Zusammenfassung Obwohl sich Männer im Allgemeinen stärker für Fußball interessieren als Frauen, verfolgen Frauen die Spiele bei Fußballgroßereignissen wie Welt- oder Europameisterschaften mittlerweile genauso begeistert wie Männer. Was aber sind die Gründe für die Fußballrezeption bei Frauen und Männern? Diese explorative Studie untersucht die Intensität und den Verlauf von Rezeptionsmotiven während der Fußballeuropameisterschaft 2012 anhand von 904 Teilnehmerinnen einer Online-Befragung und analysiert dabei Unterschiede zwischen Männern und Frauen. Es lassen sich die vier Rezeptionsmotivfaktoren Mitfiebern, Information, Neugier auf Fußballteams und Erwartetes (...) Konfliktpotenfial ermitteln. Im Turnierverlauf bleiben die Intensität dieser Motive konstant, jedoch zeigen sich bedeutsame Unterschiede zwischen Männern und Frauen, selbst bei gleich starkem Fußballinteresse. (shrink)

This essay examines the connections between the Miss America pageant and reality makeover television shows. We argue that televised performances of gender have shifted focus from the intensely scripted, out-of-touch Miss America to reality makeover shows that normalize cosmetic surgery as a means to become the ‘ideal’ woman. While both spectacles offer their viewers performances of femininity, these performances need to be understood as emerging from the cultural and political conditions in which they are produced. This difference in presentation (...) of the subjects of beauty pageants and makeover programmes speaks respectively to the changing role of media in the normalization of performances of femininity, as well as to the affiliation of many young women with post-feminist politics in the United States. (shrink)

Since the 1990s, the reality television phenomenon has transformed the face of television in many countries. In Spain, for instance, the private domain has gradually invaded the public domain in an attempt to increase audience ratings and also reflect patterns of asymmetrical societal organization. Different television formats, which range from docusoaps to the most blatant examples of so-called ‘voyeur television’, have occupied the prime-time hours. In particular, a wide range of reality television shows has taken (...) the place that mini-series, sitcoms and films of the week used to occupy. These reality television programmes show the transformation of the private domain into one which can be manipulated and incorporated as an essential element in the theatricalization of the intimate experiences of anonymous people. By addressing the relationship between mothering and gendered styles, this study adds to the field of research on reality television research by investigating language and gender within the institutional setting of a docusoap and throwing light on the discursive strategies which two different generations of women use to express anger and assertiveness and impose on others. The study reveals that the strategies used by the Spanish female teenagers under scrutiny are associated with hostile laddish verbal behaviour, whereas the mothers’ strategies relate to an instrumental view of aggression. (shrink)

This paper focuses on representations by and deployments of the four Palestinian women who during the first four months of 2002 killed themselves in organized attacks against Israeli military personnel or civilians in the Occupied Palestinian Territories or Israel. The paper addresses the manner in which these militant women produced and situated themselves as gendered-political subjects, and argues that their self-representations and acts were deployed by individuals and groups in the region to reflect and articulate other gendered–political subjectivities (...) that at times undermined or rearticulated patriarchal religio-nationalist understandings of gender and women in relation to corporeality, authenticity, and community. The data analysed include photographs, narrative representations in television and newspaper media, the messages the women left behind, and secondary sources. (shrink)

This article explores the impact of structural and technological change on women's employment in the UK television industry. It looks at the challenges faced by women in working in what has become since the mid-1980s a largely freelance industry where short-term contracts, informal recruitment procedures and long, unpredictable work schedules mean that women find it increasingly difficult to combine a career and family. Through case studies of individual careers, of a women's magazine programme for S4C (...) Digital and a survey of women's credits on a selection of the newer channels (Sky One, UK Living and Channel 5), it argues that technological advances in digital transmission and production will not improve working conditions and opportunities for women's participation in all areas of the industry if they continue to replicate existing practice. (shrink)

This article draws upon data collected as part of a 25-year longitudinal analysis of televised coverage of women’s sports to provide a window into how sexism operates during a postfeminist sociohistorical moment. As the gender order has shifted to incorporate girls’ and women’s movement into the masculine realm of sports, coverage of women’s sports has shifted away from overtly denigrating coverage in 1989 to ostensibly respectful but lackluster coverage in 2014. To theorize this shift, we introduce the (...) concept of “gender-bland sexism,” a contemporary gender framework that superficially extends the principles of merit to women in sports. Televised news and highlight shows frame women in uninspired ways, making women’s athletic accomplishments appear lackluster compared to those of men’s. Because this “bland” language normalizes a hierarchy between men’s and women’s sports while simultaneously avoiding charges of overt sexism, this article contributes to gender theory by illuminating how women can be marginalized in male-dominated, male-controlled settings via individualized merit-based assessments of talent. (shrink)

Fiction television series are one of the few cultural expressions in which men’s infertility experiences are represented. Through a content analysis of twenty fiction series, this article describes and analyzes such representations. By drawing on Connell’s concept of hegemonic masculinity and Ricoeur’s understanding of paradoxical power structuring, four character types of infertile men are identified: (1) the virile in/fertile man, (2) the secretly non-/vasectomized man, (3) the intellectual eunuch, (4) the enslaving post-apocalyptic man. While these various dramatis persona outline (...) different ways of how infertile men relate to normative hegemonic masculinity, they all represent infertile men as diverging from shared masculine norms. This non-normativity initially excludes many represented men from hegemonic positions. Eventually, however, these men generally aspire to and succeed in reaffirming their hegemonic masculinity through coercive force towards women and other men, through instigating the precondition for any power structure – the shared will to live together as a community –, and/or by seeking and finding explicit recognition for their normativity and dominance. At the end of this paper, I will reflect on the potential harmful effect of these outlined representations of infertile men and make a plea for diversifying representations of infertile men in our culture. (shrink)

"...No mere collection, but a wonderful synthesis of some of the best and most representative works of modern feminist scholarship, reflecting the richness and diversity of contemporary women's studies. It provides an informative and empowering perspective on feminist scholarly achievements of the last decades." -Dale Spender, Founding member of WITS (Women, Information, Technology, and Scholarship), is author of more than 30 books, including Feminist Theorists: Three Centuries of Key Women Thinkers and For The Record: the Making and (...) Meaning of Feminist Knowledge. "A stimulating introduction to women's studies and a really useful teaching tool." -Mary Ellen Brown, Television and Women's Culture Women's Studies: Essential Readings provides a wide range of readers with an entirely comprehensive selection of ever 140 readings on women's studies, representing the entire diversity of current feminist thinking. The book is a divided into fourteen sections that reflect primary topics within women's studies, covering theory and perspectives, including: feminist social theory; psychological and psychoanalytic theory; cross-cultural perspectives and historical perspectives, as well as themes such as: education and work; marriage and motherhood; sexuality; the law; crime and deviance; politics and the state; science, medicine and reproductive technology; language and gender; feminist literary criticism; and the media tool Features: Introductions to each section provide an overview of the main issues and debates. Commentaries on each extract locate the work of individual authors within wider debates and identify the perspective from which they are writing. Each section contains a guide to further reading. (shrink)

This study analyses television news coverage of female politicians in Flanders. Women politicians receive less coverage than their male colleagues do. We investigate whether this gender bias can be explained by political differences between men and women or whether a real media bias exists. We examine ten possible explanations, which can be divided into two groups: characteristics of female politicians, such as their function, and of news features, such as the theme of the item. Overall, the lower (...) level functions of female politicians largely determine their limited television news coverage. Nevertheless, female politicians still get less speaking time, even when controlling for all ten variables. Thus, in addition to political gender differences, a real gender bias exists in Flemish television news: Female politicians receive less news coverage compared to male politicians with a similar political status. (shrink)

This research compares and analyzes the verbal commentary of televised coverage of two women's and men's athletic events: the “final four” of the women's and men's 1989 National Collegiate Athletic Association basketball tournaments and the women's and men's singles, women's and men's doubles, and the mixed-doubles matches of the 1989 U.S. Open tennis tournament. Although we found less overtly sexist commentary than has been observed in past research, we did find two categories of difference: gender marking (...) and a “hierarchy of naming” by gender and, to a certain extent, by race. These differences are described and analyzed in light of feminist analyses of gendered language. It is concluded that televised sports commentary contributes to the construction of gender and racial hierarchies by marking women's sports and women athletes as “other,” by infantilizing women athletes, and by framing the accomplishments of women athletes ambivalently. (shrink)

Noticing that, in The Second Sex, Simone de Beauvoir deftly describes patriarchy as a male sensorium encompassing vision, smell, touch, taste, and sound, this article focuses on the way feminist directors utilize sound in film and television. Three examples—Chantal Akerman’s 1968 Blow Up My Town, Emerald Fennell’s 2020 Promising Young Woman, and Michaela Coel’s 2020 I May Destroy You—show how feminist media showcases the white noise of patriarchy to reorient the ears of its audience to hear the way feminists (...) do. (shrink)

Based on 24 hours of videotaped data, this study investigates, both qualitatively and quantitatively, gender differences in the use of person pronouns in televised sports in Taiwan. This analysis has found that, regardless of their speaker role, male sports reporters use the second-person singular pronoun nimuch more frequently than their female counterparts. In addition, there is a significant difference in the distribution ofpragmatic functions of nibetween men’s and women’s reporting. While male sports reporters use niin a more varied way, (...) i.e. to refer to the TV audience, a specific athlete or team, an indefinite or non-specific athlete, or to include this pronoun in direct speech to dramatize their reporting, female reporters use this pronoun predominately to referto a non-specific athlete. In other words, male sports reporters tend to employ impersonal niand dramatic nito signal their strong self-involvement, their interpersonal involvement with the athlete and the TV audience, and their involvement with the reported sports event. Finally, malesports reporters’ more frequent use of the second-person pronoun niin the data also marks their informal and conversational speech style.This result contradicts those previous studies which claim that formality and detachment characterize men’s information-oriented public discourse. (shrink)

In the present study we investigated the role of channel characteristics with regard to gender role portrayals in television advertisements. Drawing on cultivation theory and social cognitive theory, we investigated six key variables in this line of research. We sampled a total of N = 1022 advertisements from four Austrian television channels: a public service channel, a commercial channel, and one commercial special interest channel for men and for women, respectively. Our results replicate well-known stereotypic gender role (...) portrayals prevalent in television advertisements. The public service channel and the private channel did not differentiate from each other with regards to gender stereotyping. We found that a channel with a female target group aired advertisements containing the same or even amplified stereotypes compared to a male channel. The potential negative effects of stereotypic gender role portrayals in television advertisements are discussed. (shrink)

In academic research on interracial relationships, as well as popular discourses such as film and television, Black women are often characterized as angry and opposed to interracial relationships. Yet the voices of Black women have been largely neglected. Drawing from focus group interviews with Black college women and in-depth interviews with Black women who are married interracially, the author explores Black women’s views on Black-white heterosexual relationships. Black women’s opposition to interracial dating is (...) not simply rooted in jealousy and anger toward white women but is based on white racism, Black internalization of racism, and what interracial relationships represent to Black women and signify about Black women’s worth. The impact of racism and sexism are clear, with Black women devalued by white standards of beauty and faced with a shortage of available Black men and a lack of “substantive opportunities” to date interracially. (shrink)

In this study we analyzed to what extent partners who share the same household affect each other's exposure to television. With the use of linear structural equation modeling we analyzed data from a large scale representative survey in The Netherlands. Results indicate that both men and women influence their partner's exposure to television. When people spend much time watching television, their partners are also likely to spend a lot of time in front of the television. (...) These influences on each other's exposure were of equal magnitude for both men and women. Finally, we found a strong socialization effect of parental viewing in the family of origin. (shrink)

The study examines if women politicians of Pakistan in the media are portrayed as effective decision-makers who demonstrate their leadership abilities and dynamism in advocating women issues. It aims to study whether media was used as an organized effort to use political women to bring social and economic improvement in the status of women by examining the Pakistani media on the issues of women during Pakistan’s 2013 general elections. It explores the assumption put forward by (...) the ‘critical mass theory’, that if women form the critical mass in the political power structure, they have a major effect on becoming a voice in the media for women issues. It is a content analysis of articles, editorials and features of four major dailies and talk shows of three major television channels during the Pakistan’s election year 2013. Findings show that women issues were just not sidelined but also women politicians were marginalized in the media to talk on women issues. The discourses on women by ‘empowered’ women were almost non-existent in the media. (shrink)

This study uses the television show Cash Cab as a natural experiment to investigate gender differences in decision making under uncertainty. As expected, men are much more likely to accept the end-of-game gamble than are women, but men and women appear to weigh performance variables differently when relying on subjective probabilities. At best men base their risky decisions on general aspects of their previous “good” play (not all of which is relevant at the time the decision is (...) made) and at worst fail to condition their risky decisions on any of the relevant information available to them. In sharp contrast, women appear to consider all of the information available to them, including previous “poor” play as well as their most recent confident “good” play, which, by design, is likely the most relevant information to consider. (shrink)

Uptalk is the use of a rising, questioning intonation when making a statement, which has become quite prevalent in contemporary American speech. Women tend to use uptalk more frequently than men do, though the reasons behind this difference are contested. I use the popular game show Jeopardy! to study variation in the use of uptalk among the contestants’ responses, and argue that uptalk is a key way in which gender is constructed through interaction. While overall, Jeopardy! contestants use uptalk (...) 37 percent of the time, there is much variation in the use of uptalk. The typical purveyor of uptalk is white, young, and female. Men use uptalk more when surrounded by women contestants, and when correcting a woman contestant after she makes an incorrect response. Success on the show produces different results for men and women. The more successful a man is, the less likely he is to use uptalk; the more successful a woman is, the more likely she is to use uptalk. (shrink)

The eight essays contained in Philosophical Feminism and Popular Culture explore the portrayal of women and various philosophical responses to that portrayal in contemporary post-civil rights society. The essays examine visual, print, and performance media — stand-up comedy, movies, television, and a blockbuster trilogy of novel. These philosophical feminist analyses of popular culture consider the possibilities, both positive and negative, that popular culture presents for articulating the structure of the social and cultural practices in which gender matters, and (...) for changing these practices if and when they follow from, lead to, or perpetuate discrimination on the basis of gender. The essays bring feminist voices to the conversation about gender where is it taking place and attest to the importance of feminist critique in what is sometimes claimed to be a post-feminist era. (shrink)

In studying the ethics of journalistic practices of the newly globalized and liberalized Indian television news media in the aftermath of the events surrounding a rape that occurred in Delhi, India, on December 16, 2012, the author argues that the Indian television news media's portrayal and coverage of rape is narrowly focused on sexual violence against middle-class and upper-caste women and avoids discussing violence against poor, rural, lower-class, lower-caste, and otherwise marginalized women. The prevalence of shame (...) culture, which views the presence of women in the public space with hostility, is both countered and perpetuated by the television media. If inclusiveness, human dignity, and the ideal of giving space to multiple voices are to be considered ethical precepts for global media, India's television news media fails to achieve such inclusiveness in its portrayal of and reporting on sexual violence, and thus perpetuates a pro-affluent bias. (shrink)

If public self-expression is a crucial feature of democracy, how might it work on the democratic – or at least, mass – medium par excellence, television? Television talk shows often allow ‘ordinary’ participants the opportunity to express themselves, i.e. deploy identities, feelings and opinions, presumably to further their own ends. This article uses speech act theory and Bakhtinian genre theory to analyze the talk on Jan Publiek, a Flemish talk show. This close reading helps to determine how two (...) of the 20 ‘ordinary’ participants co-created shifting and even contradictory identities with other participants, the host, the producers, the conventions of television talk shows and larger discourses such as those of gender and class. In these two cases, the participants seem mostly to fail in employing the medium of Jan Publiekto achieve their stated aims. The authors claim that while discourses may never be completely transparent, their means of functioning can still be better understood. All participants of television – producers, actors, viewers, media scholars – can benefit from the kind of media literacy to which this article contributes. (shrink)

The growing presence of women in the legal profession and the prominence of law as a site of feminist social change make the complex interrelationship between the media, feminism, and the law a critical concern across disciplines. Drawing on legal theory, cultural studies, journalism, political science, sociology, and communications, this book presents a collection of essays that explore how the media represents and constructs gender, law, and feminism. Arranged thematically, these twenty-three articles are the work of distinguished academics and (...) activists. The collection begins with a section on "Portrayals of Feminism in the Media", which provides historical background on the media's treatment of feminist issues. The anthology proceeds with sections entitled "Feminism, Law, and Popular Culture"; "Essentializing Gender"; and "Media Images of Violence". Giving fresh and provocative treatments to such complex and topical subjects as hate radio, Anita Hill, popular women's magazines, and the portrayal of women in film and television, Feminism, Media, and the Law is required reading for anyone interested in feminism and its relationship to the media. (shrink)

Recent years have seen the emergence of two interrelated trends in the arena of cultural politics. First, there has been a call for multiculturalism: for greater diversity in artistic and educational offerings, for a broadening of the spectrum of society's interest beyond the activities and experiences of dead or living white males. Thus, students demand courses in black, Hispanic, and women's studies; children's librarians clamor for more books about Native American and Asian youth; viewers of all races protest if (...) their stories are not told on television's nightly news and prime-time sitcoms. Second, there has been an insistence that those offering representations of previously unrepresented groups be themselves members of the group in question -- that courses in black studies be taught by black faculty, books about Native American youth be written by Native American writers, and reporters covering the Hispanic community be of Hispanic descent. It is this second and more controversial requirement that I wish to submit to examination here. (shrink)

How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while its (...) feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

When the term “postfeminism” entered the media lexicon in the 1990s, it was often accompanied by breathless headlines about the “death of feminism.” Those reports of feminism’s death may have been greatly exaggerated, and yet contemporary popular culture often conjures up a world in which feminism had never even been born, a fictional universe filled with suburban Stepford wives, maniacal career women, alluring amnesiacs, and other specimens of retro femininity. In _Feminism and Popular Culture_, Rebecca Munford and Melanie Waters (...) consider why the twenty-first century media landscape is so haunted by the ghosts of these traditional figures that feminism otherwise laid to rest. Why, over fifty years since Betty Friedan’s critique, does the feminine mystique exert such a strong spectral presence, and how has it been reimagined to speak to the concerns of a postfeminist audience? To answer these questions, Munford and Waters draw from a rich array of examples from contemporary film, fiction, music, and television, from the shadowy cityscapes of _Homeland _to the haunted houses of _American Horror Story_. Alongside this comprehensive analysis of today’s popular culture, they offer a vivid portrait of feminism’s social and intellectual history, as well as an innovative application of Jacques Derrida’s theories of “hauntology.” _Feminism and Popular Culture_ thus not only considers how contemporary media is being visited by the ghosts of feminism’s past, it raises vital questions about what this means for feminism’s future. (shrink)

This study investigates the portrayal of five female journalists on the Aaron Sorkin television series Sports Night. The women were depicted as acting unprofessionally, displaying motherly qualities, choosing their personal lives over work, being deferential to men for ethical decisions, and showing a lack of sports knowledge compared to the male characters. The researchers use social responsibility theory to suggest why these portrayals were ethically problematic.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. 431 Cynthia Belmont and Angela Stroud Bugging Out: Apocalyptic Masculinity and Disaster Consumerism in Offgrid Magazine Popular conceptions of survivalism in the United States typically feature the eccentric, backwoods, working-class figures found in television shows such as Doomsday Preppers and Prepper Hillbillies. Offgrid magazine, which first hit the stands in the summer of 2013, however, sells a (...) compellingly bourgeois personal connection to disaster in the vein of men’s self-improvement literature, wherein successful masculinity requires courage, preparedness for calamity, and the resources to shop. Each issue of Offgrid focuses on a “real-life” survivalist or a singular catastrophic event that is dramatically represented on the cover by a self-sufficient man decked out in gear that will allow him to survive a crash landing, escape a city devastated by an earthquake, navigate the hazards of a hacker-created blackout, or evade the destruction of an erupting volcano.1 Filled with articles offering tips on how to prepare, self-defense strategies, profiles of survivalists, disaster scenarios, gear reviews, and advertisements, Offgrid mainstreams prepper culture by retooling the The authors contributed equally to this article; the order listed is alphabetical and should not be construed as implying differing contributions. 1. The terms “survivalist” and “prepper” apply to anyone committed to honing the skills and acquiring the resources required to survive in any context, including disasters, and are used interchangeably in Offgrid. 432 Cynthia Belmont and Angela Stroud face of apocalyptic survival as a regular-guy protagonist whose low-profile normalcy disguises the smoldering heroic potential that will ignite within him when disaster strikes. In this article, drawing upon insights from the sociology of masculinity, environmental feminism, and ecocriticism, we examine the representation of gender, nature, and disaster in issues of Offgrid, spanning nearly three years, from June 2015 through February 2018. While vivid depictions of cataclysm might seem provocative enough to captivate the Offgrid reader, we argue that its principal appeal is that it gives its ninety -one-percent male audience the opportunity to engage directly in what Casey Kelly terms “apocalyptic manhood,” an emergent version of American masculinity that “confirm[s] the necessity of masculine skills as society meets its demise.”2 Thus, Offgrid provides an occasion for readers to salvage a masculinity that feels perpetually threatened within contemporary American culture—a highly effective strategy in promoting the expansion of what we term disaster consumerism. We concur with ecofeminist Greta Gaard’s contention that “masculine gender identity has been constructed as so very antiecological, and thus its interrogation and transformation seem especially crucial” at this time of environmental crisis; this concern resonates particularly poignantly with regard to the apocalyptic imaginary.3 Marketing Disaster, Selling Masculinity Scholars have long argued that commercial media play an important role in circulating gender ideals that are “rooted in consumer capitalism wherein profit can be produced by generating insecurity about one’s body and one’s consumer choices.”4 Of course, despite their influence, advertisers do not create insecurities out of whole cloth; rather, they operate within the context of shifting gender discourses and cultural anxieties. Whereas the authors of a 2005 study found that alcohol ads portrayed men as affable losers who, rejected by strong women, 2. “2018 Recoil Offgrid Media Kit,” Recoil Offgrid; Casey Ryan Kelly, “The Man-pocalypse: Doomsday Preppers and the Rituals of Apocalyptic Manhood,” Text and Performance Quarterly 36, no. 2–3 (2016): 96. 3. Greta Gaard, Critical Ecofeminism (New York: Lexington Books, 2017), 167 (italics in original). 4. Susan M. Alexander, “Stylish Hard Bodies: Branded Masculinity in Men’s Health Magazine,” Sociological Perspectives 46, no. 4 (2003): 551. Cynthia Belmont and Angela Stroud 433 were driven to drink with their buddies, an analysis of Super Bowl commercials just five years later demonstrated that the tone had become “a simpler, angrier one [that was] crafted to galvanize men to buy.”5 The authors of the latter study suggest that the masculine aggression in the ads they analyzed reflects men’s economic insecurities, which advertisers exploit by encouraging men to feel nostalgic for and frustrated about their diminished power. Ads telling men to “wear the pants” and take a stand... (shrink)

This book looks at the television saga Downton Abbey to explore a variety of interpersonal issues that are still relevant today. This includes the emotional importance of particular places; how war and epidemics tell us about life in peacetime and in good health; as well as manners, women's roles, class and more.

For years Supernatural has gained the status of a cult series as well as one of the most passionate and devoted fandoms that has ever emerged. Even though the main concept of the series indicates that Supernatural should appeal predominantly to young male viewers, in fact, the fandom is dominated by young women who are the target audience of the CW network. My research is couched in fan studies and audience studies methodological perspectives as it is impossible to understand (...) the phenomenon of Supernatural without referring to its fandom and fan practices. However, it focuses on the series’ structure in order to explain how this structure enables Supernatural’s viewers to challenge and revise prevailing gender roles. Supernatural combines elements of divergent TV genres, traditionally associated with either male or female audiences. It opens up to gender hybridity through genre hybridity: by interweaving melodrama with horror and other “masculine” genres the show provides a fascinating example of Gothic television which questions any simplistic gender identifications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Your Cell Will Teach You Everything":Old Wisdom, Modern Science, and the Art of AttentionNoreen HerzfeldA brother came to Scetis to visit Abba Moses and asked him "Father, give me a word." The old man said to him "Go, sit in your cell, and your cell will teach you everything." 1 Among the Desert Fathers, Christian monks of the fourth and fifth centuries, it was customary for a novice to (...) go to an elder and ask for "a word," a word of advice, of counsel, a word to take home and reflect on. What does this word of advice say to us today?A Multitasking World"Your cell will teach you everything." To my students, this seems like very strange advice indeed. "Your cell?" When I quoted Abba Moses to a colleague he instinctively reached for his phone. But a monk's cell? Isn't a monk's cell empty, isolated? What can that cell possibly have to teach? And how? The lives of the young men and women I teach are the very antithesis of sitting in a cell. Their attention is fragmented, divided by an array of modern technologies. I watch them walk by my office window, iPod plugged into the ears, cell phone or Blackberry in hand as they check e-mail or send a text message. Time in their rooms is characterized by one eye on the television and another on the computer, on which are open their theology paper, an instant messaging box or two connecting them to friends, their Facebook page, in case one of their friends should post a status update, and perhaps a Twitter feed or their favorite blog. They assure me that they have grown up multitasking. Young Americans spend an average of six hours a day using nonprint media, and at least a quarter of that time they are using more than one screen, device, or channel.2 They are connected, linked in, logged on.It is not just the student who multitasks while doing homework. The average office worker is interrupted roughly every three minutes during the workday, interruptions that the worker herself often initiates.3 These include the phone, e-mail, [End Page 83] checking websites. As more jobs move to the knowledge and service sectors, more of us find the temptation to multitask at work irresistible.But what effect does all this multitasking have on the person? We're not getting more done, for one thing. Several recent studies have shown that, contrary to self-perception, people really can't multitask. The brain cannot concentrate on several things simultaneously. Instead it switches focus from task to task the same way a computer does. This means that all tasks are slowed down somewhat by the switching process, and the attempt to coordinate too many tasks can lead to more time being devoted to the switching than to the tasks at hand, a phenomenon computer scientists have long been aware of, known as "thrashing." Earl Miller, a neuroscientist at MIT, notes: "Think about writing an e-mail and talking on the phone at the same time. You cannot focus on one while doing the other. That's because of interference between the two tasks."4 Miller notes that in an MRI you can actually see the brain struggling as it shifts rapidly from one to the other.One can see that this might have a deleterious effect on one's work life. Research shows that, once interrupted by an e-mail or a phone call, the average worker can take up to half an hour to return to full concentration on the task at hand.5 But why does this matter for the spiritual life? Over time, multitasking erodes our ability to pay focused, close attention, and this eventually eats away at traits such as patience, tenacity, judgment, and problem solving. This is most evident in the latter. In a test of fifteen-year-olds, the United States ranks twenty-fourth out of the twenty-nine developed countries in the Organization for Economic Co-operation and Development on problem solving skills, with nearly 60 percent of them scoring below the most basic level of using a single... (shrink)

ABSTRACTWomen television journalists have long faced criticism and harassment regarding their appearance. The normalization of social media engagement in newsrooms, where journalists are expected t...

In this article, I argue that gendered abuse is only defined as such within certain institutional configurations and norms (and the language in which the norms are expressed). Consequently, the absence or deficiency of a particular structure for identifying or naming abuse _is_ itself a kind of abuse, both deeply personal in its effects, but institutional in its nature. I call this phenomenon “discursive cornering.” To build this argument, I draw from work on the concept of consent by two feminist (...) political thinkers: nonfiction writer Melissa Febos and television creator Michaela Coel. I examine Febos’ essay “Thank You for Taking Care of Yourself” on the politics of what she terms “empty consent,” a descriptor she uses to detail how patriarchal structures can pressure women into reluctantly agreeing to their own oppression. I analyze Coel’s critically acclaimed HBO series “I May Destroy You” to show that what constitutes rape, sexual assault, and abuse is always defined within particular legal structures, which are themselves embedded in diverse political climates. I show that understandings of abuse must acknowledge the structures that define abuse, and we must remember that those structures can also themselves be abusive. Otherwise, we are unable to understand how survivors’ agency works without implicitly minimizing harm. (shrink)

Ireland has struggled with its ‘feminine’ identity throughout its history. The so-called ‘chasmic dichotomy of male and female' is embedded in colonial and postcolonial constructions of Irishness and it continues to manifest itself in contemporary cultural representations of Ireland and Irishness. This study explores issues of gender and nationality via a reading of a 70-second television advertisement for Caffrey's Irish Ale, titled ‘New York’. The article suggests that, although colonial and postcolonial discourse on Ireland continues to perceive the ‘feminine’ (...) in problematic terms, this is gradually changing as Irish women increasingly, in poet Eavan Boland's words, ‘open a window on those silences, those false pastorals, those ornamental reductions’ that have confined us. (shrink)

Despite numerous publications on the philosophy of technology, little attention has been paid to the relationship between being and value in technology, two aspects which are usually treated separately. This volume addresses this issue by drawing connections between the ontology of technology on the one hand and technology's ethical and aesthetic significance on the other. The book first considers what technology is and what kind of entities it produces. Then it examines the moral implications of technology. Finally, it explores the (...) connections between technology and the arts. Enrico Terrone is Associate Professor at the University of Genoa, Italy. He works on philosophical issues concerning aesthetics, ontology and technology. His main area of research is philosophy of film. His most recent previous book (co-authored with Luca Bandirali) is Concept TV: An Aesthetics of Television Series (2021). Vera Tripodi is Assistant Professor at the University of Milan, Italy. She specializes in feminist philosophy and ethics, bioethics, ethics of technology, and social ontology. She is a Founding Member and Vice President of the SWIP ITALIA (The Society for Women in Philosophy - Italy). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:January 25, 2012 (9:31 am) E:\CPBR\RUSSJOUR\TYPE3102\russell 31,2 064 red.wpd 1 See Russell’s exposure of this derogatory contraction of “Viet Nam Cong San” (“Vietnamese Communists”) in his War Crimes in Vietnam (London: Allen and Unwin, 1967), p. 45n. On the importance of language, cf. the legendary remark of Russell’s correspondent, Mohammad Ali: “I ain’t got no quarrel with them Viet Cong.… No Viet Cong ever called me nigger.” Russell attempted (...) to enlist Ali on behalf of the iwct (see the ra for their letters of 8 April, 18, 31 May, 11 Sept., 17 Oct., 15 Nov. and 16 Dec. 1967). russell: the Journal of Bertrand Russell Studies n.s. 31 (winter 2011–12): 167–87 The Bertrand Russell Research Centre, McMaster U. issn 0036-01631; online 1913-8032 ibliographies, rchival nventories, ndexes A SECONDARY BIBLIOGRAPHY OF THE INTERNATIONAL WAR CRIMES TRIBUNAL: LONDON, STOCKHOLM AND ROSKILDE Stefan Andersson [email protected] i.wintroduction T he International War Crimes Tribunal (iwct) on the United States’ warfare in Vietnam was founded in 1966 through the moral outrage of the British philosopher and political activist Bertrand Russell, his private secretary Ralph Schoenman, Ken Coates, Chris Farley and other people connected to the Bertrand Russell Peace Foundation and the Vietnam Solidarity Campaign. They wanted to inform the world about the us government’s attempts to convince the Vietnamese population (who were mainly peasants) that capitalism is a better political-economical system than communism, by killing as many “Vietcong”1 and unarmed seniors, women and children as possible with regular carpet bombing, cluster and phosphorus bombs, napalm, Agent Orange and other illegal weaponry, and oTering the survivors pleasant lodgingsinwired-inhamlets far away from their homes and the graves of their ancestors. This charm oTensive went on for more than ten years, and although three times as many bombs fell on Vietnam, Laos and Cambodia as were dropped during the whole Second World War, surprisingly enough the Vietnamese were not to be converted. In the 1960s this macabre spectacle could be watched on television all over the world, but very few protested against it. Until 1968 the majority of American January 25, 2012 (9:31 am) E:\CPBR\RUSSJOUR\TYPE3102\russell 31,2 064 red.wpd 168 stefan andersson 2 See Norman Mailer’s Armies of the Night: History as a Novel, the Novel as History (New York, New American Library, 1968). He met up with Noam Chomsky, “a slim sharp-featured man with an ascetic expression, and an air of gentle but absolute moral integrity” (p. 180). Both were arrested and spent a night in prison together. 3 See Kirkpatrick Sale, SDS (New York: Random House, 1973), p. 348. See also Natalie Atkin, “From Margin to Mainstream: American Peace Movements, 1950s– 1970s”, in issue “Peace Movements in Western Europe, Japan and the usa since 1945”, Mitteilungsblatt des Instituts für soziale Bewegungen, no. 32 (2004): 175–92. 4 See May 1970: Birth of the Antiwar University (New York: PathWnder P., 1971). 5 The so-called “Chicago conspiracy trials” or “Chicago 7 trials” that followed, when sevendefendants—AbbieHoTman,JerryRubin,DavidDellinger,TomHayden,Rennie Davis, John Froines and Lee Weiner—were charged with conspiracy and inciting to riot, showed that the us government was not going to tolerate such “unpatriotic” and “criminal ” behaviour. See James Tracy, Direct Action: Radical PaciWsm from the Union Eight to the Chicago Seven (Chicago: U. of Chicago P., 1996), pp. 145–51. 6 See Mark Kurlansky, 1968: the Year That Rocked the World (New York: Ballantine Books, 2004), and David Caute, 1968: the Year of the Barricades (London: Hamish Hamilton, 1988), pp. 3, 7–8, 12z–13. 7 Fredrik Logevall, “De Gaulle, Neutralization, and American Involvement in Vietnam, 1963–1964”, PaciWc Historical Review 61 (1992): 69–102. citizens were for the war, although some earlier, well-attended rallies against it, like the 1967 march on the Pentagon in late October,2 might have made some think diTerently. sds (Students for a Democratic Society)3 and other antiwar organizations never became the united force that could challenge the government ’s reliance on what Nixon called the “silent majority”. It was not until the us attacked Cambodia... (shrink)

In this interview, poet practitioners and scholars Akhil Katyal and Aditi Angiras, traverse the intersections of queer identities, poetry/literature, digital spaces, and activism. Katyal and Angiras revisit/rethink the complexities of queer progress, emphasising a ‘capacious hermeneutics’ and deconstructing monolithic narratives that centres on same-sex marriage or assimilation into heteronormative structures. They reflect on the fluidity of queer identities, highlighting the evolving relationship individuals have with the names/labels they choose for themselves. The interview further explores the disparity in queer representation within (...) academic versus popular culture, with a focus on the underrepresentation of queer women and trans men in media/television/popular culture, in contrast to their prominence in academia. Katyal and Angiras accentuate the transformative potential of digital platforms, examining how they both amplify queer voices and expose individuals to heightened vulnerability, ‘accelerated versions of reality’, and trolling. The poets emphasise the need to embrace heterotopias, diverse, coexisting spaces of queer expressions and activism, while acknowledging the ongoing struggles for trans/queer safety, homelessness, and marginalised communities within the larger queer movement. As well, the conversation informs the ongoing evolution of queer narratives both in literature, poetry, and broader cultural spaces, advocating for inclusivity, intersectionality, and a departure from monolithic understandings of queer progress. (shrink)

This article focuses on service provision for women who are involuntarily referred under the UK Mental Health Act (1983) into medium and high security care in England and Wales. We explore how physical and procedural security in such settings is prioritized over relational care (see also Fallon Report, Department of Health, 1999a and NHS Executive, 2000 – Tilt Report). We are not arguing against the importance of protecting the public from the acts of dangerous members of our society. However, (...) we are arguing that many of the women in our secure services are inappropriately placed and receive inappropriate forms of treatment and care. Rather than physical security, it is high relational care, which the women require. Further, we argue that current service provision often re-produces forms of violence and violation which have marked many of women's lives prior to their entry into the secure system. (shrink)

This article offers a critical analysis of representations of loneliness and singlehood, embodied in the narrative of the ‘old maid’s’ lonely death. The study contributes to a complex understanding of single women and the resignification of emotions conventionally ascribed to this category. By bridging the gap between two rarely linked bodies of knowledge – singlehood and the sociology of emotions – the authors do not ask what loneliness is, but, following Sara Ahmed’s work, rather what loneliness does. To this (...) end, this article employs a content analysis of versatile media texts, focusing on the acclaimed television series Six Feet Under, a polysemic text which juxtaposes both conservative and subversive meanings. The study contributes both to the vibrant discussion of social emotions as well as to the existing critical scholarship about singlehood, and seeks to challenge the limited set of representations attached to single women, and hegemonic ideals of family and solitary life. (shrink)

This paper engages television comedy to critique the ethical values that are amenable to neoliberal capitalism. First, I explore the co-optation and containment of feminism as a collective social change movement by postfeminist and neoliberal cultures. I show how self-reliance and resilience become legible as classed, raced, and gendered values packaged for feminine, neoliberal women. Next, I address the specific challenges that neoliberal biopower poses for ethical values as they have been traditionally understood. I then argue that comedy (...) is a particularly effective medium through which to consider the generation of resistant values that can support feminist collectivity. I develop a provisional protocol for engaging ambivalent media and read two scenes from TV comedies focused on the femininity of class-aspiring or class-privileged women. This critically exposes what kinds of values might counter the co-optation of self-reliance and resilience. I conclude that cultural performances of femininity not only codify neoliberal values, they also are a resource for generating resistant feminist values inasmuch as they present intentionally frivolous modes of living. Within such a culture frivolousness becomes viable as a mode of everyday ethical commitment that can disrupt the negative impact of neoliberal biopower. (shrink)

One of the largely untapped potentials of Sausserian semiotics is the ability it provides to examine shifts in the cultural meanings attached to objects and ideasacross time. To explore this potentiality, we trace the intertextual evolution of one of the most enduring mythic figures, the vampire. Our analysis begins with ancient texts and moves forward in time to contemporary cinematic and televised depictions of the vampire. We document the deployment of the vampire as a vehicle carrying oppositional meanings as it (...) moves through various eras. For example, vampires may connote both racism and racial resistance, homophobia and gay acceptance, women’s subjugation and women’s empowerment. By using the vampire to mediate contested, liminal regions of cultural discourse, storytellers have constructed increasingly complex and multivocal portraits of this figure. At present, vampire narratives have come to resemble an alternative universe of human morality and behavior, complete with family structures, emotional depth, and interpersonal conflicts. (shrink)

ABSTRACTPerception of emotion in the face is a key component of human social cognition and is considered vital for many domains of life; however, little is known about how this ability differs across the lifespan for men and women. We addressed this question with a large community sample of persons ranging from younger than 15 to older than 60 years of age. Participants were viewers of the television show “Tout le Monde Joue”, and the task was presented on (...) television, with participants responding via their mobile devices. Applying latent variable modeling, and establishing measurement invariance between males and females and across age, we found that, for both males and females, emotion perception abilities peak between the ages of 15 and 30, with poorer performance by younger adults and declining performance after the age of 30. In addition, we show a consistent advantage by females across the lifespan, which decreases in magnitude with increasing age. This large scale study with a wide ran... (shrink)

This article offers a critical discourse analysis of the Israeli television series In Treatment. The series unfolds the therapy sessions of a 40-year-old single female attorney with her therapist. The main objective of the study was to identify the scripted tactics or narrative strategies that establish and maintain singlehood. The findings indicate that the therapeutic discourse plays a central role in the construction and interpretation of single women’s subjectivities, prompting a narrative that encourages the ‘discarding’ of singlehood as (...) well as therapeutic work slanted towards a more familial and maternally oriented subjectivity. This narrative unfolds through two dominant scripted tactics: the symbolic annihilation of singlehood and the construction of feminine identity hierarchies. Moreover, it is also prompted by the discursive alliance between the therapeutic discourse and the postfeminist discourse. Consequently, long-term singlehood is portrayed as an unnatural and pathological life script characterized by its lack and deficiency. Furthermore, as opposed to childless singlehood, single motherhood by choice emerges as a preferred and desirable life option. The category of single motherhood is endowed with new forms of legitimacy, reinforcing new-old patriarchal and postfeminist conceptions of women’s reproductive potential and what is considered to be women’s primary life purpose. (shrink)

With the breakdown of traditional racial boundaries in many areas of the world, the widespread and growing consumption of skin-lightening products testifies to the increasing significance of colorism—social hierarchy based on gradations of skin tone within and between racial/ethnic groups. Light skin operates as a form of symbolic capital, one that is especially critical for women because of the connection between skin tone and attractiveness and desirability. Far from being an outmoded practice or legacy of past colonialism, the use (...) of skin lighteners is growing fastest among young, urban, educated women in the global South. Although global in scope, the skin-lightening market is highly segmented by nation, culture, race, and class. This article examines the “yearning for lightness” and skin-lightening practices in various societies and communities and the role of transnational pharmaceutical and cosmetic corporations in fueling the desire for lighter skin through print, Internet, and television ads that link light skin with modernity, social mobility, and youth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 605-606 [Access article in PDF] Ben Rogers. A. J. Ayer: A Life. New York: Grove Press, 1999. Pp. ix + 402. Cloth, $30.00. A. J. Ayer (1910-89) had the misfortune, for a philosopher, to write his most influential book, Language, Truth, and Logic, when he was in his twenties, even though he continued to publish into his seventies, and to have (...) his nonphilosophical life overwhelm his philosophical one. Almost everyone now knows the story of how he saved Naomi Campbell by going a round with Mike Tyson. Ben Rogers nicely intertwines the facts of Ayer's day-to-day life—which is not to say "quotidian," given Ayer's ego and libido—with his philosophical peregrinations.Although Ayer picked up logical positivism in Vienna when attending sessions of the Vienna Circle, he had accepted the main lines of an empiricism and positivism earlier and on his own. For twentieth-century British philosophy, Language, Truth, and Logic was both a philosophical Declaration of Independence (from metaphysics) and the Constitution for a new philosophy. Unfortunately, its founding principle, the principle of verifiability, was irremediably flawed, notwithstanding Ayer's best efforts, notably in the Preface to the second edition of 1946. Logical positivism in Britain lasted for only about a decade (1935-46). In fact, it may have been less. Language, Truth, and Logic was published in 1936, and Ayer "went off to war" in 1940, to speak loosely. (He spent a significant part of it in a Mediterranean villa, a Park Avenue apartment, "a palatial home" in Paris lent him by Guy de Rothschild, and in the best restaurants with friendly women.) No major British philosopher was championing Logical Positivism between 1940 and 1945. When Ayer returned to Oxford in 1945, he discovered that "the [philosophical] climate had changed; before the conflict he had been the leader of the avant-garde; now the brighter students and the young dons looked on logical positivism as old hat. He had mysteriously passed "from being a young Turk to being, at the age of thirty-five, to almost an elder statesman, without ever having known the plenitude of office'" (198). During the late 1940's, Ayer wrote mostly for London literary and arts magazines. The profession of philosophy disappointed him, and later, he found it difficult to keep up "in logic and the philosophy of maths and sciences" (262).Logical positivism had a longer life in North America, to which several of its members emigrated. But its influence was felt much longer in both places, primarily for its emphasis on three things: empiricism, empiricism, empiricism.Ayer continued to publish philosophy until the mid-1980s. Given the demise of logical positivism, he was something of a dinosaur, albeit a Tyrannosaurus Rex. There was no one else quite like him, and yet he could not be ignored. He was a formidable critic of whatever most other British philosophers were doing. In addition to his obvious intellectual brilliance, he was an excellent writer and expositor. After 1970, most of his books are potboilers, skillful in execution, but of no lasting merit, for example, Russell and Moore (1971), Russell (1972), Hume (1980), and Wittgenstein (1985). Ayer told Stephen Spender that "Russell's History of Western Philosophy... had made its author a fortune and he hoped his [Philosophy in the Twentieth Century (1981)] would do the same" (326). [End Page 605] He accepted a L 30,000. advance for a book about Thomas Paine, about whom he knew virtually nothing, and then did his research: "I mugged up just enough information from some American scholar, whose name I forget, an essay of Michael Foot and, principally, Moncure Conway" (342).As prominent as Ayer was in British culture—writing for the Spectator and Horizon, giving commentary on soccer, appearing on television, and championing liberal causes—he was something of a philosophical outsider. He had more affinity for the Cambridge philosophers, Moore, Russell, and the early Wittgenstein, than for his Oxford colleagues; the heart of his career was spent at the University of London, before... (shrink)

Why do we watch and like horror films? Despite a century of horror film-making and en-tertainment, little research has examined the human motivation to watch fictional horror and how horror film influences individuals’ behavioural, cognitive and emotional re-sponses. This review provides the first synthesis of the empirical literature on the psy-chology of horror film using multi-disciplinary research from psychology, psychotherapy, communication studies, development studies, clinical psychology, and media studies. The paper considers the motivations for people’s decision to watch horror, why (...) people enjoy horror, how individual differences influence responses to, and preference for, hor-ror film, how exposure to horror film changes behaviour, how horror film is designed to achieve its effects, why we fear and why we fear specific classes of stimuli, and how lik-ing for horror develops during childhood and adolescence. The literature suggests that (1) low empathy and fearfulness are associated with more enjoyment and desire to watch horror film but that specific dimensions of empathy are better predictors of people’s re-sponses than are others; (2) there is a positive relationship between sensation-seeking and horror enjoyment/preference but this relationship is not consistent; (3) men and boys prefer to watch, enjoy and seek our horror more than do women and girls; (4) women are more prone to disgust sensitivity or anxiety than are men and this may mediate the sex difference in the enjoyment of horror; (5) younger children are afraid of symbolic stimuli whereas older children become afraid of concrete or realistic stimuli; (6) in terms of coping with horror, physical coping strategies are more successful in younger children; priming with information about the feared object reduces fear and increases children’s enjoyment of frightening television and film. A number of limitations in the literature are identified, including the multifarious range of horror stimuli used in studies, disparities in methods, small sample sizes, and a lack of research on cross-cultural differences and similarities. Ideas for future research are explored. (shrink)

This paper proposes a new way of measuring progress in international politics, an approach that focuses on the symbolic and ideological work of international organizations. Although such a strategy is not entirely new to the study of International Relations, it has not been a common, accessible way of assessing how well international organizations work to effect change. The more famous methods have been legalistic—investigations of how international organizations have created new international law in the issue-areas under investigation1—and bureaucratic—studies of how (...) international organizations create machinery to deal with the problems2. But in a world where domestic and international discourse is more mediated than ever before by television, radio, the Internet, newspapers, and other means of mass communication, the argument here is that propaganda is a third arena that must be taken into account when exploring the work of international organizations. The international organization in question here is the United Nations, and the issue-area examined is gender equality, a topic that is also variously described as “women's rights,” “women's issues”, or the “women's movement”. The paper explains first why the topic of the UN and women's rights is important, I then examine the propaganda role of the UN in the struggle for gender equality, and the paper concludes with a critical analysis of the UN's propaganda work in relation to this issue. (shrink)

Summery The 2018 FIFA World Cup in Russia was another demonstration in how sports and politics mix. In protest of Russian politics, few leaders from Western countries attended. For this World Cup, public resources were misused in that half of the stadiums built in Russia were left as “white elephants” with no longterm use. The tournament in Russia marked a shift from the West to the East with sponsors from authoritarian countries having saved the business model of FIFA. The policy (...) of fining misconduct during the World Cup showed FIFA’s commitment to protect its remaining sponsors while proclaimed values, such as fighting racism, were of minor importance. The case of Iranian women using the opportunity not only to attend their national team’s games in Russia but also to advocate for the right of women to enter stadiums in Iran showed that football can also be an agent for social change. In two countries, World Cup matches hosted female commentators on television for the first time. In Belgium, players operated largely above the Flemish-Walloon divide. The article concludes by comparing the last World Cup in Russia with the next one in Qatar and identifying topics for future research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)