Votre recherche

The Brass Bodies Study is an exploratory cross-sectional study designed to describe and understand the experience of female brass players. This report discusses selected data from close-ended and open-ended responses to questions regarding gender equity, parity, and sexual harassment within a web-based survey that launched the first phase of the study. The survey queried subjects’ physical changes to their brass playing due to various catalysts: life-cycle events; injury, illness, harassment, mental health, racism, and homophobia. The survey instrument further queried whether subjects received support about these changes and the effectiveness of support. The following report discusses survey responses to questions about gender parity and changes to brass playing due to sexual harassment. Additional qualitative data were generated from open-ended questions in the survey and were qualitatively coded and thematically presented to supplement the descriptive statistics provided. The information presented explores and defines salient items and themes of a population that is under researched with the hopes of generating hypotheses for continued research.

The mosh pit is a unique crowd formation where audience members dance aggressively to engage with the music, the performers and each other. However, in this space, Australian punks may experience violations of bodily integrity. Multiple levels and types of transgression occur, as members break with mosh pit ethics by engaging in unwanted and unlawful sexual and physical violence. This case study provides an example of how group normative behaviour is confounded in liminal spaces – how transgression within such spaces undermines the supposed freedom experienced by its participants. Whilst the mosh pit is perceived to be a site governed by its own particular ethics, some defy these in word and practice. The rules of engagement are ambiguous, and offenders are able to rationalise their harms through neutralisation techniques and the diffusion of blame and responsibility. The consequence is that more often than not, offenders can use the unique physical nature of the mosh pit to execute personal vendettas and engage in intentional violence such as ‘crowd killing’ and sexual assault, with little social and legal consequence. Moreover, a certain culture of denial permeates participant responses to these issues. Throughout it all, the violence occurring has a decidedly masculine basis, reflecting overarching gender differences in interpersonal violence generally.

Purpose The purpose of this paper is to examine women composers’ use of online communities of practice (CoP) to negotiate the traditionally masculine space of music composition while operating outside its hierarchical structures. Design/methodology/approach The authors employed a mixed methods approach consisting of an online survey (n=225) followed by 27 semi-structured in-depth interviews with female composers to explore the concept and use of CoP. Content analysis was used to analyze the survey responses and interpretative phenomenological analysis was used to interpret respondents’ lived experiences as relayed in the interviews. Findings The findings reveal that the online environment can be a supportive and safe space for female composers to connect with others and find support, feedback and mentorship, increase their visibility and develop career agency through learning and knowledge acquisition. CoP emerged as an alternative approach to career development for practicing female music workers and as a tool which could circumvent some of the enduring gendered challenges. Originality/value The findings suggest that online CoP can have a positive impact on the career development and sustainability of women in male-dominated sectors such as composition.

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons.

Antiféminismes et masculinismes d'hier et d'aujourd'hui . Aussi ancienne que les lunes féministes, l'opposition à l'émancipation des femmes est loin de n'être que le reliquat d'un passé révolu : l'anti-féminisme contemporain reste vivace et pluriel. « Printemps des pères », « Manif pour tous », « célibataires involontaires » et mobilisations contre la « théorie du genre » : il est renouvelé par des masques séducteurs, des emprunts au discours égalitaire, par un répertoire d'action actualisé et par une nouvelle militance, dite masculiniste, dans un climat politique et social propice à son extension. Pour être compris et combattus, les antiféminismes doivent aujourd'hui être situés dans une perspective historique. Leur ancrage conservateur est souligné, mais aucune famille politique - ni aucune religion - n'est immunisée. Ils ne sont pas, non plus, le monopole des hommes. En analysant diverses expressions de l'antiféminisme depuis le XIXième siècle, les contributions à cet ouvrage démontrent la vitalité historique de ce combat et mettent en évidence ses points de contact avec l'homophobie et le racisme : l'intersectionnalité des haines. L'ensemble constitue une réponse inédite en même temps qu'un appel à la vigilance.

While sexual misperception does not irrevocably lead to sexual aggression, it remains a significant risk factor. The present study investigated the effects of rape-supportive attitudes, alcohol, and sexual arousal on sexual perception. We used a 2 × 2 between-participants factorial design to randomly assign 135 men from the general population to a condition with or without alcohol (blood alcohol concentration target of .08%) and to a condition with or without sexual arousal. Participants were asked to listen to an audiotape depicting a sexual interaction between a man and woman and to indicate if and when they believed the woman was no longer interested in having sex. Results, obtained through survival analyses, indicate that the effects of rape-supportive attitudes on sexual misperception are moderated by alcohol consumption. Alcohol appears to be an important situational factor for activating men's implicit theories. Our study sheds new light on the role of knowledge structures in sexual perception: It identifies when, as well as suggesting how, rape-supportive attitudes may disturb sexual perception and ultimately lead to sexual misperception.

Since the 1990s, conversations about the dearth of women working in the video game industry have centered on three topics: (1) ways to draw more women into the field, (2) the experiences of women working in the industry, and (3) the experiences of those who once worked in the industry but left. Although there has been considerable research on the conditions and occupational identities of video game developers, less scholarly attention has been devoted to women in gameswork, the barriers/obstacles and challenges/opportunities they face, and how they talk about their experiences. This article offers a feminist approach that demonstrates how discourse focused on affect can be reread as intimately related to silences about power and how the rhetorical constraints that public speech imposes upon what can be said about “women in games” aid us in understanding what might remain unspoken, and why.

Ils sont tournés les uns vers les autres. Ils s'observent et s'écoutent. Ils s'échangent des idées, des armes, de l'argent ou des femmes. Dans cet univers clos réservé aux hommes, le pouvoir se relaie et se perpétue a̧ la façon d'une chorégraphie mortifère. Le boys club n'est pas une institution du passé. Il est bien vivant, tentaculaire: État, Église, armée, université, fraternités, firmes -- et la liste s'allonge. À la manière d'une chasse à l'image, c'est dans les représentations au cinéma et à la télévision que Martine Delvaux le traque. Véritable plongée en eaux noires, ce livre nous invite á considérer l'entre-soi des hommes comme un phénomène régressif. Un dispositif à profaner, déconstruire, refuser, parce que nos vies comptent

This article reports results from an online survey (n=207) about experiences and perceptions of gender from those working in the Australian music industry. Taking a feminist approach, theory on gender and hegemonic masculinity is used to discuss power in a gendered context in this industry. Literature shows women and girls experience a range of difficulties in the music industry worldwide, such as negative assumptions about their skill levels. The small body of research on gender and the Australian music industry has discussed topics such as the forgetting of women in Australian popular music history. Results reported in this article show that women’s worst experiences most often related to sexual violence or unwanted sexual advances; and men’s most often related to money. Findings contribute to the field by providing gendered analysis of self-reported data in an under-researched industry.

Setting the Stage for Sexual Assault: The Dynamics of Gender, Culture, Space and Sexual Violence at Live Music Events

The article is based on 20 in-depth interviews with women professionals conducted for a more comprehensive study focusing on gender roles within the film and television industry in Turkey. This study examines the career possibilities for women, the experience of being a woman working in television and cinema, and the working environment, including work-life balance issues, experiences of discrimination and experiences of sexism. The hypothesis of this study is that film industry is male-dominated, and women have to struggle to be able to prove themselves in this industry in the 21st century in Turkey, where the position of women is made even more difficult by the gender role codes and the structure of Turkish society.