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An unintended consequence? Examining the relationship between visible tattoos and unwanted sexual attention
- Michael J. Tews, Kathryn Stafford, Philip M. Jolly
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- Journal:
- Journal of Management & Organization / Volume 26 / Issue 2 / March 2020
- Published online by Cambridge University Press:
- 11 November 2019, pp. 152-167
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In the wake of the increasing popularity of tattoos, the present study explored whether tattoos have an adverse impact on employees. Specifically, this research examined the relationship between visible tattoos and unwanted sexual attention, along with perceived sexual harassment climate and perceived inclusion climate as potential moderators of this relationship. With a sample of 417 restaurant and retail employees, the results from logistic regression analyses demonstrated that possessing a visible tattoo was associated with increased odds of experiencing unwanted sexual attention. Perceived inclusion climate attenuated this relationship, whereby individuals with visible tattoos were less likely to experience unwanted sexual attention in a more favorable climate. Although perceived sexual harassment climate was directly related to unwanted sexual attention, it did not moderate the visible tattoo-unwanted sexual attention relationship.
thirteen - Ageing, fiction, narrative exchange and everyday life
- Edited by Alan Walker, The University of Sheffield
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- Book:
- The New Dynamics of Ageing Volume 2
- Published by:
- Bristol University Press
- Published online:
- 13 April 2022
- Print publication:
- 25 July 2018, pp 243-262
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Summary
Introduction
This chapter focuses on the development, engagement with respondents and analytical results of the ‘Fiction and Cultural Mediation of Ageing’ project (FCMAP) that was part of the New Dynamics of Ageing (NDA), a UK cross-Research Council initiative. From its inception FCMAP sought novel ways to access the opinions of older subjects about the facts and experiences of ageing in a manner that radically diminished any influence over (or implicit guidance given to) its selected respondents, and that could thereby generate interesting and informative qualitative data, which was self-reflective on the part of those older people who formed a broad sample approached through various strands, as described below. The FCMAP team of researchers came from areas of scholarship concerned with a combination of literary studies, history and social narrative, and so our initial set of questions set out to explore how, with regard to older people within such a research project, one might address:
• Thinking about narratives of ageing, considering issues regarding their social exchange and influence through attitudinal research rather than researcher opinion (or presumptions).
• Developing methods of engagement with, and analysis of, such narratives in their social context while in circulation without recording or transcription by the research team itself (again, which method might potentially introduce at least implicit bias).
• How to obtain robust and significant qualitative data concerning such active narratives where respondents were as uninfluenced as possible (apart from each other in discussion groups on which they could reflect).
The primary aims of FCMAP were to seek to comprehend how representations of ageing circulate in culture and society and were reflected on by older subjects (being the subject of such narratives on the part of others). In one strand the research team considered that elective readership of relevant contemporary fiction and the respondents’ own diary entries might facilitate a purposeful critical interaction undertaken by older subjects concerning such symbolic representations and life experiences simultaneously. The team sought to develop locations or sites where this might take place. We next considered that a close analysis en masse of records of such interactions might potentially facilitate some radical thinking about current social attitudes and behaviour with regard to ageing and its attitudinal reception (how people perceived both themselves and how others regarded them), both on the part of the respondents and the research team.
Notes on Contributors
- Edited by Len Platt, Goldsmiths, University of London, Sara Upstone, Kingston University, Surrey
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- Book:
- Postmodern Literature and Race
- Published online:
- 05 February 2015
- Print publication:
- 19 February 2015, pp vii-xii
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Chapter 15 - After the First Decade
- from Part Five - Postracial Futures?
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- By Philip Tew
- Edited by Len Platt, Goldsmiths, University of London, Sara Upstone, Kingston University, Surrey
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- Book:
- Postmodern Literature and Race
- Published online:
- 05 February 2015
- Print publication:
- 19 February 2015, pp 247-263
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three - Understanding and transforming ageing through the arts
- Edited by Alan Walker, The University of Sheffield
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- Book:
- The New Science of Ageing
- Published by:
- Bristol University Press
- Published online:
- 04 March 2022
- Print publication:
- 29 August 2014, pp 77-112
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Summary
Introduction
Ageing can be both understood and described as a storied process, part of what Holstein and Gubrium (2011, p 103) have described as ‘the narrative quality of lives’. We hear and tell stories about growing old; we read and watch published and filmed stories about older people; we are surrounded by images of ageing with their implicit narratives. Such stories permeate our social world and shape our expectations about older people and about growing old ourselves. In this chapter we intend to explore this process further, drawing on research that has explored the character of the stories that older people tell about their lives and, in some cases, making the links to more formal narratives found in genres such as fiction and other representational practices, in collaborative artwork, in art galleries and the theatre. We are particularly interested in how dominant social representations of ageing (Moscovici, 2000) can be contested through a process of active narrative work, that is, engaging older people with representational processes at various levels as consumers of such narratives (as readers, as members of group interactions, as theatre goers, as social beings) and as producers of them (discursively, in interviews and groups, using diaries and through various forms of artistic expression). In highlighting such elements, we are interested in ways of challenging negative social representations of ageing through the active participation of older people in different art forms.
Both narrative making and narrative exchange are everyday processes of making sense of a changing world by which we provide a certain meaningful coherence to a series of events. Such narratives have a certain form and structure which can convey not only particular thoughts about those events, but also incorporate gestures, feelings and actions. As such, narratives can become not only descriptions of past events but plots for future actions. Freeman (2011) has described the phenomenon of ‘narrative foreclosure’ or the process by which we come to believe that life is over before it is physically ended. We stop developing initiatives and accept that decline and exclusion are inevitable. Public institutions often reinforce this narrative in their negative representations of ageing and in their exclusion of older people from a range of activities.
Narrative accounts are habitually and constantly exchanged and shared in everyday social interaction.
six - Participation and social connectivity
- Edited by Alan Walker, The University of Sheffield
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- Book:
- The New Science of Ageing
- Published by:
- Bristol University Press
- Published online:
- 04 March 2022
- Print publication:
- 29 August 2014, pp 181-208
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Summary
Introduction
Extending participation and social connectivity is now widely accepted as central to adding life to years as well as healthy years to life, while participation in the life of the community is seen as critical to well-being (Sen, 1992, p 39), and capable of addressing older people's rights, extending inclusion, reducing exclusion, easing demand on national budgets and building social cohesion. The central conundrums of increasing participation and social connectivity are, first, the intermeshing of personal, local, meso and macro level factors in shaping participation and social connectivity, and second, how the drive towards increased participation can be included in framing policy in such a way that participation is individually meaningful, social connectivity is enhanced and benefits flow to participants and to society in general. Underlying the application of the concepts of participation and social connectivity to older people is the idea that old age places people outside the mainstream: that older people's participation and social connectivity is wanting in scale or scope, that they do want or should want to participate more and that it is chiefly the impediment of old age that constrains their participation. Categorised as outside the mainstream, older people become defined by their age rather than those other salient aspects of their social identity, class, sexuality, ethnicity, education, histories and personal outlook that policy makers and implementers find difficult to respond to in relation to older people. This chapter examines older people's experiences of participation and social connectivity across a range of geographical and social locations within the UK and within low and middle-income countries, in order to test conceptualisations of older people's participation and social connectivity against experience, and to begin to trace the individual, local, meso and macro factors and linkages that need to be addressed to extend meaningful participation and engagement for people who happen to be older.
47 - Postwar renewals of experiment, 1945–1979
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- By Philip Tew
- Edited by Robert L. Caserio, Pennsylvania State University, Clement Hawes, University of Michigan, Ann Arbor
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- Book:
- The Cambridge History of the English Novel
- Published online:
- 28 January 2012
- Print publication:
- 12 January 2012, pp 757-773
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Summary
Both literary experimentation and periodization are complex, contestable acts. All chronological groupings are potentially arbitrary. Yet a logical starting point for the parameters of postwar fiction is the cessation of major hostilities in 1945. Subsequently the nation punctuates a historical and ideological shift to the left with the Labour government's landslide election, defeating Winston Churchill. Much postwar fiction is imbued by politicization in response to the prevailing leftist ideological consciousness, which validated the consensus welfarism inspired by the Beveridge Report and the Labour victory.
As to when the postwar literary phase ends, generational and aesthetic changes occur in the mid to late 1970s, alongside seismic cultural and historical transformations. The 1973 oil crisis, the miners'strike, and the three-day week erode the long-standing Zeitgeist defined by a consensus familiar to babyboomers. Any residual ideological common ground collapses with the 1979 election of Margaret Thatcher, confirming another juncture in culture, ideology, and aesthetics. Following the lead of such historical landmarks, I focus on innovative novelists from 1945 to 1979, particularly on experimental texts that Bernard Bergonzi in The Situation of the Novel (1970) characterizes as “at a considerable distance from the well-made realistic novel as conventionally understood.”
Which elements of form and content justify characterizing particular acts of textualization or authorship as “experimental?” As Émile Zola explains in The Experimental Novel and Other Essays (1893), naturalistic novels with their panoptic vision were originally considered experimental. For Zola such writing responds to the logic of matter and science (16).
Chapter 3 - Moving beyond modernism in the fiction of B. S. Johnson: charting influences and comparisons
- from Part I - Early legacies: inheriting modernism at mid century and beyond
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- By Philip Tew
- Edited by David James, University of Nottingham
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- Book:
- The Legacies of Modernism
- Published online:
- 05 November 2011
- Print publication:
- 20 October 2011, pp 53-72
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Summary
In the context of B. S. Johnson's compulsive urge toward literary innovation evident throughout his fiction, this essay explores various potential influences, including cultural contexts. I will examine several interwoven elements: first, precursors and literary models that seemingly inspired Johnson, second, certain specific legacies of modernism and third, Johnson's relation to contemporaneous writers also considered experimental. Doing so will reveal aspects of the nature and meaning of Johnson's innovations, techniques and aesthetic dispositions. Very different conceptual models may permeate his work, but one avant-garde aspect militates against his well-recognised struggle for a wider truthfulness, for as Gabriel Josipovici suggests, experimental fiction's overriding impulses reject verisimilitude and counter any illusion of the real precisely by admitting doubt and negating stock meanings, tentatively suggesting the unknowable and unsayable. Although committed to a larger concept of truth, ideologically Johnson accepted randomness as central to experience, as is exemplified in his polemical introduction to Aren't You Rather Young to be Writing Your Memoirs? (1973):
Life does not tell stories. Life is chaotic, fluid, random; it leaves myriads of ends untied, untidily. . . . Change is a condition of life. Rather than deplore this, or hunt the chimæræ of stability or reversal, one should perhaps embrace change as all there is. Or might be. For change is never for the better or worse; change simply is.
In the postwar period many British critics and academics – reflecting their rather narrow and parochial perspectives – considered formal and stylistic innovation in fiction as passé, associated with pre-war experimental modernists such as James Joyce, Ford Maddox Ford and Virginia Woolf. Rather than dismissing modernist legacies, one might now reconsider whether postwar experimentalists like Johnson were influenced more subtly, sharing certain deeply rooted aesthetic instincts with modernism. Certainly, such postwar writers embrace modernism's rejection of reductive models of writing, its opposition to naturalism's correspondence model of realism. In Albert Angelo (1964) Johnson explicitly distances himself from certain dominant modes of postwar fiction, including the moralistic social realism and interventionism exemplified by E. R. Braithwaite's To Sir, With Love (1959), openly mocked by Johnson's protagonist. Like modernist precursors, many postwar experimental novels adopt formal devices precisely to challenge generic conventions. However, such fiction is differently inflected, highlighting issues of engagement and possibilities of synthesising the experimental with existential authenticity, which means such fiction broadly diverges from the commitment to an experiential mimesis of consciousness typical of many modernists. Johnson exemplifies this difference, significantly foregrounding his proletarian origins, fusing an ideological consciousness with a reflexive approach to formal innovation, blending an acute sense of social awareness, alienation and existential crisis. His class-consciousness radicalises his aesthetics.