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Rose Eveleth’s piece for Fusion on gender and bodyhacking was something I didn’t know I needed in my life until it was there. You know how you’ve always known something or felt something, but it isn’t until someone else articulates it for you that you truly understand it, can explain it to yourself, think you might be able to explain it to others – or, even better, shove the articulation at them and be all THAT RIGHT THERE, THAT’S WHAT I’M TALKING ABOUT. You know that kind of thing?

Yeah, that.

Eveleth’s overall thesis is that “bodyhacking” isn’t new at all, that it’s been around forever in how women – to get oversimplified and gender-essentialist in a way I try to avoid, so caveat there – alter and control and manage their bodies (not always to positive or uncoercive ends), but that it’s not recognized as such because we still gender the concept of “technology” as profoundly masculine:

Men invent Soylent, and it’s considered technology. Women have been drinking SlimFast and Ensure for decades but it was just considered a weight loss aid. Quantified self is an exciting technology sector that led tech giants such as Apple to make health tracking a part of the iPhone. But though women have been keeping records of their menstrual cycles for thousands of years, Apple belatedly added period tracking to its Health Kit. Women have been dieting for centuries, but when men do it and call it “intermittent fasting,” it gets news coverage as a tech trend. Men alter their bodies with implants and it’s considered extreme bodyhacking, and cutting edge technology. Women bound their feet for thousands of years, wore corsets that altered their rib cages, got breast implants, and that was all considered shallow narcissism.

As a central personal example, Eveleth uses her IUD, and this is what especially resonated with me, because I also have one. I’ve had one for about seven years. I love it. And getting it was moderately life-changing, not just because of its practical benefits but because it altered how I think about me.

The insertion process was not comfortable (not to scare off anyone thinking of getting one, TRUST ME IT IS GREAT TO HAVE) and more than a little anxiety-inducing ahead of time, but I walked out of the doctor’s office feeling kind of cool. I had an implant. I had a piece of technology in my uterus, that was enabling me to control my reproductive process. I don’t want children – at least not right now – and my reproductive organs have never been significantly important to me as far as my gender identity goes (probably not least because I don’t identify as a woman), but managing my bits and what they do and how they do it has naturally been a part of my life since I became sexually active.

And what matters for this conversation is that the constant task of managing them isn’t something I chose. Trying to find a method that worked best for me and (mildly) stressing about how well it was working was a part of my identity inasmuch as it took up space in my brain, and I wasn’t thrilled about that. I didn’t want it to be part of my identity – though I didn’t want to go as far as permanently foreclosing on the possibility of pregnancy – and it irked me that it had to be.

Then it didn’t have to be anymore.

And it wasn’t just about a little copper implant being cool on a pure nerd level. I felt cool because the power dynamic between my self and my body had changed. My relationship between me and this set of organs had become voluntary in a way entirely new to me.

I feel like I might not be explaining this very well.

Here: Over thirty years ago, Donna Haraway presented an image of a new form of self and its creation – not creation, in fact, but construction. Something pieced together with intentionality, the result of choices – something “encoded.” She offered a criticism of the woman-as-Earth-Mother vision that then-contemporary feminists were making use of, and pointed the way forward toward something far stranger and more wonderfully monstrous.

The power of an enmeshing between the organic and the technological lies not only in what it allows one to do but in what it allows one to be – and often there’s no real distinction to be made between the two. We can talk about identity in terms of smartphones, but when we come to things like technologies of reproductive control, I think the conversation often slips into the purely utilitarian – if these things are recognized as technologies at all.

Eveleth notes that “technology is a thing men do,” and I think the dismissal of female bodyhacking goes beyond dismissal of the utilitarian aspects of these technologies. It’s also the dismissal of many of the things that make it possible to construct a cyborg self, to weave a powerful connection to the body that’s about the emotional and psychological just as much as the physical.

I walked out of that doctor’s office with my little copper implant, and the fact that I no longer had to angst about accidental pregnancy was in many respects a minor component of what I was feeling. I was a little less of a goddess, and a little more of a cyborg.

Sunny Moraine is a doctoral candidate in sociology at the University of Maryland and a fiction author whose work has appeared in Clarkesworld, Lightspeed, Shimmer, Nightmare, and Strange Horizons, as well as multiple Year’s Best anthologies; they are also responsible for both the Root Code and Casting the Bones novel trilogies. Their current dissertation work concerns narrative, temporality, and genocidal violence. They blog at Cyborgology, where this post originally appeared, and can be followed on Twitter at @dynamicsymmetry.

A New Vision and a Hiatus:

Sociological Images turned 8 this year. It’s been a long, busy, and exciting journey and my own writing has been front-and-center for much of that time. Moving forward, my hope is to step back into more of an editor role, helping established scholars bring attention to their research, giving newer scholars a platform, and helping other sociology bloggers reach a wider audience. Essentially, I would like to use this site as an amplifier, broadcasting as many sociologists as I can as widely as possible by either cross-posting or using the SocImages social media reach. So, to all the sociologists out there, look out for more requests to re-print, please don’t hesitate to pitch me ideas, and feel free to send me things to share!

But… not yet. SocImages is taking its first hiatus. My book deadline is March 1st, so I’m taking two months off to polish the draft. See you all in 30 days!

Visits:

We rounded out the year with over 2,900,000 visits and nearly 4,000,000 page views.  We are proud and honored to enjoy almost 80,000 Facebook friends, over 23,000 Twitter followers, plus nearly 15,000 on Pinterest and over 24,000 on Tumblr.  A huge thank you to everyone for your enthusiasm and support!

Highlights:

Best of 2015!

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Over the last week we’ve featured my favorite and your most loved posts from 2015.  Here’s the list in case you missed it:

Reader’s Choice

Editor’s Picks

Happy New Year everyone!  Here’s to wonderful things in 2016!

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.

Sure to be a classic!

The tale begins with a baby calf named Rudolph born to what is assumed to be a typical reindeer family.  Immediately we recognize that this is no typical Hollywood tale. As we all know, male reindeer lose their antlers in late fall, but female retain throughout the Christmas season. By making Rudolph, Donner (the head of the family), and all of Santa’s reindeer female, the film makes a strong departure from the androcentric status quo.

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The new baby girl fills the house with joy until the parents discovered the calf to be quite queer—Rudolph had a red nose that glowed. Initially ashamed, Donner drew on a very functional and literal cover-up of mud and clay to hide the nose. It is believed this was for the good of the calf as this story was set in a pretty cruel place—a place where even Santa was unkind and unaccepting of differences.

Spring training comes along with masculinity classes for Rudolph. This was a highlight of the story for me. It was nice to see time was taken to demonstrate that gender is socially constructed and masculinity is learned. Girls can do anything that boys can do and our young protagonist was exceptional, even best in the class.

However, the mud and clay would be an impermanent fix. Rudolph’s glowing nose was revealed during play and the names and bullying began. In fact the bullying was even legitimated by the coach. With such an unaccepting family and community, Rudolph runs away.

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Meanwhile, in (one of) Santa’s workshops, an elf named Hermey was having a Jerry McGuire day. Hermey, perhaps the most relatable character to mainstream American society, was questioning the system. Hermey wanted to do what made him happy. He wanted to be a dentist. Working in an assembly line factory with long hours and no dental was not living the dream. Hermey decides he is a Dentist and also sets out alone.

Unsurprisingly, Rudolph and Hermey run into each other on the path out of town, also called loneliness. After a day in the polar wilderness they meet another queer named Yukon Cornelius who is always in search of gold or silver.

The three misfits then encounter the abominable snow monster. “Mean and nasty,” he “hates everything about Christmas.” Clearly, his teeth and wide reaching claws are designed to compel compliance with the social order.  White, male, and against magic for the masses, this character is clearly intended to represent the kyriarchy, the system meant to uphold the intersecting oppressions of class, race, and gender. The movie’s central challenge is set: smash the kyriarchy.

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The group initially retreats, only to find themselves on The Island of Misfit Toys where they are greeted by a flamboyant Charlie-in-the-box. It is here Hermey and Rudolph begin to dream of having an accepting place and we see the strong desire for a community. Surely, if dolls with low esteem, pink fire trucks, and trains with square wheels can be free of oppression, they can too.

Emboldened, the trio now returns to kill the kyriarchy. Using the never fail logic that bacon trumps all meats, Hermey makes like a pig to get the abominable snow monster’s attention. Once the snow monster steps out of the cave, Yukon knocks him out by dropping a boulder on his head; Hermey pulls out all his teeth in a symbolic and literal de-fanging.

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Yukon pushes the monster off a cliff, but he falls, too. This is the most symbolic part of the tale, as the group has bonded together to kill the kyriarchy but not without some loss. The message is clear: if we build alliances, we can take down the power elite, but there will be sacrifices.

I will not ruin the end of the tale for you, only to say that Rudolph does in fact save Christmas, but it is by demonstrating value to the man—Santa. Once Santa sees Rudolph and his misfit friends as an asset he de-identifies at least slightly with the kyriarchy. For now, Christmas town was a cheerful place. A small battle had been worn.

Overall, Rudolph the Red Nose Reindeer gets two thumbs up!

It is sure to become a classic tale of systems of oppression and privilege, stigma, and the struggle for self-acceptance. In Rudolph, difference can be good. It was quite progressive with its message advocating inclusivity, alliance, and dissent against systems of power. I love the commentary on the lack of queer community organizing and the role of misfits in fighting capitalism and the power elite. It took on some hot button issues in nuanced ways, especially the policing various classes of citizens and the importance of open carry laws.

It also took some big risks related to casting. It was gender progressive and, outside of the binary, we have at least two characters that blur sex categories. Clarice, for example, presents as feminine and female pronouns are employed with her, yet she has no antlers in late winter. While Hermey dresses like the male elves, but he has swooping blonde hair and a small nose like the female elves.

For years to come, Rudolph will no doubt be a wonderful conversation starter for both awkward and fun winter gatherings alike.

D’Lane R. Compton, PhD is a lover of all things antler, feather, and fur. An associate professor of sociology at the University of New Orleans with a background in social psychology, methodology, and a little bit of demography, they are usually thinking about food, country roads, stigma, queer nooks and places, sneakers and hipster subcultures. You can follow them on twitter.

“They were coming to college believing that all Indians are dead,” said education professor Sarah Shear of her experience in the classroom.

Her students’ seeming ignorance to the fact that American Indians are a part of the contemporary U.S., not just the historical one, led her to take a closer look at what they were learning. She examined the academic standards for elementary and secondary school education in all 50 states, these are the guidelines that educators use to plan curricula and write textbooks. The results are summarized at Indian Country.

Shear found that the vast majority of references to American Indians — 87 percent — portrayed them as a population that existed only prior to 1900.  There was “nothing,” she said, about contemporary issues for American Indian populations or the ongoing conflicts over land and water rights or sovereignty. Only one state, New Mexico, even mentions the name of a single member of the American Indian Movement.

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Meanwhile, the genocidal war against American Indians is portrayed as an inevitable conflict that colonizers handled reasonably.  “All of the states are teaching that there were civil ways to end problems,” she said, “and that the Indian problem was dealt with nicely.”  Only one state, Washington, uses the word genocide. Only four states mention Indian boarding schools, institutions that represent the removal of children from their families and forced re-socialization into a Euro-American way of life.

The fact that so many people absorb the idea that Native Americans are a thing of the past — and a thing that we don’t have to feel too badly about — may help explain why they feel so comfortable dressing up like them on Halloween, throwing “Conquistabros and Navahos” parties, persisting in using Indian mascots, leaving their reservations off of Google maps, and failing to include them in our media. It might also explain why we expect Indian-themed art to always feature a pre-modern world.

Curricular choices matter. So long as young people learn to think of Indians no differently than they do Vikings and Ancient Romans, they will overwhelmingly fail to notice or care about ongoing interpersonal and institutional discrimination against American Indians who are here now.

Cross-posted at Pacific Standard.

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.

A new study on the differential earning power of male and female movie stars beings with a quote from Jennifer Jason Leigh:

It’s the nature of the business. People equate success with youth (source).

She’s half right.   Irene Pater and her co-authors looked at the pay of 265 actors and actresses who appeared in Hollywood films from 1968 to 2008.  They found that the average earnings of actors rises until the age of 51 and remains stable after that.  The average earnings of actresses, in contrast, peaks at 34 and decreases “rapidly thereafter.”

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Source: USA Today

Sarah Jessica Parker, then, was more on the mark:

There is still a discrepancy in earning power between men and women in Hollywood. And it becomes doubly unfair when you think of our earning potential in terms of years.  Actresses are like football players. They have a small window of prime earning ability (source).

So, is this sexism or just “market forces”?  That is, is female acting work devalued compared to men’s because people in positions of power don’t value women?  Or is it because casting women over 34 decreases box office returns, whereas casting older men does not?  Pater and her colleagues suggest that it’s sexism.  One study, they explain,

…actually examined the combined effect of gender and age on box office performance [and] revealed that casting a female lead older than 32 years of age does not influence a movie’s box office performance, whereas casting a male lead older than 42 decreases box office revenues by almost 17% (source).

So the presence of male actors in their forties and over decreases box office revenue, but they still get paid more than women of the same age.  In contrast, casting women in their mid-thirties and over doesn’t bring down profits, but she’s still less valuable in the eyes of producers.  Sexism sounds like a plausible explanation to me.

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.

Johnny Depp is playing the character of “Tonto” in the movie re-make of The Lone Ranger.  Critics of the original series have observed that Tonto, the American Indian sidekick of the White hero, was a negative racial stereotype.  He was subservient to the Ranger, spoke poor English, and seemed generally dumb (his name translates into “stupid” in Spanish).  Depp has insisted that he wants to play a different kind of Tonto and reinvent the characters’ relationship.

So far so bad, as least according to recently released publicity photos revealing Depp’s costume and make up (coverage suggests that Depp himself is designing the character’s appearance).  Thanks to YetAnotherGirl and Dolores R. for sending in the tip.

Depp’s look was inspired by the art of a man named Kirby Sattler. Sattler is famous for painting images of Native Americans, but has been criticized for stereotypical representations.  “Indian art” is a contentious issue: many non-Indian artists have made careers painting the “noble savage” and the “young girl with wolf.”  According to Native Appropriations, Sattler “…relies heavily on stereotypes of Native people as mystical-connected-to-nature-ancient-spiritual-creatures, with little regard for any type of historical accuracy.”  Sattler himself has written that his paintings come out of his own imagination or, as Native Appropriations puts it, “he makes these subjects up based on the (heavily stereotyped) images in his own head.”  Here’s a Google image search for the artist’s name:

This, unfortunately, is playing out an all-too-common story.  It goes like this:

  1. There are very few roles for non-White characters in Hollywood.
  2. When we have a non-White character, a White actor is cast into the role (e.g., The Last Airbender and Iron Eyes Cody, the crying Indian).
  3. That actor shows a lack of understanding of the real issues at hand. Depp, for example, has claimed a right to play the role because he has a little bit of Indian in him.  “Cherokee or maybe Creek,” he says, because he doesn’t actually know.
  4. So, the portrayal is consistent with harmful stereotypes.  In this case, when deciding on a costume, Depp doesn’t choose to represent a tribe as they really were (“are” is out of the question), but instead draws on the work of an artist who admits that he makes up an idea of “the Indian” that appeals to him, a White man with no interest in true-to-life portrayals.

So, there you have it.  Again.

This post originally appeared in May 2012.  For more, see Representations of the “Primitive” Indian and Anachronism and American Indians.

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.

If this PostSecret confession doesn’t break your heart, you are a bad person.

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Last week I chatted with the Canadian Broadcasting Company for a segment they’re doing on humor and power.  I used hateful jokes about fat people as an example of how patterns in comedy reveal our biases: who it is okay to revile, whose feelings we can dismiss, who we see as less-than-human.

I was surprised when the host said that some argue that pointing out people’s weight isn’t offensive because it’s “just a fact.”  I responded, “Sociologists don’t believe in that kind of fact.”  Two hundreds years ago being called fat would have been a compliment: it represented power, success, wealth, and (yes) health.  Today the meaning of fat has changed.  The word is now a weapon.  For the person who wrote this secret, fatness is not a fact; it’s a “humiliat[ion].”  This is what dehumanization feels like.

Whoever you are, I wish I could give your warm, comfy body a big giant hug.

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.

The fashion industry is not inclusive of racial and ethnic minorities. Many of the industry’s most celebrated and acclaimed fashion houses rarely cast models of color for their runway shows. Fall 2013 was one of the worst seasons in diversity for casting. Almost 83% of the models on the runway were white (source):

1The result is an incredibly homogeneous look on the runway.  Check out photos of the Fall 2013 Gucci show (source) and the Fall 2013 Calvin Klein show (source).

Faintly aware of this critique, some designers put a minority model on the runway every odd season. But while look-alike white models are hired en masse, designers often limit just how much color they’re willing to include.  Chanel Iman, an extremely successful multiracial model, told The Times: “Designers have told me, ‘We already found one black girl. We don’t need you anymore.’”

Leila Ananna, a casting director for Burberry, Gucci, Emilio Pucci, Saint Laurent, and more, thinks that this is okay.  Commenting on the lack of runway diversity, she said: “We think we need to keep in mind that these are shows. A show needs to make you dream, and it doesn’t necessarily need to represent reality.”

Ananna’s words pose many concerns. The idea that fashion shows are supposed to make you dream suggests that everyone is white in this idealized world. In contrast, I find the idealization of the homogeneous aesthetic to be a reflection of racism; this is a nightmare, not a dream.

Rebs (Wooyoung) Lim is currently a student attending Occidental College. She is interested in minoring in Sociology and majoring in Urban and Environmental Policy. She does not have a twitter account, sadly.