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Malaysian masculinity identity representation through men's editorial

机译:通过男性的编辑马来西亚男性气质身份表现

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The purpose of this study was to develop a new framework for masculinity identity in Malaysia as a guideline for editorial images in men's lifestyle magazines. The study only investigated through editorial images as editorial images presents “models of masculinity” which may potently influence men (Kilbourne, 2000). The study used a combination of industry interviews and creative research method. Three editors from men's lifestyle magazines were interviewed and eighty men and women of different ages and backgrounds participated in the creative research method. The creative research method asked predominantly male and female participants to imagine a new editorial image aimed at men and then design/draw an editorial representing masculinity social construction in Malaysia and followed by a discussion from the participants. Two main frameworks emerged from the study: the thematic categories and views representing social and cultural notions of masculinity in Malaysia. In addition, the study also supported the first hypothesis that in large-scale multicultural societies like Malaysia there are likely to be multiple representations of masculinity identity. The second hypothesis of this research was supported when a new theme emerged from the creative research method. As borders blur, markets merge and cultures blend, ambiguity seems to have found its way to global mainstream. Ambiguity in masculinity is evident through the participants' drawing as the theme combines both masculinity and femininity as traits of a unified gender that defies social roles and psychological attributes.
机译:本研究的目的是在马来西亚开发一个新的阳刚态度,作为男性生活方式杂志中的编辑类别的指导性。该研究仅通过编辑类图片调查编辑类图片,编辑类图片呈现“男性气质模型”,这可能会对男性(Kilbourne,2000)产生效果。该研究使用了行业访谈和创造性研究方法的组合。来自男士生活方式杂志的三名编辑受访,八十名男女不同年龄和背景参加了创意研究方法。创意研究方法主要要求男性和女性参与者想象一个新的编辑形象瞄准男性,然后设计/画出一个代表马来西亚的阳刚地社会建筑,然后从参与者讨论。从研究中出现了两个主要框架:代表马来西亚男子气概的社会和文化观念的专题类别和观点。此外,该研究还支持第一个假设,即在马来西亚等大型多元文化社会中,可能有多个阳性素质的陈述。当从创造性的研究方法中出现一个新的主题时,支持这项研究的第二个假设。由于边界模糊,市场合并和文化混合,歧义似乎已经找到了全球主流的方式。在男性气质中的模糊性通过参与者的绘画是明显的,因为主题将男性气质和女性气质结合为统一性别的特征,这些性别无视社会角色和心理属性。

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