歌曲里有什么?津巴布韦球迷对霸权男子气概的建构

L. Ncube, Fiona Chawana
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引用次数: 9

摘要

康奈尔(Connell and Messerschmitt, 2005)将男性霸权定义为作为一个男人最“受人尊敬”的方式,因此男权社会中的所有男性都被期望努力达到男性霸权的标准。它可以在各种日常环境中遇到,其中之一就是体育赛事。这篇文章探讨了作者在民族志上与津巴布韦球迷中的霸权男子气概的接触,特别是在他们唱的歌曲中。利用康奈尔的霸权男子气概概念,作者认为津巴布韦的足球迷与霸权男子气概纠缠在一起。这篇文章展示了足球迷与男子气概,特别是霸道的男子气概之间既隐蔽又微妙,但总是复杂的关系。这项研究的主要结论是,霸道的男子气概是强烈的话语,偶尔甚至出现在看似无害的世俗玩笑中,比如体育场的歌曲。尽管这些表演有时带有欢快的性质,但其中也包含着权力的暗流。
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What Is in a Song? Constructions of Hegemonic Masculinity by Zimbabwean Football Fans
ABSTRACT Raewyn Connell defines hegemonic masculinity as the most “honoured” way of being a man, and as such all men in patriarchal societies are expected to try to meet the standards of hegemonic masculinity (Connell and Messerschmitt 2005). It can be encountered in a variety of everyday contexts, one of which is sporting events. This article explores the authors’ ethnographic encounters with hegemonic masculinities amongst football fans in Zimbabwe, particularly in the songs they sing. Utilising Connell’s concept of hegemonic masculinity, the authors argue that Zimbabwean football fandom is entangled with hegemonic masculinities. The article demonstrates a simultaneously covert and subtle, but always complex, relationship between football fandom and masculinities, specifically hegemonic masculinity. The study’s major conclusion is that hegemonic masculinity is strongly discursive and occasionally occurs even in seemingly harmless mundane banter, such as stadium songs. Despite the sometimes jovial nature of these performances, there are power undercurrents involved.
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CiteScore
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