Typescript. Includes vita and abstract. Includes bibliographical references (leaves 104-106). Also available online.

Thesis (M.A. in sociology)--Washington State University, May 2007. / Includes bibliographical references (p. 46-49).

La présente thèse est née d’une interrogation sur le véritable rôle de l’iconographie de l’Éros adolescent, c’est-à-dire de l’adolescent érotisé, dans la culture occidentale et plus précisément sur l’enjeu et les fonctions que représente son image en tant que symbole d’amour, de beauté et de désir dans le cadre de la pédérastie en Europe et plus précisément dans l’Allemagne Wilhelmienne dans le contexte de l’intensification de la répression sexuelle au tournant du XXe siècle. Pour les Grecs, c’est le corps juvénile masculin avec ses charmes particuliers qui représente le plus beau sexe et le bon objet de plaisir. C’est une erreur fondamentale de croire que cette beauté était valorisée à cause de son parentage avec le corps féminin. La beauté de ses traits était liée à un certain charme et à des caractéristiques particulière au corps et à l’esprit masculins en voie de se former : la vivacité de l’esprit, la vigueur, la résistance, la force, l’endurance, la ténacité, l’ardeur, la fougue et l’enthousiasme faisaient partie de cette beauté que les garçons se devaient de renforcer par la pratique régulière d’exercices intellectuels et physiques. L’éducation pédérastique des garçons, garante des valeurs masculines, assurait que leur grâce et leur raffinement ne sombreraient pas dans la mollesse et l’effémination. L’ambiguïté féminine, l’androgynie qui sera perçue plus tard comme une caractéristique de la beauté adolescente mâle, plus encore, comme la raison de cette beauté, était plutôt, à cette époque, ce dont les garçons devaient se préserver et être préservés. Ainsi, le statut du jeune mâle lui confère, depuis la Grèce antique, un rôle prédominant dans la culture occidentale et explique, en partie, l’omniprésence de ses représentations dans l’art et la littérature européennes jusqu’au XIXe siècle. Pourtant, l’iconographie et la propagande autour de son image se transforment progressivement et fatalement jusqu’à l’aube de la Première Guerre mondiale. C’est notamment l’association de son image à l’érotisme et la beauté qui devient progressivement un tabou honteux, voire pervers. Instrumentalisée et esthétisée selon les intérêts de différents groupes qui s’opposent, le contrôle de l’iconographie et de la sexualité de l’adolescent devient, de cette manière, un enjeu majeur du pouvoir à la fin du XIXe et au tournant du XXe siècle. Ce phénomène est européen mais le Reich wilhelminien, en construction et en quête d’identité, représente un exemple idéal pour analyser ce phénomène que nous replaçons, d’une part dans le contexte de la répression sexuelle et, d’autre part, dans le contexte des mouvements de jeunesse et de contestation qui se développent parallèlement au cours de cette période. Notre étude, basée sur des observations et des faits précis, a l’audace d’essayer de comprendre un phénomène tabou et représente une invitation à une réflexion sur le destin de la beauté masculine et des amours masculins dans notre société. Nous invitons le lecteur à remettre en question certaines de ses convictions et nous espérons réussir à redonner à l’Éros adolescent, trop souvent censuré et négligé, au moins partiellement, la place qu’il mérite dans l’histoire européenne en insistant sur le rôle qui fut le sien dans l’art et la littérature ainsi que sur les enjeux et les fonctions qu’il a si souvent représentés dans les conflits politiques et sociaux. / The following thesis arose from an analysis of the actual role which the iconography of the adolescent Eros, i.e. the eroticized juvenile, plays in the western culture. More precisely, it is about the issue and the functions of its image as a symbol of love, beauty and desire in the framework of pederasty in Europe and more precisely in Wilhelminian Germany in the context of intensified sexual oppression at the turn of the 20th century. For the ancient Greeks, it was the young male body with its particular charms which represented the most beautiful gender and which was a fine object of pleasure. It is totally wrong, however, to believe that the value of this beauty was increased because of its descent from the female body. The beauty of its features was connected with certain charms and characteristics which are particular of the male body and spirit that are on their way to develop : A liveliness of the spirit, strength, power of resistance, endurance, toughness, verve, impetuosity and enthusiasm were part of this beauty which the boys had to intensify through regular mental and physical exercises. The boys’ pederastic education, a guarantee of male values, made sure that their grace and sophistication would not disappear into softness and effeminateness. Female ambiguity, the androgyny which will be seen later as a characteristic of juvenile male beauty or – even more – as a reason for male beauty, was at this stage rather something that the boys had to avoid or had to be sheltered from. Thus, the status of the young male has given him – since ancient Greece – a predominant role in western culture, which partly explains the omnipresence of his representation in European art and literature until the 19th century. However, the iconography and the propaganda about his image are transformed gradually and fatally till the beginning of the First World War. It is especially the association with eroticism and beauty which becomes gradually a taboo, something disgraceful or even perverted. Either instrumentalized or aestheticized – according to the interests of the different opposing groups – the control of this iconography and sexuality of the juvenile becomes in this way a great matter of dispute of power at the end of the 19th century and at the turn of the 20th century. This phenomenon is a European one but the Wilhelminian Reich – under construction and on a quest for identity – represents an ideal example for analyzing this phenomenon which on the one hand I put into the context of sexual oppression and on the other hand into the context of youth movements and contestation developing in parallel ways over this period of time. In my research – based on both observations and precise facts – I dare to try to understand a taboo phenomenon and I invite the reader to reflect upon the destiny of male beauty and male love in our society. The readers are invited to question some of their convictions and I hope I succeeded in giving back to juvenile Eros – too often censured and neglected, at least partially – the place he deserves in European history, insisting both upon the role he had in art and literature as well as on the issues and functions which he represented so often in political and social conflicts.

Wong, Ching Wa Alana. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 123-128). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Chapter Chapter One: --- Introduction --- p.1 / Chapter 1.1 --- Overview --- p.1 / Chapter 1.1.1 --- Objectives --- p.1 / Chapter 1.1.2 --- Who are fashionable Hong Kong young men? --- p.3 / Chapter 1.1.3 --- Significance and Setting --- p.5 / Chapter 1.2 --- Literature Review --- p.7 / Chapter 1.2.1 --- Changing masculinity in postindustrial society --- p.7 / Chapter 1.2.2 --- Beauty used to be associated with women --- p.10 / Chapter 1.2.3 --- Beauty has become part of masculinity --- p.12 / Chapter 1.2.4 --- Hong Kong's changing masculinity --- p.16 / Chapter 1.3 --- Methodology --- p.18 / Chapter 1.3.1 --- Media survey --- p.18 / Chapter 1.3.2 --- In-depth interviews --- p.20 / Chapter 1.4 --- Structure of the thesis --- p.22 / Chapter Chapter Two: --- Changing Perception of Masculinity in Hong Kong: Dominant and Alternative --- p.24 / Chapter 2.1 --- Introduction --- p.24 / Chapter 2.2 --- Meanings of Chinese masculinity --- p.24 / Chapter 2.3 --- Dominant perception of masculinity in Hong Kong --- p.26 / Chapter 2.4 --- Beauty becomes part of masculinity in Hong Kong --- p.28 / Chapter 2.4.1 --- Male beauty contest on television --- p.29 / Chapter 2.4.2 --- Hong Kong men's opinions on men's beauty --- p.32 / Chapter 2.4.2.1 --- Appearance is important for men --- p.33 / Chapter 2.4.2.2 --- Concern for appearance cannot be publicly admitted --- p.37 / Chapter 2.5 --- Conclusion: Caring for beauty is becoming part of masculinity --- p.40 / Chapter Chapter Three: --- Men's beauty in magazines in Hong Kong --- p.42 / Chapter 3.1 --- Introduction --- p.42 / Chapter 3.2 --- Magazines in Hong Kong --- p.43 / Chapter 3.2.1 --- Youth and gossip magazines --- p.43 / Chapter 3.2.2 --- Japanese male fashion magazines --- p.44 / Chapter 3.2.3 --- Men's lifestyle magazines --- p.45 / Chapter 3.3 --- Men's images in these three types of magazines --- p.45 / Chapter 3.3.1 --- Over- emphasis of Japaneseness: Youth and gossip magazines --- p.46 / Chapter 3.3.2 --- Authentic Japanese style?: Japanese male fashion magazines --- p.51 / Chapter 3.3.3 --- High class men: Men's lifestyle magazines --- p.54 / Chapter 3.4 --- Men's images in magazines in Hong Kong: wen or wu? --- p.59 / Chapter 3.5 --- Conclusion: Beauty has become increasingly important for men in Hong Kong --- p.62 / Chapter Chapter Four: --- "Relationship between ""Japan"" and men's beauty in Hong Kong" --- p.64 / Chapter 4.1 --- Introduction --- p.64 / Chapter 4.2 --- "The meaning and common beliefs about ""Japan"" in Hong Kong" --- p.65 / Chapter 4.2.1 --- Japan as work: Hair stylists and fashion designers --- p.66 / Chapter 4.2.1.1 --- Hair stylist assistants --- p.66 / Chapter 4.2.1.2 --- Fashion designers --- p.70 / Chapter 4.2.2 --- """Japan"" as leading fashion trends" --- p.73 / Chapter 4.2.2.1 --- "To be ""cool"" means to learn from Japan" --- p.73 / Chapter 4.2.2.2 --- Japan is the best --- p.77 / Chapter 4.3 --- "The influence of ""Japan"" on men's beauty" --- p.80 / Chapter 4.3.1 --- Awareness of Japan --- p.80 / Chapter 4.3.1.1 --- Hong Kong men who deliberately choose Japanized beauty practices --- p.80 / Chapter 4.3.1.1.1 --- Hong Kong men who have long term experiences in Japan --- p.80 / Chapter 4.3.1.1.2 --- Band members --- p.82 / Chapter 4.3.1.2 --- """Japan"" offers an alternative" --- p.83 / Chapter 4.3.2 --- Taken-for-Granted Japanese Influences --- p.84 / Chapter 4.3.2.1 --- The daily beauty practices: Japanese influences are invisible --- p.84 / Chapter 4.3.2.1.1 --- "No ""Japanese"" hair style" --- p.85 / Chapter 4.3.2.1.2 --- "No ""Japanese"" clothing styles" --- p.86 / Chapter 4.3.2.2 --- """Japan"" mixes with Hong Kong" --- p.88 / Chapter 4.3.3 --- Special cases --- p.90 / Chapter 4.4 --- Abandonment of Japanized beauty practices --- p.92 / Chapter 4.5 --- "Conclusion: ""Japan"" represents a temporarily attractive life for men" --- p.93 / Chapter Chapter Five: --- Negotiation with Women: Fashionable Hong Kong Young Men's Beauty Ideals --- p.95 / Chapter 5.1 --- Introduction --- p.95 / Chapter 5.2 --- "Women's ""gaze"" in the male beauty contest" --- p.96 / Chapter 5.3 --- The use of women in encouraging men's beauty in Hong Kong magazines --- p.97 / Chapter 5.4 --- Hong Kong men's masculinity: we listen and obey women's orders --- p.104 / Chapter 5.5 --- Conclusion: Fashionable Hong Kong young men's beauty practices are influenced by women --- p.109 / Chapter Chapter Six: --- Conclusion --- p.111 / Chapter 6.1 --- Conclusion --- p.111 / Chapter 6.2 --- A Review: Men's beauty as an alternative masculinity in Hong Kong --- p.111 / Chapter 6.2.1 --- Hong Kong men need to care about appearance --- p.112 / Chapter 6.2.2 --- "Japanized beauty practices can make men look ""cool"" and trendy" --- p.114 / Chapter 6.2.3 --- Men listen and obey women's orders on beauty practices --- p.116 / Chapter 6.2.4 --- "After all, career achievement and earning ability are more important" --- p.118 / Chapter 6.3 --- Conclusion: Limitations and self reflections --- p.120 / References --- p.123

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-01T11:33:22Z No. of bitstreams: 1 Júlio Carlos de Oliveira Moreira.pdf: 30136547 bytes, checksum: 347bd6ba131e4f99564827ee92f6bfce (MD5) / Made available in DSpace on 2018-08-01T11:33:22Z (GMT). No. of bitstreams: 1 Júlio Carlos de Oliveira Moreira.pdf: 30136547 bytes, checksum: 347bd6ba131e4f99564827ee92f6bfce (MD5) Previous issue date: 2018-06-15 / Societies can be studied by analyzing various aspects. How individuals organize themselves politically; how they eat; how they treat the environment; how they have sex. I have chosen to analyze what the body of man can say about society. I seek to analyze throughout history, relevant aspects that characterized the importance of the man’s body. A trajectory of facts and opinions that guided the Western world. When one speaks about man’s body, even today, it is a term that is synonymous of the human body. Despite its privileged position in relationship to women for centuries, this modern man lives the extremes of society. It occupies the highest political and economic positions on the globe, but at the same time, also represents the largest contingent of prisoners in jails. The contemporary man is a being who lives social pressures due to the new roles assumed by the woman since the second half of the last century, besides other challenges imposed by the modern life. He tries to locate his position in this new society. A society of performance linked to the logic of consumption as Bauman and Byung-Chul teach us. As a social voyeur I gaze at the body of man to understand the logic that guides our behavior in the second half of the 21st century, where concepts like privacy change with the rising of social networks. A new society of exhibition, where the body becomes a commodity to be worked on to create an intended identity of the individual. And that generates dissatisfaction for those who do not reach the models idealized by that society. But also anxiety among those who have reached valued standards and do not wish to lose them / As sociedades podem ser estudadas analisando vários de seus aspectos. Como os indivíduos se organizam politicamente; como comem; como tratam o meio ambiente; como fazem sexo. Eu escolhi analisar o que o corpo do homem pode falar sobre a sociedade. Busco analisar ao longo da história, aspectos relevantes que caracterizaram a importância do corpo do homem. Uma trajetória de fatos e opiniões que nortearam o mundo ocidental. Quando se fala no corpo do homem, ainda hoje, ele é um termo sinônimo do corpo humano. Apesar de sua posição privilegiada em relação à mulher durante séculos, esse homem moderno vive os extremos da hierarquia social. Ocupa ao mesmo tempo os maiores cargos políticos e econômicos pelo globo, mas também representa o maior contingente de presos nas prisões. O homem atual é um ser que vive pressões sociais devido aos novos papéis assumidos pela mulher desde a segunda metade do século passado e desafios impostos pela vida moderna. Ele tenta localizar qual a sua posição nessa nova sociedade. Uma sociedade do desempenho atrelado à lógica do consumo como nos ensinam Bauman e Byung-Chul. Como um voyeur social miro o corpo do homem para entender as lógicas que norteiam o nosso comportamento nessa segunda metade do século XXI, onde conceitos como privacidade se alteram com o fortalecimento das redes sociais. Uma nova sociedade da exibição, onde o corpo passa a ser uma mercadoria a ser trabalhada para criar uma identidade pretendida do indivíduo. E que gera insatisfações para quem não atinge os modelos idealizados por essa sociedade. Mas também ansiedade entre aqueles que obtiveram os padrões valorizados e não desejam perde-los