history

Tanita sent in this funny short video that addresses the sexism female authors have often faced when trying to get their work published or taken seriously in literary circles (some, such as Mary Ann Evans, better known as George Eliot, resorted to using male pen names to combat these problems).

What better way for female authors to deal with the situation than use their action-hero superpowers to combat sexist publishers? I present to you the Brontësaurus:

Confession: I know this will make many of you scream in horror, and that the book has all kinds of feminist overtones and is greatly beloved and majorly influenced literature, and I’m showing myself to be a literary heathen with no appreciation for the arts, but I read Jane Eyre once, and I think Charlotte Brontë’s most effective weapon might be her ability to get you bogged down reading lengthy Gothic descriptions of moors and stuff.

Though if you ever need to make me cringe and run, tell me you’re going to make me read Tess of the d’Urbervilles. I tried reading it just for fun once, and I have never been so pained.

Photographs have played a major role in framing the environmental movement, and groups have used images to draw public attention and concern to specific issues. A famous example is the “Earthrise” image taken in 1968 from Apollo 8, the first time an image of this sort was taken by an actual person, rather than a satellite. The seeming fragility of the planet, clearly shown as an interconnected and isolated entity, has been largely credited with increasing concerns about and awareness of environmental issues:

Life magazine included it in a list of “100 photographs that changed the world.”

On June 22, 1969, the Cuyahoga River in Ohio caught on fire. News spread, and the story — the shock many Americans experienced when they heard that rivers were catching on fire — increased concerns about water pollution, eventually leading to the 1972 Clean Water Act. Dramatic photos of the Cuyahoga burning appeared.

There was one small detail with the images that often went unnoticed: as far as anyone can tell, no one took any photos of the river burning in 1969. If you look online now, you’ll find lots of images from a fire in 1952, but none from 1969. At the time, rivers catching on fire in the former industrial centers around the Great Lakes weren’t really shocking; it happened pretty frequently and had been for decades. The 1969 fire was, if anything, unexceptional. It only lasted half an hour and didn’t do much damage.

Of course, context and timing are everything. The story about the 1969 fire emerged at a time when concerns about environmental pollution and safety were increasing, so an event that might have been completely ignored outside the local area, as they had been in the past, instead became a flashpoint in the environmental movement, and images of rivers on fire now seem shocking to us. I think most Americans would see a river catching on fire as inherently problematic, an automatic sign of a major environmental problem, rather than an unavoidable and unremarkable outcome of economic progress.

Given the force of images in these instances (and others), I can’t help but wonder what the effects will be of photos of the current oil spill in the Gulf of Mexico, particularly as it approaches the coasts. Dmitriy T.M. sent in a set of images. The oil spill, and the images we’ll continue to get of it, come soon after President Obama announced his support for offshore drilling in a number of areas, including the Atlantic coast and the Gulf of Mexico. The plan, already controversial, is likely to meet even more resistance now, particularly from residents in communities that are not dependent on oil drilling for their livelihoods and fear the effects of an oil spill. Public concern is likely to increase even further when the oil hits coastal areas and we begin to see images of oil-covered wildlife, beaches, and so on, much as we did after the Exxon Valdez spill.

These images are already striking, but the power of an image is highly connected to the social/historical context in which is arises (much as photos of rivers on fire didn’t cause a huge national stir until they became emblematic of the need for environmental regulations). I can’t help but think that the last photo I posted above will have more resonance than it might have otherwise because of the way it will intersect with memories of Hurricane Katrina bearing down on New Orleans — I suspect that a story that would be attention-getting regardless will be even more so now that it will connect to ideas of New Orleans as a beleaguered city, endangered by a string of natural and human-caused disasters.

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See also our post on how photographs of the fetus changed how we think about pregnancy and abortion and, for an interesting controversy regarding photography, see our post on Shelby Lee Adam’s images of Appalacians.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Cross-posted at Ms. magazine.

Full-time women workers earn 80.2% of what full-time men workers earn.  One of the primary reasons that women earn less is job segregation by sex.  Jobs themselves are gendered, such that women have a tendency to enter feminized occupations and men have a tendency to enter masculinized occupations.  How severe is job segregation by sex?  A new report by the Institute for Women’s Policy Research, newly updated for 2009, reports that about four in ten women and men work in jobs that are 75% female and male respectively.

Overall, masculinized occupations pay more.  (This is a different kind of sexism, a sexism against feminine-coded things instead of against women, but sexism nonetheless… for example.)  Job segregation, then, contributes to the pay gap between men and women.

The figure below shows how this has changed over time.  The y axis is an “Index of Dissimilarity.”  Basically, a score of one indicates complete segregation and a score of zero means that the job is 50/50 male and female.

The white line, labeled “civilian labor force” shows that, overall, sex segregation has been going down over time.  It also shows, however, that most of the decrease occurred in the ’70s and ’80s.  It has changed little since then.

The lines above and below the white line show that sex segregation correlates with education level.  People who have at least a bachelors degree are in less sex segregated jobs, while people who did not attend or finish college tend to be in more segregated jobs.  This means that, insofar as sex segregation at work contributes to a wage gap, it is more extreme for working class people than for others.

Via Family Inequality.

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.

Peggy R. sent in this great vintage ad for Cessna private planes.  Placed in 1941, it suggests that all families should have private planes after the war:

I spoke with my friend and Cessna expert, Stephen Wilson.  He explained that the G.I. Bill, which reimbursed veterans for educational expenses, applied to flying lessons.  Veterans, then, could be reimbursed for learning to fly and Cessna was trying to encourage all veterans and their families to take to the skies.

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.

Asa D. sent in an animated 1958 Disney segment titled “Magic Highway USA.” The cartoon extols the virtues of the highway system of the future (the interstate highway system was authorized by President Eisenhower in 1956). Apparently it is farther into the future than 2010, as my windshield does not have a radar, and road construction around here doesn’t seem to be instantaneous:

The segment of course illustrates gender expectations of the time — dad goes off to work while mom and the kid(s) go shopping. But as Asa points out, this example of the “techno-utopianism” of the post-World War II era, with faith that modern technologies will lead to a happy future that increasingly frees us from unpleasant work, boredom, wasted time, and so on, is truly fascinating.

Providing a nice contrast to that earlier vision, Dmitriy T.M. let us know about the stop-motion short video Metropolis by Rob Carter. The entire video, which is 9 1/2 minutes long, gives an abridged history of Charlotte, North Carolina.

Here are the last 3 minutes (you can see the entire video here). In this segment, we see the unfolding of a large highway system and urban construction/destruction/reconstruction. At about a minute in, “the video continues the city development into an imagined hubristic future, of more and more skyscrapers and sports arenas and into a bleak environmental future” (quote found here):

Metropolis by Rob Carter – Last 3 minutes from Rob Carter on Vimeo.

NEW! (May ’10): Kris H. sent in another example of envisioning the future. The Futurama, an exhibit at the 1939 World’s Fair, promised a future in which interstate highways will allow people to bypass slums, relieving us of the work of fixing them (found at Neatorama):

Jose Marichal, who blogs at Thick Culture, forwarded us this compilation of Bob Barker’s infantilizing and harassing behavior on The Price is Right during the 1970s.  It’s pretty stunning:

I’d like to say that men don’t call women “girls” these days… but I’m watching Jaime Oliver’s Food Revolution.

Source: FourFour via The Daily Dish.  More examples of calling women girls, both vintage and contemporary.

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.

Cosmopolitan Magazine has been around since 1886 so it has seen quite a great deal of change over that time. The evolution of The Cosmopolitan Magazine into what is known today as Cosmo shows just how dramatic that change has been. In its early days, The Cosmopolitan was billed as a woman’s fashion magazine that included articles on the home, family, and cooking, but also included articles like “Some Examples of Recent Art” and “The Progress of Science.”

Later it became more focused as a showcase for new fiction and published works by authors like Upton Sinclair, Sinclair Lewis, Kurt Vonnegut, Willa Cather, and H. G. Wells. Typically, each issue would have five to eight short-stories, a full novelette, a full short novel, and some article on fashion and health. During this time, the cover art was almost exclusively illustrated — even when the covers featured celebrities.

With the introduction of television, there was a drastic decline in the demand for fiction-based magazines. In response to the waning sales there was a radical shift in the direction of Cosmopolitan. In the mid sixties, Helen Gurley Brown stepped in as editor in chief. She brought with her the message of sexual freedom for single women, and started replacing the cover illustrations with photos of young models in minimal clothing.  Sales increased as a result.

Since then the magazine has become more sexually centered. It still features many articles on having pleasurable sex and maintain fulfilling relationships. There is a much greater emphasis on how women can make themselves more desirable to men. One look at the website reveals the tone of the magazine. These are the first three articles listed:

“4 Traits Men Find Irresistible”
“What Men Secretly Think of your Hair and Makeup”
“What You Should Do if He Cheats”

The late Kurt Vonnegut (who had multiple short stories featured in Cosmopolitan in the fifties) had this to say about the magazine: “One monthly that bought several of my stories, Cosmopolitan, now survives as a harrowingly explicit sex manual.”  Indeed, browsing through the cover art of the past few years gives one the impression that there are an infinite number of sex positions. It is hard to feel sexually liberated while reading a magazine that talks about the vagina (or Hoo-Ha) like it’s something you can buy at a pet store. They have also been criticized for perpetuating a nearly impossible standard of beauty and for retouching models to make them appear thinner.  Today Cosmopolitan retains almost no reminants of its origins. It is fascinating to see how it has shifted with the culture and how our culture has changed because of it.

Sources: here, here, here, here, here, here, and here.

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Lauren McGuire is a SocImages intern and an assistant to a disability activist.   She recently launched her own blog, The Fatal Foxtrot, that is focused on the awkward passage into adulthood.

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

Orion submitted this gorgeous music video for the song, Tightrope, by Janelle Monae, featuring Big Boi. It’s a great example of how dancing doesn’t have to be sexualized or gendered by movement or attire. It’s just creative and interesting and mesmerizing!

On a completely different note: Any dance historians out there? To me this looks to be inspired by the adaptations of Charleston in Black America (Trankey Doo, Shim Sham, etc), like in this clip featuring Al Minns and Leon James (it’s filmed in 1961, but these dances emerged in the ’30s and ’40s):

I’d love to hear more about the evolution of this kind of movement.

UPDATE!  Thank you so much to our Reader, Anna, who is also a dance scholar and was able to give us some history in the comments thread:

Dance scholar here! I really enjoyed the dancing in the Janelle video. It should be read as an homage to rhythm dancing of African-descent from the 1920s through new Jack Swing (kidding, not sure there is a cut off date). The historical footage is in fact cited in Janelle’s video and as one poster pointed out, the dancing in her video is stylized as if it were being done on a tight rope… In my opinion (cause other scholars might see different things based on their training) her dance has some Camel Walkin’ mixed in with some dancehall hip articulation and a big dose of James brown, to be sure.

As for the claim that you cannot get from Al Minns and Leon James to 2010, that is shortsighted, very short! We get James and poppin and lockin and jazz itself from a peculiar mix of Bambara ethnic dances (modern-day Senegal, The Gambia, & Mali) and dance cultures of the people of the Kongo region (Angola, DRC, Congo among others) that intersected in New Orleans during the slaving period. You can also add in there “shipping music,” hybridized forms of music that emerged on slave ships with their transnational crews drawn from Europe, Africa, and the Mediterranean.

The hips and 6/8 syncopated shenanigans come to us from Kongo culture (but the Irish had some there, too). The Charleston, jitterbug and other high kicking dances come from the Senegal region and still reflected patterns from mandjiani in particular. Origins are always tricky, I try to avoid staking big claims based on them, but this conversation string was peculiar in that discussions of ethnic origin were not possible because race and gender were eliding the historical work done in Jenelle’s video. Yes I know the question was about gendered movement. And like a lot of the other folks, I am wondering while a male normative is held as neutral.

That said, from a dance perspective, the moves in Janelle’s video are without gender assignment, but there is an expectation that one’s gendered identity will be, must be expressed through the execution of the moves. That is the evolution of these forms which still have strong gender-based repertoire in Senegal. The Congo, people tend to do the same moves. The men MOVE their hips. It is de rigeur in pop as well as “traditional” dance music.

The last bit of the two guys dancing together was a comedy routine, a send up of a very famous dance riff from a couple in Harlem. I think that original “duet” appears in “Stormy Weather,” but I am not sure.

Thank you for putting up the two videos!

Thank YOU for your insight Anna!

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.