Sam de Boise

I’m Not Homophobic, “I’ve Got Gay Friends”: Evaluating the Validity of Inclusive Masculinity

Anderson’s concept of “inclusive masculinity” has generated significant academic and media interest recently. It claims to have replaced hegemonic masculinity as a theoretical framework for exploring gender relations in societies that show “decreased” levels of cultural homophobia and “homohysteria”; this clearly has important implications for critical studies on men and masculinities (CSMMs). This article is divided into two parts and begins with a theoretical evaluation of work using the framework of inclusive masculinity and what it claims to offer over hegemonic masculinity. The second half is an analysis of inclusive masculinity’s conceptual division of homophobia and homohysteria. Through this analysis, it is suggested that there are several major theoretical concerns, which call into question the validity of research utilizing the framework of inclusive masculinity.Anderson’s concept of “inclusive masculinity” has generated significant academic and media interest recently. It claims to have replaced hegemonic masculinity as a theoretical framework for exploring gender relations in societies that show “decreased” levels of cultural homophobia and “homohysteria”; this clearly has important implications for critical studies on men and masculinities (CSMMs). This article is divided into two parts and begins with a theoretical evaluation of work using the framework of inclusive masculinity and what it claims to offer over hegemonic masculinity. The second half is an analysis of inclusive masculinity’s conceptual division of homophobia and homohysteria. Through this analysis, it is suggested that there are several major theoretical concerns, which call into question the validity of research utilizing the framework of inclusive masculinity.

Are men getting more emotional? Critical sociological perspectives on men, masculinities and emotions

Sociological research, influenced by feminist and other critical perspectives, has noted how men’s emotional inexpressiveness was influenced, and supported, by patriarchal privilege. Such approaches have argued that ‘inexpression’ needs to be broken down in order to build gender equality and improve men’s own wellbeing. Emerging research has, however, challenged the argument that men are ‘emotionally inexpressive’ on two main premises: that, as a result of feminist critiques, many men now practise ‘softer’ or ‘more emotional’ forms of masculinity; second, that emotions always influence social action and so need to be better incorporated into sociological accounts of men’s behaviour. Yet these approaches entail some conceptual confusion as to what emotions are, how they link to social action and whether men’s emotions are inherently transformative for gender relations. This article first details how emotions and masculinity have been theorized in feminist-inspired approaches. It outlines recent work on emotions, men and masculinities before arguing for an understanding of emotions that engages with both physiologically grounded and postconstructionist debates. It finally suggests incorporating a material-discursive approach to men’s emotions, through feminist work on affect, which is attentive to the political dimensions of ‘increasing emotionality’ in order to contribute to a developing field of sociological research.

Cheer up emo kid : rethinking the ‘crisis of masculinity’ in emo

‘Emo’, an abbreviation of the word ‘emotional’, is a term both used to describe music which places public emphasis on introspective displays of emotion and a pejorative phrase applied to fans of a diverse range of music. It is overwhelmingly male-dominated in terms of production and it has been suggested that the development of emo can be explained with reference to a ‘crisis in masculinity’. This implies that explicit, male emotional expression is historically incompatible with the performance of Western ‘masculinity’. This article first briefly explores how emo emerged and how it has been linked to the idea of a crisis. It then moves on to conduct a lyrical, discursive analysis around three themes: emotional expression and relationships; overt chauvinism; and ‘beta male misogyny’. Through these concepts I suggest that, rather than indicating a crisis or ‘softening’ of masculinity, there are actually a number of historical continuities with masculinities as a means of sustaining gendered inequalities.

Learning to Be Affected: Masculinities, Music and Social Embodiment

Connells concept of hegemonic masculinity remains a pervasive influence in critical studies on men and masculinities (CSMM). However as Connell and Messerschmidt note, one of the key drawbacks of the approach is that it lacks an adequate theory of ‘social embodiment’. Subsequent authors have explored how masculinities entail bodily control and regulation but this often reproduces the Cartesian divide between mind and body that CSMM is highly critical of. On the other hand, poststructuralist critiques often see the body as entirely constructed through discourse, undermining the problem of gendered, embodied experience. This article suggests that literature on affect is a means of moving between these two approaches in order to see masculinities as corporeally experienced through power relations, but ultimately not entirely reducible to them. Drawing on 6 life history case studies from a larger research project, the article demonstrates how ‘learning to be affected’ by music is an embodied process which relies fundamentally on learning physiological experience through social interaction. This highlights the potential for both re-producing and transforming gendered performances and offers a new theoretical framework for conceptualising masculinities in the field of CSMM.

The personal is political … just not always progressive: affective interruptions and their promise for CSMM

ABSTRACTIn critical studies on men and masculinities (CSMM), a well-established argument has been that white, heterosexual, middle-class men practice emotional repression as a means of maintaining social power. Whilst CSMM have often overlooked emotions, there is an increasing body of work which argues that men both have an active understanding of their emotional lives and that men’s emotional lives have significantly changed. Crucially, emotions are important for exploring how men’s practice connects to structure; what has been called ‘the problem of social embodiment’. However, recent perspectives on emotions and masculinities may over-emphasise the gender-progressive effects of men discussing emotions, tending to overlook how ‘semi-’ and ‘non-conscious’ forms of men’s embodiment shape far less progressive trends and even how discourses around ‘softening masculinity’ may support various forms of misogynstic behaviour. This article argues that critical feminist ‘turns to affect’ can help foreground the p...ABSTRACT In critical studies on men and masculinities (CSMM), a well-established argument has been that white, heterosexual, middle-class men practice emotional repression as a means of maintaining social power. Whilst CSMM have often overlooked emotions, there is an increasing body of work which argues that men both have an active understanding of their emotional lives and that men’s emotional lives have significantly changed. Crucially, emotions are important for exploring how men’s practice connects to structure; what has been called ‘the problem of social embodiment’. However, recent perspectives on emotions and masculinities may over-emphasise the gender-progressive effects of men discussing emotions, tending to overlook how ‘semi-’ and ‘non-conscious’ forms of men’s embodiment shape far less progressive trends and even how discourses around ‘softening masculinity’ may support various forms of misogynstic behaviour. This article argues that critical feminist ‘turns to affect’ can help foreground the problem of social embodiment in CSMM in less deterministic ways, without neglecting intersectional questions of power. To illustrate potential uses for affect in CSMM, the article adopts Wetherell’s concepts of ‘affective practice’ in combination with Ahmed’s notion of ‘happy objects’ through an exploration of three key case studies: online masculinist rage; ‘nice guy’ discourse and nationalist politics.

Contesting ‘sex’ and ‘gender’ difference in emotions through music use in the UK

This article builds on social psychological critiques of ‘hardwired’ gender difference inemotions, looking at the topic through the emotional use of music. Starting from thepremise that gender diff ...This article builds on social psychological critiques of ‘hardwired’ gender difference in emotions, looking at the topic through the emotional use of music. Starting from the premise that gender differences in emotion are socially and discursively constructed rather than innate, it moves on to challenge existing work in which masculinity and femininity are treated as singular, oppositional concepts, that are ‘normally’ attached to ideas of existing sex differences. Drawing on data, generated from a UK-based online survey of 914 respondents (male = 361; female = 553), this article highlights that whilst gender plays a significant part in shaping the emotional experience of music, this is often mediated heavily by age and personal experience. It suggests that music is a practical means of moving beyond ideas of differences in gender or sex differences in emotional display, towards ideas of diversity, especially given that existing face-to-face research has often found men to be ‘unable’ to communicate emotional experience in particular ways. Both inductive quantitative trends and open-ended fragments from peoples emotional experiences of music are included in order to demonstrate how emotions and gender intersect discursively.

Post-Bourdieusian Moments and Methods in Music Sociology: Toward a Critical, Practice-Based Approach

Bourdieu’s work has been hugely influential in sociological research on music and society, especially in shaping research on the relationship between social inequalities and music. Recent sociologi ...Bourdieu’s work has been hugely influential in sociological research on music and society, especially in shaping research on the relationship between social inequalities and music. Recent sociological work has also ‘updated’ his approach in order to demonstrate how his central insights are still relevant today, demonstrating strong links between music and social inequalities. Despite a move toward a ‘post-Bourdieu moment’ in the sociology of music (Prior, 2011), few have attempted to outline empirical strategies which are critically sensitive to social inequalities, whilst addressing questions of aesthetics, value, resistance and social change. This article acknowledges Bourdieusian contributions to the sociology of music as well as attempts to ‘update’ Bourdieu’s initial approach. However, it argues that a new understanding of musical subjectivity, a broader focus on music engagement, as well as greater methodological flexibility, are required in order to help us explore increasingly complex relationships between music and social inequalities today.

Tackling gender inequalities in music: a comparative study of policy responses in the UK and Sweden

Abstract Cross-disciplinary research has highlighted the persistence of gender inequalities across music scenes. However, the way in which cultural policy shapes responses to gender inequalities in music has been relatively underexplored. This article draws on research from Swedish and UK contexts, supporting analysis with reference to 9 key-stakeholder interviews from both. Comparing perspectives from ‘more’ and ‘less’ gender-equal contexts, with sufficiently different cultural policy traditions, the article explores how responses to gender inequalities in music are influenced by ‘cultural democratic’ and ‘arm’s length’ approaches. It demonstrates that, as a result of these traditions, there is a comparatively more interventionist approach in Sweden at a national level, whereas the lack of central government response in the UK has encouraged more market-oriented solutions. It suggests that this ‘arm’s length’ approach necessitates different grassroots organisational strategies in order to affect change but notes that these, alongside austerity agendas, are insufficient in the long term.

Gender Inequalities and Higher Music Education: Comparing the UK and Sweden.

Whilst the impact of gender inequalities has been studied in relation to music education,especially in the UK, relatively little has been written about their impact on higher musiceducation (HME). ...

Masculinity, Music and the Mass Market

This chapter explores both the historical and contemporary, discursive intersections between male bodies, masculinity, emotions and music in Western societies. Central to mass music’s success as a commodity, has been the perception of music’s use as a ‘tool’ for individual emotional expression. As noted in the previous chapter it is arguably ‘the cultural material par excellence of emotion’ (DeNora 2000: 46). Because the music industries and music consumption continue to be so heavily dominated by men, this stands at odds with the arguments that a culturally idealised masculinity currently operates, on the total disavowal of emotional experience. Music’s cultural value in the West, reflected in the ubiquity of listening practices, as well as the increase in market demand for music over the course of the 19th, 20th and 21st centuries, therefore makes it a productive place to start rethinking the Cartesian divide in relation to masculinity. Music provides a forum where a multitude of interpersonal as well as social dimensions surrounding emotions are rendered visible (see Juslin and Sloboda 2012).