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Journal articles on the topic 'Subversion of gender stereotypes'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Aljadaani, Mashael H., and Laila M. Al-Sharqi. "The Subversion of Gender Stereotypes in Donald Barthelme’s Snow White." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 155. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.155.

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Donald Barthelme’s Snow White redefines gender roles in the 20th century. Barthelme retells the original fairy tale, subverting its presentation of stereotypical gender roles to depict postmodern ideologies, particularly feminism. The male voice and its controlling power, embodied within the original narrative, becomes the lost, weak, and subordinate side of his story. The female voice, repressed by social and cultural principles, is reshaped to represent the free, powerful, and dominant figure in his narrative. This novel’s presentation of Snow White’s characters reflects feminist battles, such as the fight for gender equality and women’s freedom from patriarchal restrictions or sexual objectification. Adopting a feminist perspective, this study investigates Barthelme’s demythologizing approach in Snow White to present his new identification of gender roles. Specifically, this study examines the novel as a subversive reworking of Grimm’s Snow White [the original fairy tale] by analyzing Barthelme’s reframing of Snow White, the seven dwarfs, and Prince Paul. The findings of the study will show how Barthelme’s text offers a feminist critique of patriarchal dominance to the original Grimm’s fairy tale Snow White and the Seven Dwarfs. Through a close reading of the text, this study also seeks to highlight the novel’s subversive representation of socially constructed stereotypical male and female roles in the fairy tale to challenge the long-standing gender ideologies conceived by the patriarchal society.

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Idelji-Tehrani, Saam, and Muna Al-Jawad. "Exploring gendered leadership stereotypes in a shared leadership model in healthcare: a case study." Medical Humanities 45, no. 4 (September 22, 2018): 388–98. http://dx.doi.org/10.1136/medhum-2018-011517.

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The existing literature on leadership often describes it within fairly rigid gender roles. Entire models of leadership have been ascribed gendered labels. Shared leadership is, in traditional leadership theory, a feminine model. After observing a National Health Service (NHS) department enacting a shared leadership model, and using ethnography, grounded theory and comics-based research, we decided to explore the relationship between shared leadership and gender stereotypes. We realised our hope was to see a subversion of traditional stereotypes. Our data showed shared leadership overall as a feminine model, with its focus on distribution and compassion. Within the group, a range of gender roles were performed, meaning that the group could represent itself to the outside world as either more masculine or more feminine as required. This was beneficial, as conflict with outsiders was minimised and hence anxiety reduced. However, we noted that within the group, traditional gender roles were not subverted and were probably reinforced. Despite our view that shared leadership has not been an opportunity to resist gender stereotyping within this department, the success of this feminine model may represent a challenge to the prevailing masculine model of leadership within the NHS.

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Öztekin, Sercan. "Subversion of gender stereotypes in Wilkie Collins’s The Woman in White and Mary Elizabeth Braddon’s Lady Audley’s Secret." Crossroads. A Journal of English Studies, no. 32(1) (2021): 36–48. http://dx.doi.org/10.15290/cr.2021.32.1.03.

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Victorian sensation fiction strives to go beyond its time through issues and characters that do not conform to nineteenth century social norms. The novels of this genre depict the sensational lives with deceits and crimes which shocked the readers of their time, and they increase the reader’s tension with sensational narratives including untraditional matters and portrayals. Along with scandalous and criminal subjects, these works sometimes offer unconventional depictions of femininity and masculinity in the Victorian Age. Accordingly, this paper discusses Wilkie Collins’s The Woman in White (1860) and Mary Elizabeth Braddon’s Lady Audley’s Secret (1862) focusing on male and female characters challenging traditional gender stereotypes. It examines how these novels describe characters rather dissimilar to the ones in the traditional fiction of the era through their cunnings, intrigues, and unconventional attitudes with regard to marriage, power, and gender roles.

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DeAnda, Michael Anthony. "Assimilation gaming: The reification of compulsory gender roles in RuPaul’s Drag Race." Queer Studies in Media & Popular Culture 4, no. 2 (June 1, 2019): 155–71. http://dx.doi.org/10.1386/qsmpc_00003_1.

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This article analyses the ‘Bunk Buddies’ mini-challenge on Season 8 of RuPaul’s Drag Race (2009–present, USA: World of Wonder), during which the competitors identified the sexual positions of Andrew Christian models. In this episode (‘Shady Politics’ 2016), gaming and camera technologies work in tandem to repackage heteronormative models of gender and sexual identity for gay audiences. While the mini-challenge offers Andrew Christian models for visual pleasure of gay audiences, the game mechanics and camera angles reify masculine/feminine gender binaries in the way the preferred sexual positions between men are constructed, coding ‘tops’ as masculine and ‘bottoms’ as feminine. While stereotypes in the gay community also present similar understandings of compulsory gender roles, this depiction in RuPaul’s Drag Race, a groundbreaking television series celebrating gay lives and gender subversion through drag, is particularly troubling because it mythologizes a binary gender model that cites the heterosexual matrix and assimilates gay men into traditional male and female gender roles according to their preferred sexual positions. The ‘Bunk Buddies’ challenge thus suggests that sexual positions between men also have a literacy based on masculinity (penetrating) and femininity (receiving).

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DeAnda, Michael Anthony. "Assimilation gaming: The reification of compulsory gender roles in RuPaul’s Drag Race." Queer Studies in Media & Popular Culture 4, no. 2 (June 1, 2019): 155–71. http://dx.doi.org/10.1386/qsmpc_00019_1.

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This article analyses the ‘Bunk Buddies’ mini-challenge on Season 8 of RuPaul’s Drag Race (2009–present, USA: World of Wonder), during which the competitors identified the sexual positions of Andrew Christian models. In this episode (‘Shady Politics’ 2016), gaming and camera technologies work in tandem to repackage heteronormative models of gender and sexual identity for gay audiences. While the mini-challenge offers Andrew Christian models for visual pleasure of gay audiences, the game mechanics and camera angles reify masculine/feminine gender binaries in the way the preferred sexual positions between men are constructed, coding ‘tops’ as masculine and ‘bottoms’ as feminine. While stereotypes in the gay community also present similar understandings of compulsory gender roles, this depiction in RuPaul’s Drag Race, a groundbreaking television series celebrating gay lives and gender subversion through drag, is particularly troubling because it mythologizes a binary gender model that cites the heterosexual matrix and assimilates gay men into traditional male and female gender roles according to their preferred sexual positions. The ‘Bunk Buddies’ challenge thus suggests that sexual positions between men also have a literacy based on masculinity (penetrating) and femininity (receiving).

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6

Xouplidis, Panagiotis. "Teaching cats in Children’s Literature." Journal of Education Culture and Society 11, no. 2 (September 11, 2020): 311–21. http://dx.doi.org/10.15503/jecs2020.2.311.321.

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Aim. The aim of the research is the comparative study of literary cat characters in Children’s Literature texts in Greek and Spanish and their instructive function in the transmission of social stereotypes. Methods. The research subscribes to the field of Literary Animal Studies based on the theory of Children’s Literature (Lukens, 1999) and through the intercultural perspective of Comparative Children’s Literature (O’Sullivan, 2005). Published children’s books from Greece, Spain and Spanish-speaking America were compared using textual analysis methods of Imagology (Beller & Leersen, 2007). Stereotyped variants were identified and organized in categories related to name, physical appearance, gender, behavior, and function of literary cat characters. Results. After examining a corpus of 37 books, 23 in Greek and 17 in Spanish (Argentina, Chile, Colombia, Mexico, Spain), textual analysis findings were compared, organized, and classified by language, country and readers’ age groups to locate that literary cat characters are usually pets or feral, and they remain consistently stereotyped as anthropomorphic and subversive. Cats with seven lives and magical powers are common perceptions, dominating in both cultural contexts, stereotypes extended to strong superstitions about black cats. Conclusions. In Children's Literature texts, cats are linguistically, literally, and socially defined literary constructs, can have usually human-like features, intercultural influences, and are potentially shaped by intertextual relations. They serve also as a narrative motif for the transmission of social values about non-human animals and the textual familiarization of nonadult readers with society’s cultural stereotypes.

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Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies, no. 14 (October 15, 2017): 123. http://dx.doi.org/10.25038/am.v0i14.211.

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Starting from the general theory of identity, gender theory, queer theory and theory of bio/necropolitics, as theoretical platforms, in a few case studies I will analyze the Pride Parade as a form of manifestation of gender body and queer body representations in visual arts, and gender and queer body representations in mass media. My hypothesis is that the key for understanding the chosen case studies is in understanding the relation between their aesthetics, political and social interventions. This will consider political involvement, social injustice, alienation, stereotypes on which ideological manipulations are based etc., as well as the creative strategies used for moving the borders of visual art in searching for authentically-performed creative expressions and engagements. In the time we live it is necessary for the politicization of art to use queer tactics, which work as political strategies of subversion of every stable structure of power. Queer tactics, in my opinion, are weapons in disturbance of the stable social mechanisms, which every power tries to establish and perform over any ‘mass’, in order to transform it to race, gender, tribe, nation or class. Article received: June 6, 2017; Article accepted: June 20, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies 14 (2017): 123-131. doi: 10.25038/am.v0i14.211

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Fanasca, Marta. "When girls draw the sword: Dansō, cross-dressing and gender subversion in Japanese shōjo manga." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 3–18. http://dx.doi.org/10.1386/qsmpc_00041_1.

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This article focuses on the representation of FtM cross-dresser characters in Japanese shōjo manga and their gender performances. The first cross-dresser heroine in manga is Sapphire, the main character from 1953s Ribon no kishi. Following this first example, similar characters have continued to appear in shōjo manga, obtaining very positive responses from the audience. While they are seen as rebellious characters challenging stereotypical views on gender in the Japanese society, the narratives where they appear do not always fully explore this aspect. The aim of this article is to investigate the role of cross-dresser heroines in manga as a tool to reinforce the sociocultural patriarchal status quo and as a different gender embodiment outside stereotyped femininity. It argues that the possibility for those characters to occupy powerful positions and succeed is related to masculinity, symbolized by the sword, stressing how ultimately their revolutionary potential is weakened and limited.

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Jones, SuneÃ©. "THE EVOLUTION OF A FEMININE STEREOTYPE: WHAT TINKER BELL TEACHES CHILDREN ABOUT GENDER ROLES." Gender Questions 3, no. 1 (January 13, 2016): 45–61. http://dx.doi.org/10.25159/2412-8457/819.

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Research has shown that some childrenâ€™s stories may contain subversive cultural messages and that, by consuming them, children are unconsciously socialised and unwittingly influenced to accept cultural norms relating to, among other things, gender roles, race relations, power structures and class distinctions. This process of socialisation is especially effective through the medium of childrenâ€™s literature, especially those stories that make use of generic elements such as the archetypes found in fairy tales, and the fairy tales re-imagined and produced as films by the Walt Disney Company. A literature review confirms that gendered messages are present in the entertainment provided to children and highlights the most universal preconceptions of feminine roles in Western society. To determine if these gender stereotypes have evolved in recent years, the depiction of a beloved childrenâ€™s character, the fairy Tinker Bell, first imagined by author J.M. Barrie and later refashioned by Disney to become part of our collective imagination, is explored. A close analysis reviews the depiction of Tinker Bell in three different texts: Barrieâ€™s 1911 novel, Peter Pan , Disneyâ€™s 1953 animated classic of the same name, and the first instalment of Disneyâ€™s more recent series of movies in the FairiesÂ franchise, Tinker BellÂ (2008). The results indicate that the original Tinker Bell is a nontraditional female portrayed as a negative stereotype, but that the latest version of Tinker Bell is a non-traditional female portrayed in a positive manner. This shift in emphasis may indicate that gender stereotypes in the 21stÂ century are consciously being reviewed.

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10

Tsoumas, Johannis, and Eleni Gemtou. "Marie Spartali-Stillman’s feminism against Pre-Raphaelite Brotherhood gender stereotypes art." Journal of the Belarusian State University. History, no. 2 (May 7, 2021): 48–60. http://dx.doi.org/10.33581/2520-6338-2021-2-48-60.

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In the middle of the 19th century Great Britain, Queen Victoria had been imposing her new ethical code system on social and cultural conditions, sharpening evidently the already abyssal differences of the gendered stereotypes. The Pre-Raphaelite painters reacted to the sterile way of painting dictated by the art academies, both in terms of thematology and technique, by suggesting a new, revolutionary way of painting, but were unable to escape their monolithic gender stereotypes culture. Using female models for their heroines who were often identified with the degraded position of the Victorian woman, they could not overcome their socially systemic views, despite their innovative art ideas and achievements. However, art, in several forms, executed mainly by women, played a particularly important role in projecting several types of feminism, in a desperate attempt to help the Victorian woman claim her rights both in domestic and public sphere. This article aims at exploring and commenting on the role of Marie Spartali-Stillman, one of the most charismatic Pre-Raphaelite Brotherhood models and later famous painter herself, in the painting scene of the time. Through the research of her personal and professional relationship with the Pre-Raphaelites, and mainly through an in depth analysis of selected paintings, the authors try to shed light on the way in which M. Spartali-Stillman managed to introduce her subversive feminist views through her work, following in a way the feministic path of other female artists of her time. The ways and the conditions, under which the painter managed to project women as dominant, self-sufficient and empowered, opposing their predetermined social roles, have also been revised.

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Chairetis, Spyridon. "Tracing the Ephemeral." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 89. http://dx.doi.org/10.18146/view.248.

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This paper examines how Greek television fiction introduced and represented lesbian characters during primetime. Drawing on feminist and queer theory and taking the codes and conventions of the comedy genre into account, the paper reveals Greek comedy’s elusive and ambiguous stances towards heteronormativity. By applying a qualitative textual approach, the paper argues that despite their subversive potentialities, the television shows in question (re)produce cultural stereotypes about lesbian identity, invest in queerbaiting strategies and play down the transgressive elements of certain lesbian characters. Despite this critique, the paper stresses the importance of recording, archiving, and further exploring such ephemeral moments in television history in understanding how small national television industries as well as audiences have engaged with the visual representation of gender and sexual diversity.

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12

Burke, Patrick. "The Screamers." Daedalus 142, no. 4 (October 2013): 11–23. http://dx.doi.org/10.1162/daed_a_00231.

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While screaming during popular music performances (at least loudly amplified ones) has become unremarkable and even expected, the mid-twentieth-century United States witnessed a series of debates over the appropriateness and significance of screaming. These debates, fraught with moral judgment and often open panic, focused on issues central to American popular music: sexuality, race, class, and the rights and responsibilities of the individual. Tracing the discourse surrounding screaming audiences from the nineteenth century to the present reveals that observers have associated female screamers primarily with sexual impropriety while male screamers more often have been depicted as a potentially violent mob. While commentary on screaming often reinforces racial and gender stereotypes, screaming maintains its subversive power because it effectively dramatizes the tension among social expectations, group solidarity, and individual freedom.

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Wimmler, Jutta. "Masters of Cyber-Religion: The Female Body as God's "Interface" in the TV Series Caprica." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 120–54. http://dx.doi.org/10.1163/21659214-90000043.

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The article proposes that the short-lived science fiction series Caprica (2009–2010) espoused a rather atypical ideology that was based on the prominence of women and femininity in the narrative. Through women, the series merged science and religion, body and mind, human and machine and established a moral code based on respect for those usually “othered” in the genre. The narrative accomplished this by consciously employing and then re-arranging western gender stereotypes, which led to the emergence of a specifically feminine approach to science that was, amongst other things, also religious. This combination had subversive potential because of the series’ premise that God actually exists and is actively involved in human/cyborg affairs. Women emerged as points of contact on behalf of this God who pitted them against rationalized and universalized male science.

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Moeke-Pickering, Taima, Sheila Cote-Meek, and Ann Pegoraro. "Understanding the ways missing and murdered Indigenous women are framed and handled by social media users." Media International Australia 169, no. 1 (October 12, 2018): 54–64. http://dx.doi.org/10.1177/1329878x18803730.

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The media plays a large role in facilitating negative racial and gender ideologies about Indigenous women. In Canada, as we struggle with the national crisis of missing and murdered Indigenous women (MMIW), researchers have collected data from social media (SM) and identified that subversive texts about Indigenous women perpetuate a racialized violent discourse. Given that many Indigenous peoples, including Indigenous youth, have smart phones and/or other ways to access SM they too are exposed to the discourse that subjugates, vilifies and dehumanizes Indigenous women, many of whom are family or community members. Our research investigates the messages shared on #MMIW and identifies a reframing by hashtag users. The results assist in understanding how SM plays a role in perpetuating stereotypes about Indigenous peoples but also how SM can be used to mitigate those messages.

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Spólna, Anna. "Women and the Kingdom of Ambiguity: Black Comedy in "Solistki" ("Female Soloists")." Tekstualia 4, no. 39 (September 1, 2014): 55–66. http://dx.doi.org/10.5604/01.3001.0013.4490.

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The paper discusses the uses of black humour in women’s poetry after 1989, collected in the anthology Solistki (2009). The humour underlying these poems is subversive. A cruel joke may serve the purpose of individuation, provocation, or protection from suffering. Poetic narratives highlight the grotesque aspects of the world in order to uncover the stigmatising stereotypes of gender or the pressure of social norms grounded in lies. They become axiological gestures, stressing the independence of heroines. Tragicomic laughter is occasionally a form of casting a spell on reality, playing with the macabre – a protest against illness and death. A clownish mix of humour and terror consciously disrupts the logic of communication, showing the blurred limits of frank confession in postmodern poetry. Poetic works by the ‘female soloists’ are intertextual, autotelic, polystyle. They are characterised by an exaggerated creativity of imagery that refl ects a paradoxical, fl uid reality. Poetry by women moves from a poetic joke to a serious existential and philosophical statement.

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Omeyaka, Bibiche Liliane Salumu Laumu. "Les Images Contrastées Des Femmes Émergentes De La Société Civile Et Transformation Des Rôles Sociaux Sexués En Province Orientale Post-Mobutu." European Scientific Journal, ESJ 13, no. 23 (August 31, 2017): 129. http://dx.doi.org/10.19044/esj.2017.v13n23p129.

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This article approaches the subversive dimension and performative gender in women awakeness in Oriental Province post-Mobutu era. Their ambition wobbles between maintaining feminine leadership status (their high-flying female) which takes its subsistence from the implementation of their capability and their sufferance from social representation in an environment dominated by patriarchal stereotypes and a political system less disposed to take actions in gender matters. However, feminine elite’s capability procreates social transformations across a social deconstruction not only in role of sexes in the society (structural transformations) but also in transformations observed in man to woman and woman to woman relationship. Under this optics, these civil society women really become actors of change in women well-being in their area. Their way of thinking, acting and being make them convinced feminists. But, the opposite is also possible when some of them resign themselves to break the wall of glass sheltering inequalities between sexes for other aims, notably political. They are selective in their involvement. In that case, they are common feminists of use, most often, as footbridge for politicians. It is on base of the analysis model socio dynamic model analysis which we had achieved in better reconciling structural complexity of those social representations and their insertion in plural social and ideological contexts in Oriental province after President Mobutu reign.

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MICHAILIDOU, ARTEMIS. "Edna St. Vincent Millay and Anne Sexton: The Disruption of Domestic Bliss." Journal of American Studies 38, no. 1 (April 2004): 67–88. http://dx.doi.org/10.1017/s0021875804007911.

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Popular perceptions of Edna St. Vincent Millay do not generally see her as a poet interested in so-called “domestic poetry.” On the contrary, Millay is most commonly described as the female embodiment of the rebellious spirit that marked the 1920s, the “New Woman” of early twentieth-century feminism. Until the late 1970s, the subject of domesticity seemed incompatible with the celebrated images of Millay's “progressiveness,” “rebelliousness,” or “originality.” But then again, by the 1970s Millay was no longer seen as particularly rebellious or original, and the fact that she had also contributed to the tradition of domestic poetry was not to her advantage. Domesticity may have been an important issue for second-wave feminists, but it was discussed rather selectively and, outside feminist circles, Millay was hardly ever mentioned by literary critics. The taint of “traditionalism” did not help Millay's cause, and the poet's lifelong exploration of sexuality, femininity and gender stereotypes was somehow not enough to generate sophisticated critical analyses. Since Millay seemed to be a largely traditional poet and a “politically incorrect” feminist model, second-wave feminists preferred to focus on other figures, classified as more modern and more overtly subversive. Scholarly recognition of Millay's significance within the canon of modern American poetry did not really begin until the 1990s.

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N'Zengou-Tayo, Marie-José. "‘Fanm Se Poto Mitan: Haitian Woman, the Pillar of Society." Feminist Review 59, no. 1 (June 1998): 118–42. http://dx.doi.org/10.1080/014177898339497.

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In this paper Marie-Jose N'zengou-Tayo draws on a variety of sources, both historical and contemporary, to describe the journey of Haitian women from nineteenth-century post-War of Independence, to present-day Haitian society. The paper is divided in two sections. In the first, the author traces a brief social history of women, quoting anthropological and sociological studies from the 1930s to the 1970s. She begins with rural peasant women noting their significant involvement in farming, marketing and in the internal food trade sector. The development of polygamy and common law unions as the most common form of conjugal union is seen as a practical response to survival in rural Haiti. The author notes the major impact on women's lives of continued political upheavals, violent repression, rural degradation and migration to the cities. Opportunities for employment in a deprived urban setting, and women's initiatives in income generating are also described under the Duvalier regimes. A brief overview of the lives of the middle class is included, although there is a paucity of research in this area available to the author. Violence against women is a regular threat facing domestic workers, and a means of repression used by the state against women across classes. In the second section N'Zengou-Tayo addresses the literary representation of Haitian women by both female and male Haitian writers. The paper examines how female writers have developed subversive narrative strategies to shape a female identity in order to break away from the stereotypes portrayed in men's writing. N'Zengou-Tayo concludes that the tremendous contribution of Haitian women to their society has neither been recognized nor documented. Despite this, the resilience of Haitian women, whether in their daily lives or in their writing, has enabled them to make strides towards improving their lives.

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Ellemers, Naomi. "Gender Stereotypes." Annual Review of Psychology 69, no. 1 (January 4, 2018): 275–98. http://dx.doi.org/10.1146/annurev-psych-122216-011719.

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20

Bollig, Ben. "Manuel Puig: The Exploitation and Subversion of Stereotypes." Bulletin of Hispanic Studies 80, no. 2 (June 2003): 247–56. http://dx.doi.org/10.3828/bhs.80.2.8.

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21

Ascárate, Richard John. "Latino Images in Film: Stereotypes, Subversion, and Resistance." Film Quarterly 57, no. 2 (December 2003): 57–58. http://dx.doi.org/10.1525/fq.2004.57.2.57.

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Mistry, Raju. "Demystifying Gender Stereotypes." NHRD Network Journal 2, no. 2 (April 2008): 94–98. http://dx.doi.org/10.1177/0974173920080222.

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23

Lopez-Zafra, Esther, and Rocio Garcia-Retamero. "Do gender stereotypes change? The dynamic of gender stereotypes in Spain." Journal of Gender Studies 21, no. 2 (June 2012): 169–83. http://dx.doi.org/10.1080/09589236.2012.661580.

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Purohit, Dr Gaurav. "Gender Stereotypes at Workplace." International Journal of Trend in Scientific Research and Development Volume-2, Issue-4 (June 30, 2018): 2490–99. http://dx.doi.org/10.31142/ijtsrd15668.

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Čeněk, Jiří. "Gender stereotypes in organizations." Journal of Education Culture and Society 4, no. 1 (January 11, 2020): 30–37. http://dx.doi.org/10.15503/jecs20131.30.37.

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This study is focused on stereotypes of women as managers. The literature review summariz-es the most common areas of gender stereotypes. In the empirical part we conducted research on a sample of 111 respondents (students). Research data was obtained by administration of translat-ed and adapted questionnaire Women as Managers Scale (L. Peters et al.). Psychometric analysis of the questionnaire was conducted and its factor structure verifi ed. The goal of this study was to create and pilot Czech adaptation of the questionnaire as an instrument for diagnostics of gender stereotypes in different types of organizations (schools, corporate and public sector).

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Cornell, Morna, and Landon Myer. "Moving beyond gender stereotypes." Lancet 382, no. 9891 (August 2013): 506. http://dx.doi.org/10.1016/s0140-6736(13)61713-4.

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Löckenhoff, Corinna E., Wayne Chan, Robert R. McCrae, Filip De Fruyt, Lee Jussim, Marleen De Bolle, Paul T. Costa, et al. "Gender Stereotypes of Personality." Journal of Cross-Cultural Psychology 45, no. 5 (January 30, 2014): 675–94. http://dx.doi.org/10.1177/0022022113520075.

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Albert, Alexa A., and Judith R. Porter. "Children's Gender Role Stereotypes." Journal of Cross-Cultural Psychology 17, no. 1 (March 1986): 45–65. http://dx.doi.org/10.1177/0022002186017001004.

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Sagrestano, Lynda. "Gender: Stereotypes and Roles." Psychology of Women Quarterly 17, no. 3 (September 1993): 358–60. http://dx.doi.org/10.1177/036168439301700302.

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TERRY, ROGER L. "Eyeglasses and Gender Stereotypes." Optometry and Vision Science 66, no. 10 (October 1989): 694–97. http://dx.doi.org/10.1097/00006324-198910000-00006.

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Jackson, Linda A., and Thomas F. Cash. "Components of Gender Stereotypes." Personality and Social Psychology Bulletin 11, no. 3 (September 1985): 326–44. http://dx.doi.org/10.1177/0146167285113008.

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Csizma, Kathleen A., Arno F. Wittig, and K. Terry Schurr. "Sport Stereotypes and Gender." Journal of Sport and Exercise Psychology 10, no. 1 (March 1988): 62–74. http://dx.doi.org/10.1123/jsep.10.1.62.

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Two samples were used to assess the sex linkage of a wide range of sports. One sample rated each of 68 sports (Matteo, 1984) on perceived acceptability and likelihood of participation for both females and males. The other judged the same 68 sports for masculinity-femininity and perceived complexity. Additionally, all 68 sports were compared to Metheny's (1965) physical activities criteria for perceived appropriateness for female participation. Results indicated that masculinity-femininity judgments were similar to those obtained by Matteo (1984) and that correlations of sex linkage of sport with acceptability and likelihood of participation were high, especially for judgments about female participants. Agreement between sex-type categories for sports and Metheny's (1965) criteria was most consistent for sports receiving either the most extreme masculine or most extreme feminine ratings. It appears that perceptions of the masculinity or femininity of sports are influenced by the gender of who actually participates in those sports as well as the physical activities involved in the sports. Finally, the correlation between mean masculinity-femininity and simplicity-complexity ratings was small and not significant. Indeed, those groups of sports categorized as masculine and feminine were rated as equally complex, and both groups were judged as significantly more complex than the sports classified as neutral. This finding negates Deaux's (1984) contention that feminine tasks are inevitably judged to be simpler than masculine tasks.

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Marcis, John G., and Kay W. Lawrimore. "Current occupational gender stereotypes." Atlantic Economic Journal 22, no. 3 (September 1994): 87. http://dx.doi.org/10.1007/bf02301808.

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Daruvala, Dinky. "Gender, risk and stereotypes." Journal of Risk and Uncertainty 35, no. 3 (October 18, 2007): 265–83. http://dx.doi.org/10.1007/s11166-007-9024-7.

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Kniazian, Anna. "Gender Stereotypes in Advertising." Armenian Folia Anglistika 10, no. 1-2 (12) (October 15, 2014): 82–87. http://dx.doi.org/10.46991/afa/2014.10.1-2.082.

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The portrayal of men and women in advertising has received conside rable atten - tion over the last several decades, both by practitioners and academics. Research has primarily focused on the visual portrayal of men and women in advertising, within the realm of which, there appears to be a fundamental difference in the way men and women are portrayed. Men are generally stereotyped as competent, assertive, independent, and achievement oriented, whereas women are generally stereotyped as warm, sociable, interdependent, and relationship-oriented. Women are more often portrayed as young and concerned with physical attractiveness than their male counterparts. Masculine and feminine stereotypes are complementary in the sense that each gender group is seen as possessing a set of strengths that balance out their own weaknesses and that supplement the assumed strengths of the other group.

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"Research On Gender Stereotypes." International Journal of Scientific and Research Publications (IJSRP) 11, no. 2 (February 6, 2021): 287–94. http://dx.doi.org/10.29322/ijsrp.11.02.2021.p11034.

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Chuck Tatum. "Latino Images in Film. Stereotypes, Subversion, Resistance (review)." Arizona Journal of Hispanic Cultural Studies 7, no. 1 (2003): 306–8. http://dx.doi.org/10.1353/hcs.2011.0153.

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D'Cruze, Shani. "En travesti, women, gender subversion, opera." Women's History Review 6, no. 3 (September 1, 1997): 427–54. http://dx.doi.org/10.1080/09612029700200305.

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Stein, Arlene. "Professionalization and Subversion." Sexualities 21, no. 8 (October 18, 2018): 1243–45. http://dx.doi.org/10.1177/1363460718779215.

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Sealey, Kris. "Resisting the Logic of Ambivalence: Bad Faith as Subversive, Anticolonial Practice." Hypatia 33, no. 2 (2018): 163–77. http://dx.doi.org/10.1111/hypa.12404.

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This article critiques Homi Bhabha's proposal that mimicry, as a transgressive performance of ambivalence, disrupts the colonial violence of the stereotype, and as such, generates emancipatory conditions for postcolonial subjects. I am critical of this naming of mimicry as enabling a possible liberation from colonial violence not only because it fails to address the loss of belonging that significantly marks the experience of being so violated, but also because it seems to intensify this loss in the hybridity and fragmentation that it celebrates. Through the work of María Lugones and Mariana Ortega, I propose a reimagined sense of Sartrean bad faith as one that corrects for this failure. This account of bad faith—as subversive, anticolonial practice—legitimizes my longing for a stability made impossible by the violent ambivalence that pervades both the colonial and postcolonial condition. Lugones's accounts of multiplicity and ontological plurality, as well as Ortega's conception of hometactics, help me argue that this reimagined conception of bad faith ought to be considered productive when it comes to existential strategies that pursue the possibility of free black life.

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Cocorada, E. "Gender stereotypes and counter-stereotypes in Romanian fairy tales." Revista de psihologie 64, . 3 (2018): 203–19.

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Perreault, Mildred F., Gregory Pearson Perreault, Joy Jenkins, and Ariel Morrison. "Depictions of Female Protagonists in Digital Games: A Narrative Analysis of 2013 DICE Award-Winning Digital Games." Games and Culture 13, no. 8 (December 16, 2016): 843–60. http://dx.doi.org/10.1177/1555412016679584.

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Digital games historically hold a spotty record on gender depictions. The lack of depth in female characters has long been the norm; however, an increasing number of female protagonists are headlining games. This study used narrative theory to examine depictions of four female protagonists in four 2013 Design, Innovate, Communicate, Entertain Award-Winning Digital Games: The Last of Us, Bioshock Infinite, Tomb Raider, and Beyond: Two Souls. Studying these media depictions provides context for how women’s stories are recorded in society. Stereotype subversions largely occur within familiar game narratives, and the female protagonists were still largely limited and defined by male figures in the games.

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Atmadja, Nengah Bawa, Luh Putu Sendratari, and I. Wayan Rai. "Deconstructing Gender Stereotypes in Leak." KOMUNITAS: International Journal of Indonesian Society and Culture 7, no. 1 (March 1, 2015): 71–78. http://dx.doi.org/10.15294/komunitas.v7i1.3597.

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The belief of Balinese people towards leak still survive. Leak is a magic based on durgaism that can transform a person from human to another form, such as apes, pigs, etc. People tend to regard leak as evil. In general, the evilness is constructed in gender stereotypes, so it is identified that leak are always women. This idea is a power game based on the ideology of patriarchy that provides legitimacy for men to dominate women with a plea for social harmony. As a result, women are marginalized in the Balinese society. Women should be aware of so it would provide encouragement for them to make emancipatory changes dialogically. Kepercayaan orang Bali terhadap leak tetap bertahan sampai saat ini. Leak adalah sihir yang berbasiskan durgaisme yang dapat mengakibatkan seseorang bisa merubah bentuk dari manusia ke wujud yang lain, misalnya kera, babi, dll. Leak termasuk magi hitam sehingga dinilai bersifat jelek. Pada umumnya perempuan diidentikkan dengan leak sehingga melahirkan asumsi yang bermuatan steriotip gender bahwa leak = perempuan. Gagasan ini merupakan permainan kekuasaan berbasis ideologi patriarkhi dan sekaligus memberikan legitimasi bagi laki-laki untuk menguasai perempuan dengan dalih demi keharmonisan sosial. Akibatnya, perempuan menjadi termarginalisasi pada masyarakat Bali. Perempuan harus menyadarinya sehingga memberikan dorongan bagi mereka untuk melakukan perubahan secara dialogis emansipatoris.

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Acasandre, Andreea, and Diana Bancov. "Investigating Age and Gender Stereotypes." Logos Universality Mentality Education Novelty: Political Sciences & European Studies 6, no. 1 (December 2020): 59–71. http://dx.doi.org/10.18662/lumenpses/6.1/17.

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This research focuses on the presence of stereotypes regarding age and gender, using as case study the book Cities for people, by Jan Gehl. Recognized worldwide as one of the most important supporters for the rapprochement of the public urban space towards its citizens, Jan Gehl dedicated most of his career to the importance of the human factor in the planning of cities. This study represents a content analysis of the ways in which the characters from the Cities for people book are being presented according to gender and age. The research represents a quantitative analysis of all the images in the book, comprising individuals or groups of people (collective characters) involved in different types of actions. The results of the study highlight an a relatively equal presence of both genders (48.8% feminine characters and 51.2% masculine characters). Most of the images present individual characters, which gives us the opportunity to clearly see their general image, socio-demographic characteristics (relative age and gender) or carried actions. However, there is a significant percentage of nearly 21% of the images in which the characters are presented as part of a crowd, as collective characters, which causes an increased degree of un-individualization. Even in these cases, non the less, there can be frequently observed a relatively homogeneous mass of people, most of them male adults. The biggest discrepancy highlighted by the study of the images of this book is with regard to the distribution of the main age categories (children, adolescents, adults and seniors). When it comes to these categories, Cities for people gives a greater attention to the adults, a category of people which is present in nearly 50% of the images. The other 50% is divided between children, adolescents and seniors, the most disadvantaged of them being, surprisingly, the children’s category (present in only 12.1% of the images).

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COCORADA, Elena. "Gender Stereotypes in School Textbooks." Revista Romaneasca pentru Educatie Multidimensionala 10, no. 4 (December 21, 2018): 65–81. http://dx.doi.org/10.18662/rrem/73.

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Minyar-Beloroucheva, A. P., and M. E. Pokrovskaya. "Gender stereotypes in gustics discourse." Язык и текст 2, no. 3 (2015): 76–90. http://dx.doi.org/10.17759/langt.2015020310.

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The article deals with gender stereotypes in gustics discourse. A gender stereotype is one of the most important components of the linguistic Weltbild of every nation. The study of gender stereotypes through gustics discourse allows us to identify cultural and linguistic features of a particular nation, to create collective masculine and feminine images that facilitate effective intra- and intercultural communication.

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Gutiérrez Rubio, Enrique. "Gender stereotypes in Spanish phraseology." Multidisciplinary Journal of Gender Studies 7, no. 3 (October 25, 2018): 1709. http://dx.doi.org/10.17583/generos.2018.3632.

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In this paper the results of research on gender stereotypes underlying Spanish phraseology are presented. Its main aim is to reveal which gender stereotypes are explicitly or implicitly present in commonly used contemporary Spanish Phraseological Units (PUs). In order to achieve this goal, all PUs associated with men and women documented in the most complete dictionary of current Spanish phraseology (Diccionario fraseológico documentado del español actual: locuciones y modismos españoles) have been analysed. In order to systematize the analysis, an inventory of stereotypes has been collected and split into five main thematic categories: physical characteristics; attitude, personality and abilities; sexuality; family; activities and professions. Moreover, a sixth, transversal category has been added – the opposite male and female conceptualisations of the passing of time.

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Hoffman, Curt, and Nancy Hurst. "Gender stereotypes: Perception or rationalization?" Journal of Personality and Social Psychology 58, no. 2 (1990): 197–208. http://dx.doi.org/10.1037/0022-3514.58.2.197.

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Sanbonmatsu, Kira. "Gender Stereotypes and Vote Choice." American Journal of Political Science 46, no. 1 (January 2002): 20. http://dx.doi.org/10.2307/3088412.

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Heilman, Madeline E. "Gender stereotypes and workplace bias." Research in Organizational Behavior 32 (January 2012): 113–35. http://dx.doi.org/10.1016/j.riob.2012.11.003.

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