What About Our Boys? Educating Boys for Gender Justice
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
YOUTH SUMMARY Because I Am a Girl the STATE of the WORLD’S GIRLS 2011 So, What About Boys? So, What About Boys? the Sex-Gender Distinction
YOUTH SUMMARY Because I am a Girl THE STATE OF THE WORLD’S GIRLS 2011 So, what about boys? So, what about boys? The Sex-Gender Distinction WHAT DO WE WANT? EQUALITY! WHEN DO WE WANT IT? NOW! Gender roles Gender roles are the practices, activities and responsibilities that we adopt on the basis of what society expects from us. These are assumptions, or expectations, about what men and boys should do, and what women and girls should do at home and in society. Gender roles influence people’s behaviour, responsibilities, life choices and chances. Expectations on how we should behave start from a young age. This happens by watching how the adults at home and around us interact with each other, as well as from watching television and other media, and our wider communities. Despite some efforts and improvements worldwide to make sure that Children in the United Kingdom were asked to attribute words they associated with being stereotypically ‘female’ or ‘male’. all boys and girls, women and men, are being treated equally and get a This shows that the divide between the sexes starts very early on in children’s lives. fair chance in life, there is still a long way to go. In most societies and Boys and girls in the UK were asked to attribute words that are families, traditional ideas about what it means to be male or female stereotypically associated with being ‘male’ or ‘female’ place women and girls at a disadvantage – at home, in communities, at school and in the workplace. This is not right, it’s not fair, and it is not economically smart. -
Structural Violence Against Children in South Asia © Unicef Rosa 2018
STRUCTURAL VIOLENCE AGAINST CHILDREN IN SOUTH ASIA © UNICEF ROSA 2018 Cover Photo: Bangladesh, Jamalpur: Children and other community members watching an anti-child marriage drama performed by members of an Adolescent Club. © UNICEF/South Asia 2016/Bronstein The material in this report has been commissioned by the United Nations Children’s Fund (UNICEF) regional office in South Asia. UNICEF accepts no responsibility for errors. The designations in this work do not imply an opinion on the legal status of any country or territory, or of its authorities, or the delimitation of frontiers. Permission to copy, disseminate or otherwise use information from this publication is granted so long as appropriate acknowledgement is given. The suggested citation is: United Nations Children’s Fund, Structural Violence against Children in South Asia, UNICEF, Kathmandu, 2018. STRUCTURAL VIOLENCE AGAINST CHILDREN IN SOUTH ASIA ACKNOWLEDGEMENTS UNICEF would like to acknowledge Parveen from the University of Sheffield, Drs. Taveeshi Gupta with Fiona Samuels Ramya Subrahmanian of Know Violence in for their work in developing this report. The Childhood, and Enakshi Ganguly Thukral report was prepared under the guidance of of HAQ (Centre for Child Rights India). Kendra Gregson with Sheeba Harma of the From UNICEF, staff members representing United Nations Children's Fund Regional the fields of child protection, gender Office in South Asia. and research, provided important inputs informed by specific South Asia country This report benefited from the contribution contexts, programming and current violence of a distinguished reference group: research. In particular, from UNICEF we Susan Bissell of the Global Partnership would like to thank: Ann Rosemary Arnott, to End Violence against Children, Ingrid Roshni Basu, Ramiz Behbudov, Sarah Fitzgerald of United Nations Population Coleman, Shreyasi Jha, Aniruddha Kulkarni, Fund Asia and the Pacific region, Shireen Mary Catherine Maternowska and Eri Jejeebhoy of the Population Council, Ali Mathers Suzuki. -
The Trevor Project’S Coming Out: a Handbook Are At
COMING OUT A Handbook for LGBTQ Young People CONTENTS IDENTITY 4 HEALTHY RELATIONSHIPS 17 THE BASICS 4 SELF-CARE 18 What Is Sex Assigned at Birth? 5 Checking in on Your Mental Health 19 What Is Gender? 5 Warning Signs 19 Gender Identity 6 RESOURCES 20 Gender Expression 7 Transitioning 8 TREVOR PROGRAMS 21 What Is Sexual Orientation? 9 Map Your Own Identity 21 Sexual Orientation 10 Sexual/Physical Attraction 11 Romantic Attraction 12 Emotional Attraction 13 COMING OUT 14 Planning Ahead 14 Testing The Waters 15 Environment 15 Timing 15 Location 15 School 16 Support 16 Safety Around Coming Out 16 2 Exploring your sexual orientation Some people may share their identity with a few trusted friends online, some may choose to share and/or gender identity can bring up a lot with a counselor or a trusted family member, and of feelings and questions. Inside this handbook, others may want everyone in their life to know we will work together to explore your identity, about their identity. An important thing to know what it might be like to share your identity with is that for a lot of people, coming out doesn’t just others, and provide you with tools and guiding happen once. A lot of folks find themselves com- questions to help you think about what coming ing out at different times to different people. out means to you. It is all about what works for you, wherever you The Trevor Project’s Coming Out: A Handbook are at. The things you hear about coming out for LGBTQ Young People is here to help you nav- may make you feel pressured to take steps that igate questions around your identity. -
M.A. /M.Sc. in Criminology & Police Studies Syllabus
SARDAR PATEL UNIVERSITY OF POLICE, SECURITY AND CRIMINAL JUSTICE JODHPUR, RAJASTHAN, INDIA M.A. /M.Sc. in Criminology & Police Studies SYLLABUS From the Academic Year 2017 - 2018 Onwards 1 SARDAR PATEL UNIVERSITY OF POLICE, SECURITY AND CRIMINAL JUSTICE, JODHPUR, RAJASTHAN, INDIA M.A. /M. Sc. in Criminology and Police Studies From the academic year 2017 - 2018 onwards Scheme, Regulations and Syllabus Title of the course M.A/M.Sc in Criminology and Police Studies Duration of the course Two Years under Semester Pattern. Eligibility Graduate in any discipline with minimum 55% marks. (5% relaxation for SC/ST/PH candidates) Total Credit Points: 105 Structure of the programme This Master’s programme will consist of: a. Compulsory Papers and Elective Papers; I Semester: (22 Credits) 4 Compulsory Papers, 1 Elective Paper & 1 Practical Paper II Semester: (27 Credits) 4 Compulsory Papers, 1 Elective Paper & 2 Practical Papers (1 of them elective), Winter Internship (to be commenced at the ending of I semester and finished at beginning of II Semester) III Semester: (32 Credits) 4 Compulsory Papers, 1 Elective Paper, 1 Practical Paper & Summer Internship (to be commenced at the ending of II semester and finished at beginning of III Semester) Theory Papers: Each theory paper comprises 4 Contact hours / week. 4 Contact Hours = 2 Lectures+ 1 Tutorial+ 1 Seminar 2 • Electives: Electives will be offered only if a minimum of 5 students opt for that paper. • Practical Paper : The Subject called ‘Practical Paper’ may include any of the/some of the following activities such as Institutional field visits(for practical) & debate on particular issues or article writing on particular issues related to the subject / subject related discussion on short-films/ field based case-study etc. -
From Humble Beginnings to a Leader in Child and Family Care
® WINTER 2017 Boys Town, Yesterday and Today From Humble Beginnings to a Leader in Child and Family Care ecember 12, 1917, was a chilly day in Omaha, Nebraska. Passers-by hurried along the D downtown streets, their thoughts perhaps on Christmas, only two weeks away, and the preparations they still needed to make. Or, maybe they were wondering how the holidays would be different this year, with America now involved in the Great War being waged on the battlefields of Europe. In all the hustle and bustle, no one paid much attention to the tall, bespectacled priest who was shepherding several ragamuffin boys along the sidewalk. When the little group reached a somewhat run-down Victorian-style boardinghouse, the priest confidently strode to the front door, unlocked it and bade his young charges to enter. Once inside, he turned to the cluster of expectant faces and welcomed the boys Over a proud history spanning 100 years, Boys Town has provided life-changing love and care for America’s children! to their new home. There was no ribbon-cutting ceremony. Father Flanagan had borrowed $90 hard-pressed to provide enough food and No parade with marching bands. No from a businessman friend to rent the clothing for his boys. And as Christmas speech by the mayor. On that ordinary property. For at least a month, the boys approached, the prospects for a happy day, in that ordinary place, Father would have a roof over their heads. But holiday were bleak. By the morning of Flanagan’s Home for Boys (later to be there wasn’t much else. -
Boys and Girls by Alice Munro
Boys and Girls by Alice Munro My father was a fox farmer. That is, he raised silver foxes, in pens; and in the fall and early winter, when their fur was prime, he killed them and skinned them and sold their pelts to the Hudson's Bay Company or the Montreal Fur Traders. These companies supplied us with heroic calendars to hang, one on each side of the kitchen door. Against a background of cold blue sky and black pine forests and treacherous northern rivers, plumed adventures planted the flags of England and or of France; magnificent savages bent their backs to the portage. For several weeks before Christmas, my father worked after supper in the cellar of our house. The cellar was whitewashed, and lit by a hundred-watt bulb over the worktable. My brother Laird and I sat on the top step and watched. My father removed the pelt inside-out from the body of the fox, which looked surprisingly small, mean, and rat-like, deprived of its arrogant weight of fur. The naked, slippery bodies were collected in a sack and buried in the dump. One time the hired man, Henry Bailey, had taken a swipe at me with this sack, saying, "Christmas present!" My mother thought that was not funny. In fact she disliked the whole pelting operation--that was what the killing, skinning, and preparation of the furs was called – and wished it did not have to take place in the house. There was the smell. After the pelt had been stretched inside-out on a long board my father scraped away delicately, removing the little clotted webs of blood vessels, the bubbles of fat; the smell of blood and animal fat, with the strong primitive odour of the fox itself, penetrated all parts of the house. -
Liberal Feminism's Aspect in Katy Perry's Songs
ISSN: 1979-4975 PROGRESSIVE Vol. XII, No. 2 September 2017 LIBERAL FEMINISM‘S ASPECT ,1 KATY PERRY‘S S21GS Rini Martiwi1, Eulin Karlina2, Dedi Suharyadi3 1ASM BSI Jakarta/Manajemen Administrasi [email protected] 2AMIK BSI Jakarta/Komputerisasi Akuntansi [email protected] 3AMIK BSI Bekasi/Komputerisasi Akuntansi [email protected] Abstract ± The objective of this study is to analyze the basic aspects of liberal feminism and explain the representation of liberal feminism ideology in the lyrics of .aty 3erry‘s songs. The Data of research are taken from six songs, there are "One of the boys", "Pearl", "Part of me", "Dark Horse", "Roar" and "International Smile". This study used a qualitative descriptive method to collect data and required information. The results of this research indicated that: (1) There are 14 data containing liberal feminist ideology which is based on the value of personal autonomy of freedom. The basic values of freedom seen of personal autonomy that mostly found are being free of the limits set by patriarchal paternalistic (6 data). (2) The lyrics of Katy Perry songs have a criticism of women who should be free from all form of threats of violence, have a facilities in various field and should not always subservient to the men and social law. (3) Katy Perry wants to tell the women, they have power, the form of power is in physical and psychological strength. Keywords: Liberal feminism, Songs, lyric I. INTRODUCTION rhythms that are tailored to the type of song lyrics Humans are the most perfect creatures of God. -
Bring Back Our Boys – Jared Feldshreiber
WEEKLY BRING BACK Candle-lighting/Shabbos ends Friday, June 27: 8:12/9:21 OUR BOYS Vol. III No. 18 (#67) June 26, 2014 • 28 Sivan 5774 Free Lakewood Rabbanim Visit Community Unites New York City Offi cials Queens On Behalf Of At Prayer Gathering For Stand In Solidarity With Beth Medrash Govoha Kidnapped Boys In Israel Israel After Kidnapping Of Three Jewish Teenagers SEE STORY ON P. 55 SEE PHOTOS ON 36/37; ARTICLE ON P. 52 SEE STORY ON P. 39 Shabbos Inbox Blue And White Op-Ed Politics And Ethics Hooked On Healing (D)Anger Tragedy Helplessness Situational To Give Management Brings Unity By Betsalel Steinhart Awareness Or Not To Give Is Derech Eretz By Eytan Kobre By Shmuel Sackett hat can we do in the By Caroline Schumsky face of helplessness? By Abe Fuchs o goes the well-known hy do we do this to W This question is ooo… You want to give joke: ourselves? Why do being asked so many times, somehow, some way. S Husband to Wife: Wwe fi ght like dogs and over the last few days, as our and another person were SYou want to dedicate When I get mad at you, you cats until tragedy strikes? Why darkest fears take shape, as waiting on line at a bank the or allocate, but not so sure never fi ght back. How do you does it take the kidnapping of three boys sit who-knows- Iother day when there was how or where or how often? control your anger? three precious boys to bring us where, as three families lie only one teller available. -
By Beyonce Knowles
© 2018 JETIR September 2018, Volume 5, Issue 9 www.jetir.org (ISSN-2349-5162) ANALYSIS OF COMPLAINING STRATEGIES IN THE HOLLYWOOD SONG “IF I WERE A BOY” BY BEYONCE KNOWLES Dr. Amrita Tyagi Assistant Professor, Department of English, Galgotias University, Greater Noida Dr. Vijay Kumar Associate Professor, Department of English, Galgotias University, Greater Noida ABSTRACT -In this digital era, complaining has become so pervasive that it creeps into our conversations from the dinner table to our workplace. A complaint is incomplete without three main elements: a speaker, a listener, and a signaling system or language. Language plays a crucial part in our lives to inform people around us of what we feel, what we desire and question or understand the world around us. The fundamental function of language is communication. Songs are one of the greatest creations of human kind in the course of history. It is creativity in a pure and undiluted form and format. The speech act is an utterance considered as an action, particularly with regards to its intention, purpose or effect. Jane Austin claims that many utterances are equivalent to actions which means without performing an action by mere words action can be performed. Songs reflect the society, what’s present in the society creates an impact on the songs written by various songwriters and hence songs are incomplete without complaints, be it any romantic song, sad song or an inspiring one. Complaints can be found in every song about the lover, the world or the people. In this study, the lyrics of a Hollywood song “If I were a boy” by an American singer Beyonce Knowles has been used for the analysis of complaining act. -
AMBASSADOR BIO Is All In
is all in AMBASSADOR BIO is all in KATY PERRY BIOGRAPHY “I can’t run from where I came from, nobody can,” says Katy Perry. When it came time to make her exhilarating second album “Teenage Dream,” Katy found herself increasingly drawn back home to Santa Barbara, Calif. Back to where they knew her before she became a superstar. Before she kissed a girl and liked it. And, certainly, before she sold 5 million copies of her Capitol Records blockbuster, “One of the Boys.” “I love the vibe that Santa Barbara gives off and I wanted to really tap into the purity of my childhood and that feeling,” says the two-time Grammy nominated singer. “It was really fun to get away and walk into the studio with no make-up on.” “Teenage Dream,” out Aug. 24, will move you, both emotionally and physically. “When I was touring, I wanted people to dance more,” Katy says. “So I wrote an album that made people move, yet didn’t sacrifice the story substance that I had on the last record.” The album, whose producers include Max Martin, Tricky Stewart, Stargate, Dr. Luke and Greg Wells, is a glorious evolution from “One of The Boys,” It showcases an artist who dares us to join her as she experiences every facet of life. 17 is all in “I’m giving everyone the full spectrum on this record,” Katy says. “You’re getting the sugary sweet, but you’re also getting the ‘Oh my goodness, she had to sit down for a minute and let some things off her chest’.” Fun first single, “California Gurls,” declared by Entertainment Weekly as “unforgettable,” is the undeniable summer anthem of 2010. -
The Derailment of Feminism: a Qualitative Study of Girl Empowerment and the Popular Music Artist
THE DERAILMENT OF FEMINISM: A QUALITATIVE STUDY OF GIRL EMPOWERMENT AND THE POPULAR MUSIC ARTIST A Thesis by Jodie Christine Simon Master of Arts, Wichita State University, 2010 Bachelor of Arts. Wichita State University, 2006 Submitted to the Department of Liberal Studies and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts July 2012 @ Copyright 2012 by Jodie Christine Simon All Rights Reserved THE DERAILMENT OF FEMINISM: A QUALITATIVE STUDY OF GIRL EMPOWERMENT AND THE POPULAR MUSIC ARTIST The following faculty members have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Masters of Arts with a major in Liberal Studies. __________________________________________________________ Jodie Hertzog, Committee Chair __________________________________________________________ Jeff Jarman, Committee Member __________________________________________________________ Chuck Koeber, Committee Member iii DEDICATION To my husband, my mother, and my children iv ACKNOWLEDGMENTS I would like to thank my adviser, Dr. Jodie Hertzog, for her patient and insightful advice and support. A mentor in every sense of the word, Jodie Hertzog embodies the very nature of adviser; her council was very much appreciated through the course of my study. v ABSTRACT “Girl Power!” is a message that parents raising young women in today’s media- saturated society should be able to turn to with a modicum of relief from the relentlessly harmful messages normally found within popular music. But what happens when we turn a critical eye toward the messages cloaked within this supposedly feminist missive? A close examination of popular music associated with girl empowerment reveals that many of the messages found within these lyrics are frighteningly just as damaging as the misogynistic, violent, and explicitly sexual ones found in the usual fare of top 100 Hits.