Journal articles: 'Masculinity in art'

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Franco, Bibiana Edivey Castro, and Jaime Alberto Carmona Parra. "Masculinity in Universities: State of the Art." Masculinities & Social Change 10, no. 1 (2021): 77. http://dx.doi.org/10.17583/mcs.2021.5487.

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This article provides the result of a review of existing masculinity research within the university context. The objective of the present study was to determine the topics of analysis, characteristics, and tendencies of recent studies in this field. A search was performed in Scopus and Ebsco, using the search terms: masculinity and university students, which yielded 72 studies for analysis. The most commonly-explored topics among the investigations reviewed were as follows: the construction of masculinity, masculine social norms and gender stereotypes, romantic relationships, masculinity and health, attitudes toward sexual minorities and their effects, masculinity and violence, and masculinity and alcohol consumption. It was concluded that the shaping of masculinity in the university environment is a complex experience, influenced by the intermixing of traditional masculinity and vested with cultural, social, historical, and personal factors.

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Myzelev, Alla. "The negotiation of masculinity and identity through clothing choices among Russian speakers in Canada." Critical Studies in Men???s Fashion 6, no. 1 (2019): 103–20. http://dx.doi.org/10.1386/csmf_00007_1.

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Using information interviews conducted with Russian-speaking men living in Toronto and vicinity this article interrogates the understanding of fashion among immigrants from former Soviet Union and Russia. Using a hypothesis that Russian-speaking men conceptualize their male identity differently from both their Canadian counterparts and Russian men living in Russia this article investigates how fashion choices affect negotiation of identity of these men in Canada. Using art historical methodologies, historical analysis and qualitative research I look at the interviewee’s contributions as a reflection of masculinity in transitions assuming that the forming of masculine identity is a constantly changing process. In each society the hegemonic model of masculinity categorizes groups of men in relation to each other through ‘normalizing’ the definition of masculinity and defining its standards and proper manifestations. This is particularly true of societies where the military culture has an increased presence and an important role to play. Contemporary Russia epitomizes the commanding and rigid nature of the masculinist regime where hegemonic masculinity is firmly established and thoroughly institutionalized.

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Todd, Drew. "Dandyism and Masculinity in Art Deco Hollywood." Journal of Popular Film and Television 32, no. 4 (2005): 168–81. http://dx.doi.org/10.3200/jpft.32.4.168-181.

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Balaban, Oleksandr, Yana Popova, and Valeriіa Lobachova. "Apocalypse of Art (Cinema. People. Close-up.)." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 23–27. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256948.

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The purpose of the study is to analyze the impact of artistic space commercialization on the development of the artistic process and to find out the growth factors of the latest digital masculinity on the audience. The research methodology consists in the application of the following methods: historical – analysis of sources on the problems of conflict between works of art and a commercial product; theoretical – a study of the factors of growth of the influence of the latest digital masculinity on the audience; practical – work with archival videos related to iconic figures in the development of cinema in Ukraine and the world. Scientific novelty. The influence main stages of digital and information technologies on the development of modern cinema and serial production are investigated. It was found that the all-encompassing aggressive commercialization of the art space and the latest digital masculinity are increasingly negatively affecting the development of the art process. Conclusions. In the course of the article, we have proved that technical and technological development, human greed and ignorance kill real cinema. Art has become a commercial product for its own human enrichment – without immersion in the depths of the human psyche.

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Ort, Thomas. "Cubism's Sex: Masculinity and Czech Modernism, 1911–1914." Austrian History Yearbook 44 (April 2013): 175–94. http://dx.doi.org/10.1017/s0067237813000118.

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Among those who interest themselves in modernism in the context of the Austro-Hungarian Empire, Prague is sometimes referred to as the “second city of cubism.” In 1911, at a time when the style was still largely unknown in Europe, an artists’ group devoted to the defense and promotion of the new art was founded in Prague. The members of the Skupina výtvarných umělců, or Visual Artists Group, wrote extensively about cubism in their journal Umělecký mesičník [Art Monthly] as well as in other publications. They sponsored numerous exhibits of the art at home and participated in shows of Czech cubist art abroad. In February 1914, Prague was the site of the largest show of cubist art anywhere in the world up to that time.

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McClintock, James I. "Dalva: Jim Harrison's “Twin Sister”." Journal of Men’s Studies 6, no. 3 (1998): 319–30. http://dx.doi.org/10.1177/106082659800600305.

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Engaged in “soul-making,” novelist Jim Harrison experiments in his novel Dalva with developing his feminine side in the service of his art and life by utilizing psychologist James Hillman's post-Jungian ideas. Harrison tells the story in the first person voice of Dalva, a Nebraskan woman of Swedish and Sioux descent. To overcome depression and to thrive, Harrison had to acknowledge a masculinity of greater dimension than he had characterized earlier in his career, when his characters were often called “macho.” The new conception of masculinity is symbolized by locating his lost “twin sister.” Dalva is the outward sign that Harrison found her, thereby extending his understanding of masculinity and revitalizing his life and art.

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Horlacher, Stefan. "“From the idea that the self is not given to us...”." Internationales Archiv für Sozialgeschichte der deutschen Literatur 43, no. 2 (2018): 327–47. http://dx.doi.org/10.1515/iasl-2018-0016.

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Abstract One of the consequences of emphasizing plurality – so characteristic for current masculinity studies – is that the question of commonalities and similarities of masculinities has been neglected, and therefore the relationship between masculinity as a concept and its plural forms has to be rethought. One way of doing this involves conceiving of masculinity as having a largely discursive or narrative structure and focusing on the relationality and interdependency of masculinities by paying special attention to stories and genres as their paramount components. If one takes narrative to be an ontological condition of social life which exemplarily manifests itself in literature and the arts, it is precisely here that a plethora of narratives of masculinity becomes ‘visible’ in a reading process that can be conceptualized as an act of imagining and a process of transfer during which readers perpetually ‘stage’ themselves, while the performative function of narrative allows for a variety of new masculine gender identities that become available through their very conception in literature/art. Combining comparative masculinity studies with the concept of narrative paves the way for a new, more encompassing, relational and intersectional understanding, if not definition of masculinity.

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Scher, Sarahh. "Markers of Masculinity: Phallic Representation in Moche Art." Bulletin de l’Institut français d’études andines, no. 41 (2) (July 1, 2012): 169–96. http://dx.doi.org/10.4000/bifea.520.

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Schneider, Thomas R. "The Chivalric Masculinity of Marie de France’s Shape-Changers." Arthuriana 26, no. 3 (2016): 25–40. http://dx.doi.org/10.1353/art.2016.0016.

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Baguia, Jason Abellaneda. "Perspectives on the mediation of the quest for healthy masculinity: the case of the website Art of Manliness." Health & New Media Research 7, no. 1 (2023): 14–22. http://dx.doi.org/10.22720/hnmr.2023.00038.

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Inspired by the phenomenological tradition of communication theory and research, this study applies frameworks relevant to the discourse on media, health, and society in a preliminary analysis of the Anglophone website Art of Manliness, which, without using the vocabulary of toxic or healthy masculinity, offers men actionable advice on personal development, in content that ranges from being generally about wellbeing to being almost medicalized. Toxic masculinity has been articulated, at the intersection of the social science and public health disciplines, as a gender issue and as a general social problem with implications on the health of communities. Movements for gender equality have inaugurated advocacies to curb this kind of masculinity, asserting that manhood can be expressed in healthier ways, especially in ways that honor women, but also in ways that respect the facticity of variety in how to live manhood. Missing from the literature is an examination of media cases exemplifying the search for healthy masculinity. I begin to close this gap by drawing from contemporary literature about toxic masculinity to enumerate a taxonomy of approaches to the problem. I also demonstrate the operationalizability of frameworks and concepts such as purity and danger, sociomaterialism, biovalue, and healthism in conjunction with textual analysis for future research about the mediation of healthy masculinity.

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Bose, Aratrika, Tanupriya, and Anuja Singh. "Artistic Representation of Gender Nonconforming Female Bodies in Social Media: A Study of Select Indian Graphic Artists on Instagram." QED: A Journal in GLBTQ Worldmaking 10, no. 2 (2023): 70–92. http://dx.doi.org/10.14321/qed.10.2.0070.

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Abstract The study critically examines gender nonconforming female identities via their sexualized representations through artistic imagination on Instagram. Instagram representation becomes a ‘political act’ where this visual subversion allows the queer to reclaim their non-binary identity and thus articulate their choices through their body. The digital graphic art taken under study is select images from the Instagram pages of Indian artists “artwhoring,” “aorists,” and “sayartic.” The research study examines the question of an ideal hegemonic femininity perpetuated by the rhetoric of Indian heteronormative patriarchal assertions. It analyses select images that defy hegemonic femininity and gender binary by embodying an amalgamation of masculinity and femininity and lesbian desire which forms an act of subversion. The methodology of critical discourse analysis is employed to study Instagram art and the critical frameworks of the fantasy female body, and the notion of heteropatriarchal femininity. In conclusion, the study discusses the treatment of female gender non-conforming bodies, their appearance, lesbian desire, and body image. Such transgressive depiction of bodies successfully situates the female body beyond the dichotomy of masculinity and femininity.

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Sheehan, Sarah. "Giants, Boar-hunts, and Barbering: Masculinity in Culhwch ac Olwen." Arthuriana 15, no. 3 (2005): 3–25. http://dx.doi.org/10.1353/art.2005.0051.

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Rusianingsih, Tri. "Maskulinitas Gaya Dan Karakter Tari Remo Sri Utami." Terob : Jurnal Pengkajian dan Penciptaan Seni 13, no. 1 (2022): 21–32. http://dx.doi.org/10.20111/terob.v13i1.6.

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Rebellion against the function and role of women in dance has given rise to cases of transgender and travesti. The role of men in dance activities was gradually replaced by women. Women no longer only act as presenters in performances, but also place themselves in the status of choreographers in a work. This study aims to describe the choreograph structure, style and character of the Remo Sri Utami dance moves. To identify and analyze various data findings in the field, the study uses the concept of masculinity as well as style and character. Research that uses descriptive qualitative method with masculinity style and character approach, focuses more on data collection techniques by observation, interviews, literature studies and documentation through triangulation techniques. Aspects of motivation, spontaneous instincts, honesty, respect for self-potential, as well as cross-value experiences in art are strong reflections to form the masculinity of the Sri Utami style Remo dance.

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Çakirlar, Cüneyt. "Masculinity, Scatology, Mooning and the Queer/able Art of Gilbert & George: On the Visual Discourse of Male Ejaculation and Anal Penetration." Paragraph 34, no. 1 (2011): 86–104. http://dx.doi.org/10.3366/para.2011.0007.

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The aim of this essay is to investigate the intersections between masculinity, shame, art, anality, the abject and embodiment by focusing on a particular period of the British art duo Gilbert & George's work in the 1990s. In their series The Naked Shit Pictures (1994), The Fundamental Pictures (1996) and The Rudimentary Pictures (1999), the duo's artistic self-performance opens a scatological narrative territory where the male body encounters its own abject fluids strategically magnified. Situating itself within the boundary between queer theory and Lacanian psychoanalysis with a particular focus on the phallus and the abject, this essay argues that Gilbert & George's art-works mentioned above could be regarded as visual commentaries on and queer interventions into bodily anxieties of normative masculinities. It thus reads the artists’ visual discourse of performative hypervisibility as a queer/ing one where the conventional male masculinity confronts simultaneously its ejaculatory bliss and its fear of anal penetration.

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Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art." ARTMargins 11, no. 3 (2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.

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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.

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King, Rebecca. "Pre-Raphaelite Masculinities: Constructions of Masculinity in Art and Literature." Victorians Institute Journal 42, no. 1 (2014): 240–45. http://dx.doi.org/10.5325/victinstj.42.1.0240.

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Dickson, Lynda. "The Art of Being Cool: The Pursuit of Black Masculinity." Social Science Journal 52, no. 2 (2015): 292–93. http://dx.doi.org/10.1016/j.soscij.2015.03.009.

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Finnigan, Robert. "Pre-Raphaelite Masculinities: Constructions of Masculinity in Art and Literature." Journal of Victorian Culture 21, no. 1 (2015): 121–23. http://dx.doi.org/10.1080/13555502.2015.1090209.

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Younger, Dean-Henry, Nick Sellars, and Alana James. "Mind and muscle: Deconstructing the uniform of masculinity in the time of AIDS." Critical Studies in Men's Fashion 10, no. 1 (2023): 75–91. http://dx.doi.org/10.1386/csmf_00067_1.

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Perceptions of the boundaries of masculinity have often been questioned in menswear, with the masculine ideal continually reimagined to create a balance between itself and its counterpart, femininity. During the 1980s AIDS crisis, this adopted uniform of masculinity was subverted within queer society leading to a new male identity that contested tacit knowledge of menswear design. The focus of this article is to showcase this shift in male image and to explore how gay semiotics was associated with the development of the modern gay male stance through clothing and social empowerment, opposing the negativity that surrounded the AIDS virus. This research is personally motivated by the primary author, where he seeks to delve further into the under-researched area of queer masculinity utilizing a practical, experimental methodology. Representation of what is seen as queer masculinity is often shown as biased within society, characterizing the gay man. This project presents, through the practices of menswear design, how this characterization has developed within the context of the male body. It aims to contest the boundaries of traditional men’s tailoring, its formality and the masculine ideal that it represents, by juxtaposing it with the homoerotic art of the time and the craft of AIDS sufferers of the 1980s period. Using object-study and practical methods of deconstruction and repair of case study (bespoke and non-bespoke) men’s tailored jackets, the research manifests in physical experimentation and aesthetic visualization, which is recorded in a creative process journal. The acts of physical deconstruction and the practice of repair are then analysed through the process of design development (drawing, sourcing and sampling). The synthesized findings draw parallels with deconstructed tailoring found in vintage photographs of men at work, which are further triangulated with homoerotic photographic art of the 1980s and the act of repair found in the stitch therapy of AIDS sufferers. These are embedded in the construction of the final artefact through the practice of garment design (drawing, pattern-cutting, toiling and making) and craftsmanship (stitching by hand). The processes employed and final artefact produced document and present how ideals of masculinity in the time of AIDS can be both physically and metaphorically deconstructed, then reconstructed as a garment-based outcome (men’s tailored jacket) in practice-led research. The final artefact showcases delicacy in design through the act of stitching by hand and the repair of the deconstructed robust exteriors found in tailoring and associated with the masculine ideal.

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Bradshaw, Hannah. "‘She will wear the britsch’: Masculinity and the iconography of Prince Albert." Critical Studies in Men’s Fashion 7, no. 1-2 (2020): 199–222. http://dx.doi.org/10.1386/csmf_00025_1.

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This article examines the early representations of Prince Albert that either satirize or attempt to reconcile the hierarchical ambiguities and issue of threatened masculinity that resulted from unconventional male consortship and female rule. It concludes that the latter was achieved through the development of a suitable and legible iconography for a nineteenth-century male consort in adherence with British iconographic tradition and values. Drawing from methods in nineteenth-century art history as well as gender and performance studies and anthropology, it argues that images of the male body play a fundamental role in the construction and perpetuation of masculine ideology and subjectivity through the creation of the semblance of an innate and axiomatic masculine archetype. In doing so, this article problematizes and historicizes masculinity by illuminating the plurality of expressions of masculinity and rejecting the essentialist narrative of masculinity as something measurable or quantifiable, as well as ahistorical, atemporal, apolitical and heteronormative.

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Shchebrova, Svetlana. "Images of Masculinity in the Rock Art and Decorative and Applied Art of the Ancient Altai." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2022): 70–78. http://dx.doi.org/10.32340/2414-9101-2022-3-70-78.

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The paper analyses a content of pre-historic rock carving dated by the 2nd and 1st millennium before Christ located at Mountain Altai, in relation with a subjects of images (an animal, a human, the Universe). Various elements of semiosphere of the regional rock paintings are considered, graphic means of representation of masculinity significs and positioning of manhood ideals in petroglyphs of Altai ancient nomads are described. The relation between typical position of sign compositions, which are identical to rock paintings, on a historical costume complex,weapons, properties of habitants of Scythian-Siberian world, and position of senses transferring by them in nomads’ axiological hierarchy and world picture, is disclosed.

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Krimmer, Elisabeth. "“Eviva il Coltello”? The Castrato Singer in Eighteenth-Century German Literature and Culture." PMLA/Publications of the Modern Language Association of America 120, no. 5 (2005): 1543–59. http://dx.doi.org/10.1632/003081205x73380.

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This article investigates how eighteenth-century writers used the figure of the castrato as a privileged metaphor for the negotiation of class conflicts, gender concepts, and the nature of art. A reading of Johann Jakob Wilhelm Heinse's novel Hildegard von Hohenthal shows that Heinse uses the character of the (fake) castrato to celebrate the artificiality of gender, desire, and art, but his novel leaves class boundaries intact. Friedrich Schiller's poem “Kastraten und Männer” attacks aristocratic supremacy but naturalizes gender codes and equates masculinity and art.

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Laver, Mark. "Gender, genius and rock and roll in ‘Roy Orbison and Friends: A Black and White Night’." Popular Music 30, no. 3 (2011): 433–53. http://dx.doi.org/10.1017/s0261143011000195.

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AbstractTo a considerable extent, the mythology of rock and roll rebellion is predicated upon a similarly mythologised male sexual potency that Simon Frith and Angeld McRobbie have characterised as ‘aggressive, dominating, and boastful, … [constantly seeking] to remind the audience of [its] prowess, [its] control’ (Frith and McRobbie 1990, p. 319). In this article, I look to Roy Orbison – a musician who was a key figure in the genesis of rock and roll, but who nevertheless subverts this phallocentric meta-narrative. Focusing on the 1987 concert film, Roy Orbison and Friends: A Black and White Night, I argue that Orbison's staid performance style, unusual voice and unconventional songwriting as evidenced (and amplified) by that film trouble the purportedly monolithic rock and roll masculinity, and the concomitant mythology of rebellion. At the same time, however, I propose that even as normative masculinity appears to be destabilised, a close reading of the film reveals that the performance situates Orbison within a different masculinist discourse: the 19th-century Romantic discourse of masculine genius that continues to inflect 21st century notions about artists and art music. Thus, in Black and White Night, normative and non-normative masculinities are thoroughly imbricated, each simultaneously destabilising and reaffirming the other.

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von Veh, Karen, and Landi Raubenheimer. "Memorials, landscape and white masculinity: dialogic interventions in South African art." Image & Text, no. 36 (December 2, 2022): 1–27. http://dx.doi.org/10.17159/2617-3255/2022/n36a17.

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The memorialisation of place and representation of land and landscape is topical in many societies that are dealing with the aftermath of political trauma, such as Post-Colonial or Post-Soviet countries. In such contexts, artists engage with land and notions of place through processes of memorialisation and landscape representation, or very often, the undoing of these traditions as they were entrenched by regimes that are now redundant. In this article we investigate two different artistic agendas that engage with such sites in South Africa, in the work of Paul Emmanuel, and the collective Avant Car Guard. Though separated by a decade, the artworks discussed here share a dialogic engagement with existing memorial sites, or indeed, traditions that memorialise settler belonging, such as the landscape painting tradition or military equestrian monuments. While Emmanuel's work may be understood to employ a dialogic, anti-monumental strategy in response to the statue of Louis Botha at the Union buildings in Tshwane in South Africa, Avant Car Guard insert themselves in spaces where they engage parodically with memorial sites and the tradition of landscape representation. In both cases, white masculinity is called into question through self-representation, engaging with notions of Afrikaner hegemony and white anxiety.

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Goldner, Limor, and Yehuda Ruderman. "Toward creating positive masculinity? Art therapy as seen by male art therapists and male adolescent clients." Arts in Psychotherapy 68 (March 2020): 101613. http://dx.doi.org/10.1016/j.aip.2019.101613.

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Yamaguchi, Eriko. "The Perfect Hero: Cruel Masculinity in D. G. Rossetti's The Death of Breuse sans Pitié." Arthuriana 6, no. 4 (1996): 85–101. http://dx.doi.org/10.1353/art.1996.0023.

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Stock, Lorraine Kochanske. "The Importance of Being Gender 'Stable': Masculinity and Feminine Empowerment in Le Roman de Silence." Arthuriana 7, no. 2 (1997): 7–34. http://dx.doi.org/10.1353/art.1997.0065.

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Roberts, Anna. "From Boys to Men: Formations of Masculinity in Late Medieval Europe by Ruth Mazo Karras." Arthuriana 14, no. 1 (2004): 104–5. http://dx.doi.org/10.1353/art.2004.0021.

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Huion, Patricia, and Muhammet Hakan Ayçiçek. "Not All Migrant Men Embrace Toxic Masculinity, Do They?" Rivista Italiana di Educazione Familiare 19, no. 2 (2021): 41–50. http://dx.doi.org/10.36253/rief-10521.

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Gender identities and roles have changed over time and have reached their present meanings. In addition, the expectations and acceptance of different cultures have caused these roles to show various developments. Finally, the increase in immigration to Europe has forced these young people who grew up in other cultures and their families to learn to live in a new culture and mandatory adaptation of two cultures. The biggest problem with mixing in a new culture was that the male trait, defined as toxic masculinity and taught as a power in eastern cultures, was not accepted in this new culture. Toxic masculinity is a man proving his existence to his gender, other genders, and entire social environment through anger, destructiveness, and pressure. “CommUnity” Project aims to bring together the young people of these different cultures with art-based design thinking activities. Those will help them get to know, understand, and adapt to each other in a peaceful environment where they can discuss the problem solutions openly and do art activities together.The main expectation is that the young people who have changed with these works will influence their environment and lead to a shared society that does not experience unnecessary violence and radicalism and lives in harmony.

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Mwangi, Evan. "Masculinity and nationalism in East African hip-hop music." Tydskrif vir Letterkunde 41, no. 2 (2018): 5–20. http://dx.doi.org/10.4314/tvl.v41i2.29671.

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East African music aligns itself with nationalistic desires while attempting to create a transnational and regional agenda that goes beyond individual nation-states. Hip-hop music appears at pains to define itself as different from the western art-forms with which it is hastily associated by instantiating localized forms and creating a different locution. This paper surveys East African hip-hop to demonstrate that the music is a productive site upon which the local, the national, and the global contest and negotiate. We demonstrate that central to the music's identity politics is the notion of masculinity, in which the construction of community is interpreted as a masculine enterprise. The audiences also invest the music with political and nationalist meanings that are fraught with sexualized readings. On the whole, the music rejects hostile nationalism but male artists tend to represent women negatively in their grand national, regional, and pan-African projects. Indirectly indicating the depth of the hegemonic masculinism they operate under, women artistes express a desire to deconstruct male constructs. At the same time they suggest that, in spite of themselves, their critique has to be cautious and subtle.

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Tholen, Toni. "Narrating the Modern Relation between Masculinity and Care." Internationales Archiv für Sozialgeschichte der deutschen Literatur 43, no. 2 (2018): 387–402. http://dx.doi.org/10.1515/iasl-2018-0020.

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Abstract The article is based on the debate about care concepts and care practices currently being held in the cultural and social sciences. It is shown how gender, and in particular concepts of masculinity, have been linked with care since the 19th century. It turns out that the feminine connotation of care that was popular for a long time only represents one side of the relationship between care and gender. From a transdisciplinary perspective, the complex interdependency between care and modern concepts of masculinity is demonstrated. Based on historically and theoretically meaningful texts, processes of excluding and including care aspects in aesthetic-literary, philological, philosophical, and socio-scientific narrations, constructions and discourses of masculinity are revealed. In reference to a critical reading of the tradition of the art of living, these considerations seek to offer and to point out alternative, non-hegemonic masculinities by incorporating practices of everyday (self-)care in male forms of existence. Particular emphasis is placed on contemporary literature.

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Simpson, Nikita. "Aesthetic politics in contemporary India." Focaal 2023, no. 95 (2023): 113–19. http://dx.doi.org/10.3167/fcl.2023.950103.

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Michiel Baas. Muscular India: Masculinity, mobility & the new middle class. New Delhi: Context, 2020. Alice Tilche. Adivasi art and activism: Curation in a nationalist age. Seattle: University of Washington Press, 2022. Sanderien Verstappen. New lives in Anand: Building a Muslim hub in Western India. Seattle: University of Washington Press, 2022.

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Curry, Frederick. "Book Review: Men Who Dance: Aesthetics, Athletics & the Art of Masculinity." Journal of Dance Education 8, no. 4 (2008): 131–32. http://dx.doi.org/10.1080/15290824.2008.10387375.

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Clayson, Hollis. "A wintry masculinity: Art, soldiering, and gendered space in Paris under siege." Nineteenth-Century Contexts 20, no. 4 (1999): 385–408. http://dx.doi.org/10.1080/08905499908583458.

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İbrahimhakkıoğlu, Fulden. "“The Most Naked Phase of Our Struggle”: Gendered Shaming and Masculinist Desiring‐Production in Turkey's War on Terror." Hypatia 33, no. 3 (2018): 418–33. http://dx.doi.org/10.1111/hypa.12429.

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The photographs that circulated on social media depicting (and shamelessly celebrating) the atrocious acts committed by the Turkish military forces in southeast Turkey are indicative of an aesthetic (re)construction of militarized masculinity that serves as a metonym for the nation‐state. As violence is aestheticized in a gendered fashion in these depictions, the Kurdish resistance movement is shamed as feminine. Gendered shaming, in this context, conjoins racialization and gendering as subjugating mechanisms of the state. Women's peace movements seek to disrupt this heteropatriarchal logic of the state by countering the tripartite alignment of masculinity‐power‐domination with politicized art. In refusing the shame attributed to femininity, the shame that the state desires the Kurdish body to signify, they transfigure shame into honor and resistance.

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Syfa Amelia, Farah Fajriyah, Dhiya Sahara Ulfa, and Denis Hida Lutfiani Stefani. "TRANSMEDIA EDUCATION: MASCULINITY IN TIKTOK WITHIN TRADITIONAL DANCE." NALAR: Jurnal Pendidikan dan Kebudayaan 2, no. 2 (2023): 71–78. http://dx.doi.org/10.56444/nalar.v2i2.707.

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The advent of internet and the proliferation of social media change the way teachers and students consume and create educational learning content, such as Java traditional dance. Men traditional dancers get bullied because they are considered less masculine where it happens in the education sector, school or dance studio. TikTok in the transmedia era known as an entertainment, expression and education space. TikTok’s content creators (Abing, Fahrul, BM) actively post to preserve culture. This research examines TikTok as an education and expression’s medium, challenges the gender dichotomy in Indonesia’s new masculinity. This research uses the case study, interview art activists, finding audience's reception from the comments, documents, relevant preliminary research. The results show male traditional dancers use TikTok to express themselves and preserve local culture. TikTok’s existence also shifts masculinity where it is not only interpreted as a form of virility, but also contains tenderness and femininity in traditional dance.

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yang, nel. "Arousal and Elicitation: Photographic Performativity in FinDom." Master, Vol. 5, no. 2 (2020): 70–77. http://dx.doi.org/10.47659/m9.070.art.

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Financial domination (findom) is a fetish practice in which a submissive derives erotic pleasure from sending money to a dominant or a cashmaster. Cashmasters produce photographs meant to elicit this desire in cashslaves, essentially arousing the desire to send money. This essay approaches this emergent genre of seemingly self-promotional photography as a genre of photographic performativity (Levin 2009). Rather than the desire to capture or represent (Batchen 1999), these images evidence a choreography of photographic performativity including both masters (as makers) and slaves (as viewers). Though the compliance with form and economic practice tempts the interpretation that masters are now slaves, this essay suggests that these images invite performances of domination, submission, and critique into wider performatives of arousal and elicitation. What critics and social analysts perceive as power (economic, erotic, or otherwise) are, in fact, desire at its seams, in the process of active and cooperative composition. Keywords: desire, fetish, photographic performativity, critique, masculinity, financial domination

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Gruss, Susanne. "Wilde Crimes: The Art of Murder and Decadent (Homo)Sexuality in Gyles Brandreth's Oscar Wilde Series." Victoriographies 5, no. 2 (2015): 165–82. http://dx.doi.org/10.3366/vic.2015.0191.

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Gyles Brandreth's Oscar Wilde novels (2007–12) appropriate Wilde for a neo-Victorian crime series in which the sharp-witted aestheticist serves as a detective à la Sherlock Holmes. This article explores Brandreth's art of adapting Wilde (both the man and the works) and English decadent culture on several levels. The novels can, of course, be read as traditional crime mysteries: while readers follow Wilde as detective, they are simultaneously prompted to decipher the ‘truth’ of biographical and cultural/historical detail. At the same time, the mysteries revolve around Wilde's scandalous (homo)sexuality and thus his masculinity. The novels remain curiously cautious when it comes to the depiction of Wilde as homosexual: all novels showcase Wilde's marriage, Constance's virtues, and Oscar's love for his children, and the real ‘Somdomites’ are the murderers he pursues. By portraying these criminals and their crimes, the novels evade the less comfortable, transgressive aspects of Wilde's sexuality and help to reduce him to a thoroughly amusing decadent suitable for a general reading public. Brandreth's novels can therefore be read as a decidedly conservative account of Wilde's masculinity for the market of neo-Victorian fiction.

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Han, Luyi. "Analysis of the artwork Murder by Jared French in the context of Christianity, Masculinity and Homosexuality." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 2271–77. http://dx.doi.org/10.54097/ehss.v8i.4688.

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This paper aims to explore the dilemma society imposed on the queer community by analyzing the artwork Murder by Jared French and exploring the connection between Christianity, homosexuality, and masculinity. Murder is one of the paintings displayed in The Young and Evil, a collection of artworks created by artists during 1930-the 1940s. The analysis is based on a review of relative materials and literature. The purpose of the review is to give an insight into the dilemma that queer community faced in the context of the era, thereby promoting people with queer identities to pursue equal rights and opportunities. This essay provided an in-depth overview of the art piece Murder. It concluded that this painting could be interpreted in two ways: The newborn, homoerotic Jesus murdered the Jesus that had been re-masculinized from the 1920s, and the subordinated masculinity murdered the hegemonic masculinity. This essay therefore suggests that while Murder exemplified the pursuit of renaissance techniques and homoeroticism other artists displayed in the exhibition, the artwork also encouraged the queer community to embrace their identity and not be confined by the restrictions from authorities.

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Gilligan, Sarah. "Fashioning Masculinities: Critical reflections on curation and future directions in masculinity studies." Critical Studies in Fashion & Beauty 14, no. 1 (2023): 87–104. http://dx.doi.org/10.1386/csfb_00056_3.

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Fashioning Masculinities: The Art of Menswear at the V&A Museum in London (19 March–6 November 2022) marked a significant curatorial and cultural moment. Curated by Claire Wilcox, Rosalind McKever and Marta Franceschini, the exhibition explored the shifting landscape of menswear by focusing on the intersections among fashion, art, time and gender. This review essay critically reflects on the curation of the Fashioning Masculinities exhibition and the accompanying two-day symposium (13–14 October 2022) co-convened by the V&A and the Masculinities Research Hub at London College of Fashion. It argues for the need for interdisciplinary research and curation on menswear and masculinity studies to explore a plurality of intersectional identities. Additionally, this article argues for the importance of engaging diverse audiences across the sector with rich stories of making, wearing and fashioning identities. There remains considerable scope to move beyond a focus upon historical dress and luxury designer items, to include the often invisible and untold narratives of ordinary and everyday dress.

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Thangaraj, Stanley. "Mixing Beats, Pop-Locking, Graffiti Art, and Digitally Reimagined Masculinity in Delhi, India." Current Anthropology 62, no. 4 (2021): 507–8. http://dx.doi.org/10.1086/715239.

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Wilson, Catharine Anne. "A Manly Art: Plowing, Plowing Matches, and Rural Masculinity in Ontario, 1800–1930." Canadian Historical Review 95, no. 2 (2014): 157–86. http://dx.doi.org/10.3138/chr.1918.

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Hellman, Annika Amelie. "‘Skateboarding is like dancing’: Masculinity as a performative visual culture in art education." International Journal of Education Through Art 12, no. 3 (2016): 327–44. http://dx.doi.org/10.1386/eta.12.3.327_1.

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Gerstner, David. "Unsinkable Masculinity: The Artist and the Work of Art in James Cameron's Titanic." Cultural Critique 50, no. 1 (2002): 1–22. http://dx.doi.org/10.1353/cul.2002.0007.

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Tipper, Josephine. "Reconstructing men from the operating table to the gallery." Groundings Undergraduate 10 (November 1, 2017): 131–47. http://dx.doi.org/10.36399/groundingsug.10.193.

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This study explores the changing interpretations of Henry Tonks' pastel drawings of disfigured soldiers from the aftermath of World War I. As the context evolved from a clinical environment to art historical, concerns developed not only regarding the reconstruction of the male body, but also the restoration of manhood after the First World War. The pre-War construction of masculinity, which turned man to machine, must also be evaluated in order to understand how Tonks’ images might reinstate the wounded men’s identities. The study examines the collective identity of British men during the First World War, focusing on those who were injured in battle. It compares Tonks’ pastels with other sources, in order to understand the changing and fragile definition of masculinity from the aftermath of war, and the reconstruction of manhood and identity of disfigured soldiers.

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McKay, Deirdre, and Padmapani L. Perez. "Plastic masculinity: How everyday objects in plastic suggest men could be otherwise." Journal of Material Culture 23, no. 2 (2017): 169–86. http://dx.doi.org/10.1177/1359183517742424.

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Material things always make statements about people’s identities. For indigenous Filipino men, making baskets asserts identities rich in culture and in non-market values. This article examines basketry backpacks that were part of the pre-colonial material culture of ethnic groups known as Igorot. When made from rattan, these baskets are recognized as tribal art or heritage items. When made from plastic by contemporary artisans, they are problematic objects that subvert dominant constructs of masculinity. Featuring bright colours – pink, red and yellow – from the detritus of goldmining, these basketry forms point to the plasticity of masculinity itself. By working in plastic, their makers appropriate the cultural history of plastic to subvert the constructions of authenticity, class, ethnicity and gender, suggesting how masculinity could be otherwise. Here, plastic has a cultural potency of its own, with important implications for initiatives to manage or recycle waste materials or create innovative design. Because plastic carries its problematic history and malleability into the objects made from it in ways that reshape categories of meaning and subjectivities, plastic is never just a neutral substrate for artisans’ self-expression but the active co-producer of dynamic distinctions between sacred and profane, global and indigenous, that fold back in on each other.

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Frisch, MS, CTRS, Andrea, and Patricia Ardovino, PhD, CTRS, CPRP. "A case study of two recreation programs serving soldiers on Warrior in Transition Units." American Journal of Recreation Therapy 13, no. 2 (2017): 28. http://dx.doi.org/10.5055/ajrt.2014.0070.

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This case study examined recreation programs on two US military installations serving soldiers who were injured during Operation Enduring Freedom, Operation Iraqi Freedom, or Operation New Dawn, and were on Warrior in Transition Units. The recreation programs were the Adaptive Reconditioning program at Schofield Barracks in Hawaii and the Resiliency Through Art program on US Army Garrison in Vicenza, Italy. Data from demographic questionnaires, interviews, and documents were analyzed and revealed three themes: the civilian world, compliance, and masculinity.

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Barooah, Samhita. "A Feminist Peep into Public Art in India’s Northeast." ANTYAJAA: Indian Journal of Women and Social Change 2, no. 1 (2017): 110–15. http://dx.doi.org/10.1177/2455632717708714.

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Based on participant observation, symbolic interactionism and feminist analysis of diverse art forms available in the public domain, the article focuses on the stereotyped notion of masculinity, which gets projected into the urban landscape of modern cities in Northeast India. It takes a critical stance on some of the prominent mascots, symbols and identities which are attached to products, services and ideologies predominantly rooted in patriarchy and gender-based discrimination. The observations shared in the article are drawn from the researcher’s field experiences and do not hold any offence to any particular agency, group, denomination or individual. It attempts to bring forth a subaltern narrative which is gradually getting erased from public memory from a queer feminist lens of locating oneself in a public space. It also questions the gender-normative imagination of modern India, which is rapidly engulfing all forms of diversity into its monoculture of development.

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Collins, Paul. "Trees and gender in Assyrian art." Iraq 68 (January 2006): 99–107. http://dx.doi.org/10.1017/s0021088900001182.

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The question of identifying cultural symbolism of any period is tortuous without textual or verbal evidence. It is particularly difficult when dealing with an ancient society removed by thousands of years and vast distance in space. Such is the case when interpreting the art of Mesopotamia. Occasionally, textual references help to illuminate possible meanings of imagery. More often than not we are left with nothing but our own culturally conditioned perceptions to explain what we see. However, alternative readings suggested by gender studies raise new ways of approaching familiar scenes. In a recent article I argued that the appearance of a fruiting date palm in the so-called “Garden Party” relief of Ashurbanipal (r. 668–631 BC) from the North Palace at Nineveh helped to situate the scene within a queen's garden. Despite the fact that the climate in Assyria is unfavourable for date-palm cultivation, the image of the tree, closely associated with a goddess, symbolized the feminine space of the garden. I would like to take this proposal further and suggest that the fruiting date palm is a marker of femininity in other images from ancient Iraq and, in addition, that the conifer tree can appear as a symbol of masculinity.

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Bao, David. "The Evolution, Characteristics, and Aesthetic Expression of Han Dynasty Sculptures: Exploring the Artistic Achievements of Ancient China." Advances in Education, Humanities and Social Science Research 6, no. 1 (2023): 299. http://dx.doi.org/10.56028/aehssr.6.1.299.2023.

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This study explores the development, traits, methods, and philosophies of Han sculptural works throughout Chinese history. Han dynasty sculptures are exceptional works of art due to their unusual ceramic figurines, stone creature sculptures, and pictorial stone designs. The article explores the evolution of art across time, centering on the Han dynasty and its emphasis on functional sculptures. Cultural influences such as the mixing of Chu and Western Region art via the Silk Road are discussed how they influenced Han Dynasty sculptures. The study also explores the stories told via the sculptures of the Han era, focusing on themes of life, myth, and masculinity. With an emphasis on stone carving and a wide range of expressive methods, this article examines the creative expressions and aesthetic principles at work in sculptures from the Han Dynasty. The relevance of sculptures from the Han Dynasty to the evolution of ancient Chinese art is discussed, with examples highlighting the sculptures' dynamic life and creative quality.

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Journal articles on the topic 'Masculinity in art'

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