The phenomenon of 'new dance' has received little sustained study, either in terms of its own history or in terms of its efforts to reconstruct the representation of gender in dance. This study assesses the extent to which representations of masculinity in the work of British new dance artists have differed significantly from the ways in which masculinity has been represented in mainstream theatre dance. A theoretical framework is developed for analyzing dance which takes account of theories already in existence and examines them critically from an ideological perspective. Whereas almost all existing dance theories confine their examination of dance as art to an analysis of its formal and aesthetic properties, the framework developed in this study takes account of the social and historical conditions of production and reception of the dance. While there has been recent work on images of women, issues relating to the representation of masculinity in dance have not received attention. This study therefore examines the relationship between the social construction of masculinity and the conventions and traditions through which masculinity is represented in cultural forms including theatre dance. This extends existing theories of the social and historical construction of the male body. In order to establish the context and antecedents of British new dance, representations of masculinity within theatre dance are examined from specific periods between 1840 and the present. An analysis of selected pieces of choreography by new dance artists identifies the ways through which these artists have been critical of, and challenged, dominant norms of representing masculinity in cultural forms. By critically dismantling mainstream dance conventions and problematizing technical virtuosity in male dance, new dance artists brought about a situation in which a new relationship was defined between the dancer's body and the meaning of dance movement. In some cases new dance pieces challenge the spectator to reassess aspects of masculine identity and experience that are generally denied or rendered invisible in mainstream cultural forms.

The present study is designed to take a new approach to studying gender differences in reactions to partner infidelity by measuring attitudes toward partner infidelity. No previous studies have directly examined attitudes toward partner sexual versus emotional infidelity, nor have studies assessed the strength of these attitudes. Thus, this study was designed as an initial investigation of overall evaluative differences between men and women. It was found that women held significantly more negative attitudes towards emotional infidelity than did men, with no gender differences in attitude held towards sexual infidelity. For sexual infidelity, more positive attitudes toward partner sexual infidelity were associated with lower reported distress for both men and women, with the relationship being significantly more pronounced for men. For emotional infidelity, attitude strength moderated the relationship between attitude towards emotional infidelity and distress about emotional infidelity. There was a significant relationship between attitudes toward partner emotional infidelity and distress when attitude strength was high but not when attitude strength was low. / Department of Psychological Science

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This thesis is a study of the male character in the works of Michel Tremblay, particularly as depicted in his novels and original plays, excluding translated works, adaptations, musical comedies and movies. Beginning with the play entitled Les Belles-Soeurs (1968) and up to Marcel poursuivi par les chiens (1992), this thesis presents a threefold analysis of the males in Tremblay's dramatic and romanesque universe. The first part of this thesis focuses on Tremblay's methods of characterization; this provides us with the description of the physical and psychological attributes of the character. This first part also features a chapter describing the physical environment and socio-historical context in which the male character evolves. The second part of this thesis and by far the most important, describes the masculine archetypes in Tremblay's works. Since the male archetypes have so far been set aside in favor of extensive study of the female archetypes, our research in the former seems most appropriate. Finally, the third part presents the symbolic representation of the characters: Is the male, according to Tremblay, the image of a powerless and tortured Quebec, as it has often been claimed? In conclusion, this thesis attempts to show that the males, in Tremblay's works, play an important role despite appearances and statements to the contrary made by the author in the course of many interviews.

This thesis offers an interpretation of how eight male primary school teachers experience touch between themselves and their pupils/students. Despite the positive benefits of touch and evidence suggesting that appropriate forms of touch should be encouraged, the many meanings, interpretations and reactions to touch potentially complicate the ways in which people react. The potential for touch to enhance human well-being is therefore often diminished. The taboo surrounding touch is particularly evident in the school environment where limited research has been undertaken. This study gives voice to male teachers as they share their experiences in an era when the risks associated with physical contact between teachers and pupils are increasing. Hermeneutic phenomenology was used to explore and gain deeper understanding of the meaning of touch in education through interpreting the day to day experiences of male primary school teachers in New Zealand. Narrative interviews were interpreted and described thematically. The themes: ‘being careful, cautious and visible’, ‘worrying about misinterpretation’, ‘feeling sad’ and ‘battling with boundaries’, revealed a complex array of tensions that contributed to the findings. Male primary school teachers are constantly aware of the risk they take when interacting with students. They experience tensions and conflict when deciding where and how they will touch children and whether this will be misinterpreted by others. Consideration of the ways in which people respond to this complex and sensitive subject is necessary so that male teachers feel able to use positive and appropriate forms of touch without fear of suspicion and reprisal.

Thesis (M.P.H.)--University of Adelaide, Dept. of Community Medicine, 1989. / Includes bibliographical references (leaves 90-99).

Thesis (M.A.)--York University, 2006. Graduate Programme in Social Anthropology. / Typescript. Includes bibliographical references (leaves 244-254). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=0&did=1240693741&SrchMode=1&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1195570255&clientId=5220

Thesis (M.A. 1980) from the Department of English, University of Adelaide.

Thesis (BA(Hons) (Psychology)) - Faculty of Life and Social Sciences, Swinburne University of Technology, 2006. / "October 2006". A thesis is submitted in fulfilment of the requirements for the degree Bachelor of Arts in Psychology (Honours), Faculty of Life and Social Sciences, Swinburne University of Technology - 2006. Typescript.

Diss. (sammanfattning) Göteborg : Göteborgs universitet, 2007. / Härtill 4 uppsatser.