip and butt shaking are common features of Stomp n Shake routines, something usually disallowed in most mainstream competitive cheerleading.

Virginia State University Woo Woos (Work It…):

Howard University Bison Cheerleaders:

Prince Edward County High School, SASSY (We Shake The Best):

It’s also interesting to note that Stomp n Shake cheerleading squads  appears to be more accepting of cheerleaders who don’t fit the relatively slender body build of mainstream cheerleaders.  Comment threads for YouTube videos of usually include comments that certain squad members are overweight and therefore should not be cheerleaders.   Usual responses to those comments are that a “thick”(big boned) body frame is common for many Black females, and, besides,  a cheerleader’s weight has nothing to do with her cheerleading skills.

Stomp n Shake is changing the way cheerleading is performed in the United States and elsewhere, often to the dismay of many cheerleading coaches, cheerleaders, and fans who very much prefer that cheerleading remain the way it is.  However, the influence of such movies as the Bring It On cheerleader series (five movies from 2000-2009) and the posting of videos on YouTube — along with the desire of cheerleading squads to be cutting edge and “hip”– have already influenced the performance styles of some more “traditional” cheerleading squads.  It will be interesting to see whether Stomp n Shake cheerleading will also increase the acceptance in mainstream cheerleading for cheerleaders whose physical builds  are different than those of the typical cheerleader in the past and the present.

Azizi Powell earned a B.A. in sociology from Upsala College, East Orange New Jersey.  She is a retired health & human services administrator, a mother and grandmother, and a free lance artist (African storyteller).  She curates two cultural websites Cocojams and Jambalayah.  For more information and videos on Stomp n Shake cheerleading, click here.