8/5/2023 0 Comments Teen wolf in wolf formsPor fim, os autores revisam o que foi confirmado por formulações iniciais (a ideia de masculinidades múltiplas, o conceito de hegemonia e a ênfase na transformação) e o que precisa ser descartado (tratamento unidimensional da hierarquia e concepções de características de gênero). O conceito de masculinidade hegemônica não equivale a um modelo de reprodução social precisam ser reconhecidas as lutas sociais nas quais masculinidades subordinadas influenciam formas dominantes. ![]() O tratamento do sujeito em pesquisas sobre masculinidades hegemônicas pode ser melhorado com a ajuda dos recentes modelos psicológicos, mesmo que os limites à flexibilidade discursiva devam ser reconhecidos. Entretanto, as críticas aos modelos assentados em características de gênero e às tipologias rígidas são sólidas. Avaliando as principais críticas, os autores defendem o conceito de masculinidade como fundamental, uma vez que, na maioria das pesquisas que o opera, seu uso não é reificador nem essencialista. Os autores traçam a origem do conceito a uma convergência de ideias no início dos anos 1980 e mapeiam as formas através das quais o conceito foi aplicado quando os estudos sobre homens e masculinidades se expandiram. O conceito de masculinidade hegemônica tem influenciado os estudos de gênero em vários campos acadêmicos, mas ao mesmo tempo tem atraído um sério criticismo. It offers an interpretation of Stephenie Meyer’s novels and the character of Edward as part of a broader field of feminist (re-)uses of the vampire in modern literature with its roots in the literary tradition from Austen and the Brontë-sisters as well as from classic Gothic fiction. This article examines the construction of masculinity in relation to vampirism in the Twilight series. In spite of a strong interest in sexuality and gender norms in relation to vampires very few studies have focused exclusively on masculinity. In a similar way as in the 19th century novel the terms of relationship are negotiated and like his namesake Edward Rochester, Edward Cullen has to change in important ways for the “happy end-ing” to take place. As the main romantic character in Twilight, Edward Cullen becomes interesting both as a vampire of our time and as a man. As a vampire story the Twilight se-ries both produces and problematizes norms in regard to gender, class and ethnici-ty. The vampire is at the same time a popular cultural icon and a figure that, especially women writers, use to problematize gender, sexuality and power. The vampires we have seen on TV and cinema in recent years are all based on literary models. The vampire is still primarily a literary figure. ![]() Conversely, supernatural feminine characters are perpetually disempowered by magic in ways that reinforce conservative ideas about the female body, femininity, and female sexuality, rather than embracing them in an Amazon feminist narrative. Yet lycanthropy also creates space and visibility for imagining the masculine body and violence outside of these normative constraints. (115-116) In Teen Wolf adolescent masculine characters are empowered by the supernatural, which allows them to reproduce hegemonic norms, as Sibielski suggests. ![]() In the context of the contemporary cinematic werewolf, Rosalind Sibielski in "Gendering the Monster Within" (2014) observes that: monstrosity itself is gendered, with the forms that it takes reproducing hegemonic discourses surrounding sexual difference by proposing that male and female lycanthropy-much like masculinity and femininity-are not just rooted in the body, but also in the bodily differences between women and men. If the supernatural is a gift it is gendered, affecting masculine and feminine characters in different ways 2. The bite is a gift," explains protagonist and alpha werewolf Scott McCall 1 in the fourth season of MTV's Teen Wolf (2011-2017) as he attempts to explain lycanthropy to a newly turned werewolf (S4E4).
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