gender: masculinity

We have posted in the past about pre-World War II uses of the swastika as a symbol of good luck, a meaning that the Nazis’ appropriation of the swastika makes nearly inconceivable today. Matthieu S., who teaches anthropology at Vanier College in Montreal, sent in another example, a scan of a postcard he owns that was printed in the 1920s. The postcard, meant for a dad’s birthday, also includes pink-tinted flowers — evidence of a time when pink was considered a perfectly appropriate color for men and boys:

World War II and the atrocities of the Nazi party obviously significantly changed interpretations of both the formerly-benign swastika and the color pink. Pink wasn’t abandoned altogether, as the swastika was, but the Nazi’s use of pink to label gay and lesbian prisoners led pink to be stigmatized as effeminate and, thus, an inappropriate color for men…and over time it instead became the epitome of symbols of femininity.

Google often creatively alters its logo to honor important days on the calendar.  Today the logo references Father’s Day by turning the “l” in Google into a tie.  John McMahon did a fine job of discussing how Father’s Day cards tap into stereotypes about masculinity, but I thought this was interesting in its reference of a particular kind of work.  The tie isn’t a generic masculine symbol, but a class-specific one.

More, it ties fatherhood into the idea of being a breadwinner.  What is significant about a Dad?  The fact that he works so hard for the family.  Can you imagine a Mother’s Day symbol emphasizing her workplace instead of her time at home?

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.

It’s almost Father’s Day, which means it is time for the greeting card business to make tons of money. It also means it’s time for us to visually see the standard narrative about gender, masculinity, and fatherhood. Looking at mass commercial products like greeting cards is an especially useful venue: the greeting card companies, wanting to make money like good capitalists, will sell products that have the greatest widespread appeal. Thus, they will sell the most popular representations of gender, masculinity, and fatherhood.

From a brief perusal of a NYC chain store greeting card aisle, I found plenty of cards that shed light on these representations. I want to focus, though, on two: middle-aged masculinity and the different representations of daughters and sons.

There were plenty of cards like this one, that capture many of the stereotypical narratives about fatherhood, and middle-aged masculinity more broadly:

(Apologies for the poor picture quality, a nearby employee didn’t seem thrilled with my picture-taking).

Here, we see man/father as: head of the household (twice, and once as dictator – king): cooks, but only on the grill; lawn mowing expert; controller of the remote/TV watcher; and “big guy.” What’s not on there? Anything about love for children, caring, affection, equitable distribution of household duties (if part of a couple), etc.

Almost all of the love and affection, though, was saved for cards specifically marketed as ‘Dad from daughter.” Most of the cards in this picture were love-centric and labeled as such:

There were a few rare cards simply marked as ‘Dad’ that include themes of love and/or affection, such as this one:

The cards marked ‘Dad from son,’ however, mostly consisted of attempts at humor involving sports (especially golf), building things (or the lack of ability to do so), and, well, farts:

Obviously, we can’t draw too much from the greeting cards in one store, but in this store, at least, there was only one card explicitly marked for sons that primarily communicated feelings of love and affection; all of these were either marked for daughters to give or did not specify what gender should give them. Pairing this with the kinds of fatherly masculinity represented by the cards, Father’s Day cards are sold through the use of traditional gender representations.

Note: all photos licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

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John McMahon is a Ph.D. student in Political Science at the City University of New York Graduate Center, where he also participates in the Women’s Studies Certificate Program. He is interested in post-structuralism, issues relating to men and feminism, gendered practices in international relations, gender and political theory, and questions of American state identity. John blogs at Facile Gestures, where this post originally appeared.

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

Celebrate Father’s Day this year with the weird American habit of gendering food!

(source)

Let us not forget that steak = manfood.  Like catfood and dogfood, manfood must be carefully produced so as to cater to man’s natural diet.  His ancestors hunted the wild baked potato, the shy ale, and the feisty tenderloin.  Today, Manfood Inc. scientifically calibrates each and every Father’s Day dinner to man’s instinctual stomach, so you can treat your man to the best.  We call it a MENu.

For more, see this vintage Campbell’s ad marketing meat for men, the gendered menu at Brick House, this ad campaign warning of sissified dogs, and this extensive collection of gendered and sexualized food.  See also this counter-example: a vintage ad arguing that vegetables make you tough and strong.

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.

Sociologists use the term “androcentrism” to refer to a new kind of sexism, one that replaces the favoring of men over women with the favoring of masculinity over femininity. According to the rules of androcentrism, men and women alike are rewarded, but only insofar as they are masculine (e.g., they play sports, drink whiskey, and are lawyers or surgeons w00t!). Meanwhile, men are punished for doing femininity and women… well, women are required to do femininity and simultaneously punished for it.

Illustrating this concept, much more concisely, is this altered photograph of James Franco in drag. Sent along by Stephanie V., the photo was originally for the cover of Candy, a “transversal style” fashion magazine.  I’m not sure who added the copy,* but I like it:

* So Caro Visi, where I found the image, credits Virus, but I can’t find it there.  I’m happy to properly credit if someone can point me in the right direction.

UPDATE: Sarah and John, in the comments thread, pointed out that the language is borrowed from a movie titled The Cement Garden.  Jennifer points out that Madonna used it, as well, in her song What it Feels Like For A Girl.

Clip from The Cement Garden:

More posts on androcentrism: “woman” as an insult, making it manly: how to sell a car, good god don’t let men wear make up or long hair, don’t forget to hug like a dude, saving men from their (feminine) selves, men must eschew femininity, not impressed with Buzz Lightyear commercial, dinosaurs can’t be for girls, and sissy men are so uncool.

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.

Katrin and Danny sent in a heart-breaking video that highlights the damage that has sometimes been inflicted on children, with the guidance of researchers, because of adult concerns about behavior that deviates from socially-accepted gender norms. In this segment with Anderson Cooper, two siblings and their mother discuss the treatment their brother suffered, with the approval and encouragement of UCLA researchers, as a form of “anti-sissy” therapy:

It would be nice to be able to write this off as completely debunked practices of an earlier time, based on premises that would never recur today. But as the video makes clear, the publications that resulted from this study continued to be cited by those who argue that through therapy, gays and lesbians can be “cured.”

Here’s the second part of the story:

There will be a third installment tonight; I’ll update the post once the final segment is available online.

UPDATE: Here’s the third segment, about a boy who underwent anti-gay therapy in the ’90s:

UPDATE 2: Also, Danny was wonderful enough to type up transcripts of the first two videos! They’re after the jump.

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While the last fifty years have been characterized by increasing freedoms for women, this has not been true for men to the same degree.  Women have entered masculine arenas throughout society, from where they work to what they wear, but men have not been freed to pursue feminine interests.  Men still face teasing, ridicule, stigma, or even violence for daring to do “girly” things.  Being a dancer or an elementary school teacher comes with raised eyebrows, askew glances, and questions as to one’s sexual orientation; enjoying “chick flicks” or preferring Cosmos to Coronas likely attracts teasing; and wearing a dress or high heels is essentially tolerated only on Halloween.

So girly things are still a no man’s land.

Unless.

Unless a very high status man — a man whose masculinity is undeniable, a leader among men — explores that land and plants a man flag.  If a man is so manly as to have begun to define manliness itself, then that man can change the very definition, thereby de-feminizing, and therefore de-stigmatizing an activity.  What once would have been cause for ridicule suddenly becomes unremarkable, i.e., man-approved.

Marco Roso, of DIS Magazine, sent me an example of such a transformation: the alice band.  Known to Americans as headbands,” an alice band is a loop or horseshoe-shaped hair accessory designed to push hair back away from the face.  It is a distinctly feminine accessory.  Or at least it was.  European footballers have begun wearing them to keep their hair back while playing.  While  a man lower on the masculine social hierarchy may have been teased relentlessly for donning such a girl-associated item, these high-status, wildly-admired men seem to be changing the social construction of the alice band.

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.

Cross-posted at Jezebel.

Way back in September of last year, Baxter sent us this Star Trek promotional poster, which showed the main cast staring straight out at the viewer, with the exception of the one female character, who was turned to the side, glancing sideways at the viewer with her mouth slightly open:

We didn’t get around to posting about it at the time, but I thought of it when I saw the image from the Hulu site for the U.S. version of The Office, sent in by Jessica F. Similarly to the Star Trek poster, all of the male characters are looking straight out at the viewer, mouths closed, while the one female character has her head turned to the side, mouth slightly open; in this case, she’s looking at one of the male characters, not the viewer:

In both these posters, the men meet the viewer head-on, if you will.  Their bodies are aimed straight at the viewer, they make eye contact, and that contact is confident. In contrast, the women avert themselves.  Their body language is less self-assured.  The woman in the Star Trek poster is alluring, a passive sexiness; the woman in the Office poster is referential, using her eyes to draw attention to the show’s star.

After initially posting those, I asked for more examples and readers sent them in. Jessica T. pointed out this banner ad for Thor:

She also found an ad for the TV show Bones, which has the women smiling at the camera much more openly (well, except for Bones):

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