Thesis (MEdPsych)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The social construction of masculinity is a complex process, one which cannot be divorced from the immediate environment and culture of boys. The aim of this study was to understand the construction of male identity in young primary school boys, who grew up in a context where few positive male role models might be, and where society might play a bigger role in shaping their identities. I focused on boys between the ages of ten and thirteen. The participants were from a poor socio-economic coloured community in the Western Cape and were purposively selected. A qualitative research methodology was used and data was selected by means of semi-structured interviews, focus-group interviews, collages and photographs. The findings showed that the type of masculinity these boys aspire to is admirable. However, they are caught within a context where there is a lack of physical space, an absence of facilities, a high unemployment rate and are surrounded by community disorganisation. The boys are confronted with many male examples in their community who are not providing for their families, and they see substances such as alcohol and drugs being abused daily by adult members of their community. Despite a constant presence of a mother, there is a lack of meaningful relationships with their fathers. They cannot easily identify positive role models within their community and do not have the ability to search for such traits in others. The themes arising from the data presented a contrast between the experiences of the participants and the kind of men they seek to be. There are very few men in their community who could help them to achieve their ideals and who could provide them with guidance or support. In the absence of suitable male role models to emulate, these boys are likely to comply with a model of masculinity that demonstrates dominance and power through violence and abuse. / AFRIKAANSE OPSOMMING: Die sosiale konstruksie van manlikheid is 'n komplekse proses, een wat nie van die onmiddellike omgewing en kultuur van die seuns geskei kan word nie. Die doel van hierdie studie was om die konstruksie van manlike identiteit in jong laerskoolseuns, wat grootgeword het in 'n konteks waar min positiewe manlike rolmodelle kan wees, en waar die gemeenskap 'n groter rol kan speel in die vorming van hul identiteit, te verstaan. Ek fokus op seuns tussen die ouderdomme van tien en dertien jaar oud. Die deelnemers was van 'n lae - sosio-ekonomiese bruin gemeenskap in die Wes-Kaap en is doelbewus gekies. ‘n Kwalitatiewe navorsingsmetodologie is gebruik en data is deur middel van semi- gestruktureerde onderhoude, fokusgroep-onderhoude, collages en fotos ingesamel. Die bevindinge het getoon dat die tipe manlikheid wat hierdie seuns nastreef, prysenswaardig is. Hulle is egter vasgevang in 'n konteks gekenmerk deur 'n gebrek aan fisiese ruimte, 'n afwesigheid van fasiliteite, 'n hoë werkloosheidsyfer en gemeenskaplike wanorde. Die seuns word gekonfronteer met baie voorbeelde van mans in hul gemeenskap wat nie voorsiening maak vir hul families nie, en hulle world op 'n daaglikse basis bloogestel aan volwassenes wat alkohol en dwelms misbruik. Hoewel daar 'n konstante teenwoordigheid van 'n ma is, is daar is 'n gebrek aan 'n sinvolle verhouding met hul vaders. Hulle kan nie maklik positiewe rolmodelle identifiseer binne hul gemeenskap nie, en het nie die vermoë om te soek vir soortgelyke eienskappe in ander nie. Die temas wat voortgespruit het uit die data was in kontras met die ervarings van die deelnemers en die tipe man waarna hulle streef om te wees. Daar is geen mans in hul gemeenskap wat hulle kan help om hul ideale te bereik en wat hulle kan voorsien met leiding of ondersteuning nie. In die afwesigheid van geskikte manlike rolmodelle om na te boots, kan hierdie seuns geneig wees om 'n model van manlikheid wat oorheersing en mag deur geweld en mishandeling na te streef.

Submitted by ANDERSON FRANCISCO RIBEIRO null (andersonkingao@gmail.com) on 2016-07-31T18:50:32Z No. of bitstreams: 1 Versão final - Tese Final - Acabada - Anderson - 2016 - Unesp.pdf: 9469726 bytes, checksum: c10fbc46a3476147edd83990df06d97b (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-02T14:29:04Z (GMT) No. of bitstreams: 1 ribeiro_af_dr_assis.pdf: 9469726 bytes, checksum: c10fbc46a3476147edd83990df06d97b (MD5) / Made available in DSpace on 2016-08-02T14:29:04Z (GMT). No. of bitstreams: 1 ribeiro_af_dr_assis.pdf: 9469726 bytes, checksum: c10fbc46a3476147edd83990df06d97b (MD5) Previous issue date: 2016-07-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O campo da cultura brasileira, durante o período da ditadura militar brasileira (1964-1985), foi aos poucos invadido por determinados tipos de publicações pouco percebidas pela historiografia: as revistas eróticas e pornográficas. Estas ajudaram a configurar e constituir identidades, principalmente no que se refere à questão da sexualidade e da masculinidade, estabelecendo espaços de negociação na modernização dos costumes, em meio a uma reforma conservadora. Dessa maneira, a pornografia do período incorporou formas de normalizar o leitor das revistas através de posicionamentos, colaborações dos leitores e formas de resistência, através de anonimatos e publicações proibidas. Com isso, diluídas em uma área cinzenta de um processo mais complexo e contraditório, vários enunciados vindos da sociedade tentaram criar um discurso “verdadeiro” sobre o sexo, o qual acabou assimilado pelo mercado, e que pretendemos desnudar. A partir do pensamento histórico genealógico de Michel Foucault, procuraremos indicar que a pornografia enquanto “desordem do discurso” abriu espaço para visões diversas, que são contrárias ao discurso homogeneizante de poder e masculinidade. O público dessas revistas se mostrava amplo e contava com estudantes do colegial (Ensino Médio), senhores, senhoras, “homossexuais”, generais, moças, médicos e padres que leram e emitiram diversos discursos sobre estes dois grupos, aparentemente distintos, de periódicos: as revistas softcore com discurso normatizador, como: Ele Ela (1969), Status (1974), Homem (1975), esta que depois fora transformada na revista Playboy (1978) - e outra mais explícita, as revistas hardcore, transgressora de discursos e consumida principalmente pelas classes populares: os “catecismos” de Carlos Zéfiro (década de 50 a 70 no Rio de Janeiro), as publicações das editoras Edrel (São Paulo-SP) e Grafipar (Curitiba-PR), além de revistas hardcore e das fotonovelas eróticas. Os periódicos indicados nos ajudarão a compreender essa afirmação e construção das identidades do homem brasileiro moderno. / The field of Brazilian culture during the period of the Brazilian military dictatorship (1964-1985), was gradually invaded by certain types of confusing publications: the erotic and pornographic magazines. These helped to shape and form the identities, especially in regard to the issue of sexuality and masculinity, establishing trading channels in the modernization of customs, in a conservative reform. Thus, the period of pornography incorporated ways to normalize the reader of magazines through placements, contributions from readers and forms of resistance through anonymity and banned publications. As a result, diluted in a gray area of a more complex and contradictory process, various statements coming from the company tried to create a “true” speech about sex, which eventually assimilated by the market, and we intend to denude. From the genealogical historical thought of Michel Foucault, we seek to indicate that the pornography while "disorder of speech" created room for different views that are contrary to the homogenizing discourse of masculinity. The audience of these magazines is proved large and had high school students, older mans and womans, "gay", generals, younger womens, doctors and priests who had read and issued discourses on these two groups of apparently distincts periodicals: the softcore magazines with speech normalizing, like: Ele Ela (1969), Status (1974), A revista do Homem (1975), this which was transformed in the magazine call Playboy (1978) - and a more explicit, the hardcore magazine, transgressive discourses and mostly consumed by the lower classes: the "cathecisms" of Carlos Zéfiro (from the 50s to 70s, in Rio de Janeiro), the publications of Edrel (São Paulo-SP) and Grafipar (Curitiba-PR) publishers. These indicated periodics help us to understand this identity statement of the modern man.

The purpose of this study was to examine the impact of maternal attachment on identity and self-esteem in adult gay males.

For many gay men performing a gay-centric identity can be challenging. By adopting a set of expected behaviors known as the gay cultural script, many of these men are potentially met with discrimination from both heterosexual and homosexual communities. The gay cultural script is readily available as it is found within the gay ghettos and through various representations of gay men in the media. This research question examines how the gay cultural script when found within the gay ghetto and through the media's representation of gay men provides a lens to which the performance of a gay-centric identity may be communicated and shared. The focus of this research is separated into three interconnected areas: (1) exploration of gay-cultural script, (2) location to which the gay cultural script operates and, (3) analysis of the relationship between the gay cultural script and gay-centric identity performance. / by Robert D. Beebe, III. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

This study investigated the relationship between traditional masculine role norms, body image discrepancy, body appearance schemas, and sociocultural attitudes towards appearance in a sample of 495 Indian South African school going boys, between the ages of 13 and 18 years old. The main objective of this research study was to investigate the interrelationships between these variables in terms of how they relate to the experience of body image discrepancy for Indian males in the context of the regulatory norms and practices of traditional masculine ideology. Also examined were the traditional male role norms associated with the boys’ cognitive body appearance schemata. In addition this study attempted to identify the role played by the portrayal of Indian male somatoforms in Indian cinema on the personal and collective evaluation of masculine appearance for a sample of Indian school boys. The variables of interest were measured using the Masculine Role Norms Inventory (MRNI; Levant & Fisher, 1998), Lynch and Zellner’s Body Figure Drawings (1999), Appearance Schemas Inventory (ASI; Cash & Labarge, 1999), and the Sociocultural Attitudes Towards Appearance Scale-3 (SATAQ-3; Thompson, van den Berg, Roehrig, Guarda, & Heinberg, 2004). The above constructs were considered in light of biographical questions which pertained to self-worth, the psycho-behavioural implications of pursuing an enhanced appearance, and Indian cinema. The findings of this study showed how a sample of South African Indian boys are defining and refining a localized masculine sense of self within the broader interplays of South African gender relations and masculinities. Analysis revealed the traditional masculine role norms of status-seeking, heterosexism, anti-femininity, and emotional stoicism, shared positive and significant correlations with body image discrepancy. Nontraditional masculine attitudes were similarly associated with body image discrepancy. Moreover it was shown that the influences of sociocultural attitudes towards appearance, and a more substantial investment in body appearance, were key ingredients for participants positioning an athletically muscular and toned male body as their ethnomorphological and masculine ideal. Finally, concerning trends in steroid and supplement use were illustrated as foremost risk behaviours associated with support for a muscularised, traditionally masculine subjective and normative agenda. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.

CAPES / Neste trabalho tenho como objetivo evidenciar as imbricações entre cultura material e as relações de gênero, problematizando a construção de representações de masculinidades em ambientes comerciais destinados exclusivamente ao público masculino. O recorte de estudo está centrado nos projetos publicitário e de arquitetura de interiores da Barbearia Clube, inaugurada em Curitiba no ano de 2007. O planejamento destes projetos foi articulado com um ideal de masculinidade chamado de “homem clássico”, caracterizado por atributos como “macho”, “tradicional” e “sem frescura, que serviu de base para o desenvolvimento dos materiais de comunicação e da decoração da barbearia. Os projetos publicitário e de arquitetura de interiores são analisados neste trabalho por meio das narrativas obtidas mediante entrevistas com os (as) envolvidos (as) nos projetos, da leitura de imagens veiculadas nos materiais gráficos de divulgação da Barbearia Clube, assim como por meio de imagens obtidas mediante o registro fotográfico em visitas realizadas ao estabelecimento. Com essas análises tenho como objetivo evidenciar o caráter de construto social das prescrições de gênero, assim como o papel fundamental dos artefatos na construção dos sujeitos e de suas identidades. / My goal in this dissertation is to expose the imbrications between material culture and gender relationships by approaching the construction of depictions of masculinities at store environments designed exclusively for male customers. The scope of study is centered on the advertising and interior design projects of Barbearia Clube, opened in Curitiba in 2007. The planning of these projects hinged on a masculinity ideal called “classic man”, presenting features such as “manly”, “traditional” and “with no frills”, which became the foundation for the development of the barber shop’s communication signs and decoration. The analysis of the advertising and interior design projects is carried out through statements obtained in interviews with the persons involved in the projects, the assessment of images applied in Barbearia Clube advertisement pieces, as well as images obtained by photographic process in visits to the premises. With this analysis I aim to expose the social construct character from gender prescriptions as well as the fundamental role of artifacts in the construction of subjects and their identities.

CAPES / Neste trabalho tenho como objetivo evidenciar as imbricações entre cultura material e as relações de gênero, problematizando a construção de representações de masculinidades em ambientes comerciais destinados exclusivamente ao público masculino. O recorte de estudo está centrado nos projetos publicitário e de arquitetura de interiores da Barbearia Clube, inaugurada em Curitiba no ano de 2007. O planejamento destes projetos foi articulado com um ideal de masculinidade chamado de “homem clássico”, caracterizado por atributos como “macho”, “tradicional” e “sem frescura, que serviu de base para o desenvolvimento dos materiais de comunicação e da decoração da barbearia. Os projetos publicitário e de arquitetura de interiores são analisados neste trabalho por meio das narrativas obtidas mediante entrevistas com os (as) envolvidos (as) nos projetos, da leitura de imagens veiculadas nos materiais gráficos de divulgação da Barbearia Clube, assim como por meio de imagens obtidas mediante o registro fotográfico em visitas realizadas ao estabelecimento. Com essas análises tenho como objetivo evidenciar o caráter de construto social das prescrições de gênero, assim como o papel fundamental dos artefatos na construção dos sujeitos e de suas identidades. / My goal in this dissertation is to expose the imbrications between material culture and gender relationships by approaching the construction of depictions of masculinities at store environments designed exclusively for male customers. The scope of study is centered on the advertising and interior design projects of Barbearia Clube, opened in Curitiba in 2007. The planning of these projects hinged on a masculinity ideal called “classic man”, presenting features such as “manly”, “traditional” and “with no frills”, which became the foundation for the development of the barber shop’s communication signs and decoration. The analysis of the advertising and interior design projects is carried out through statements obtained in interviews with the persons involved in the projects, the assessment of images applied in Barbearia Clube advertisement pieces, as well as images obtained by photographic process in visits to the premises. With this analysis I aim to expose the social construct character from gender prescriptions as well as the fundamental role of artifacts in the construction of subjects and their identities.

This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity. In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992). The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity. / Communication Science / M.A. (Communication)

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

This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity. In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992). The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity. / Communication Science / M.A. (Communication)