Word: genderism
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Dates: during 2000-2009
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...which the club defines as recognition of “inherent physical, behavioral, emotional, and psychological differences between men and women.” Though TLR asserts that women nonetheless deserve equality under the law, the club bases its arguments for a traditional family on the complementary nature of gender roles and claims that a monogamous relationship between a man and a woman has been recognized throughout history and cultures as the ideal foundation for a family. Not only does this argument smack of essentialism and ignore empirical evidence that refutes the inferiority of same-sex parenting...
Hyperion Shakespeare Company’s “Richard II” wants very badly to explore the politics of gender. The production, which ran this weekend in the Horner Room of the Agassiz Theater, brings an all-female cast to Shakespeare’s history play in an attempt to question the nature of power and whether an authoritative ruler needs to be aggressively masculine. In reality, however, the production only half succeeds in its goal; though it successfully reinvents the character of Richard, it leaves the rest of the cast lagging behind. The directorial decision to focus...
Currently, men’s IM crew teams compete for the Agassiz Cup, which the Eliot team has won for the last three years. To rectify the gender disparity in recognition, Pertile solicited the help of Stone, who led the Eliot men’s crew team as a resident of the house decades...
...Humbling,” the thematic and narrative concerns of that book seemed more important to Roth than the construction of an illuminating or sympathetic relationship with the character. The ambiguity that permeates “The Humbing”—of age, of gender, of morality—and the subtlety and variety with which it’s applied, makes it clear that Roth is still capable of telling a story that engages the intellect. A particularly graphic sex scene between Axler, Pegeen and a woman the couple picks up takes on the metaphorical power...
Given the film’s clearly gender-oriented title and theme, one might wonder if its intended audience is limited to middle-aged women who’ve endured the hardships of parenting. The short answer, both women quickly assert, is no. Dieckmann—an assistant professor at Columbia University’s Graduate School of the Arts—screened the film for many of her male graduate students during post-production. Just as she hoped, even the unmarried, childless, 20-something males in her classes still appreciated the humor and honesty of the film. Thurman dismisses...