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Red Riding Hood is said to have been assembled from folktales that pre-date the collector Charles Perrault's 1697 re-telling and initial publishing (Dundes, 1989; Zipes, 1993). Since then, it is a story that has been re-told and re-imagined many times in various media contexts, with Beckett suggesting that it is one of the most familiar icons of Western culture, and a ‘highly effective intertextual referent’ (Beckett, 2002, p. XVI). Even though this story has been generally regarded as a children's tale, adult themes of sexuality and transgression have been explored in modern re-conceptions. In this chapter, we examine the representation of gender and masculinity in commercial media output: the 2011 American film Red Riding Hood (Hardwicke, 2011) and the pilot episode of the NBC series Grimm (2011). In Red Riding Hood, a romantic horror film, the male characters may be regarded as satellites that cluster around the female protagonist, whereas in Grimm, through its generic fusion of police procedural and horror genres, the text plays upon strong established examples of traditional male roles alongside more nuanced and contemporary representations of masculinity. Our analysis explores themes of transformation and heteronormativity and the extent to which the texts challenge or conform to traditional tellings.

This study aims to examine the status of personality dysfunction and its sociodemographic and psychological correlates among university students in Jordan.

This study used a cross-sectional, descriptive-correlational design. It was conducted in Jordan targeting 440 university students using a structured format of online survey during the period January to February 2024. Academic anxiety, loneliness, personality dysfunctions and self-esteem were the used measures in this study.

Students had moderate levels of global personality dysfunction, low to moderate levels of perception of self-esteem toward themselves, moderate to high levels of academic stress and moderate levels of loneliness. The analysis showed a significant and positive association between academic year and personality dysfunction (p = 0.004). On the contrary, no significant relationship was detected between GPA and personality dysfunction (p = 0.073). Using regression analysis, the model that included all the variables was significant (F _6,439 = 8.67, p < 0.001). In this model, the analysis showed that loneliness in the relationship with family (B = 2.08, p < 0.001) and loneliness due to friendship (B = 1.20, p = 0.035) are significant risk factors for developing personality dysfunctions.

One limitation of this study is related to the sample and the setting. The use of an online survey and convenience sampling techniques resulted in underrepresentation of the entire types of universities.

The research provides empirical insights into the association between personality dysfunction among university students and feelings of loneliness, which vary depending on students academic level. Additionally, academic anxiety and self-esteem were found to be associated with or predictive of personality dysfunctions among students.

The current research enhances our understanding of the factors contributing to personality dysfunctions among university students. Connectedness to family and strong robust binding to friends served as protective against personality dysfunctions.

This study emphasizes the role of social relationships and psychosocial well-being in enhancing the mental well-being of university students.

This chapter examines two 21st-century Disney fairy tale adaptations, Frozen (2013) and its sequel Frozen II (2019), focussing on the representation of male characters and the discourse on masculinity that can be inferred from both films.

Despite featuring two prominent female protagonists – Queen Elsa and Princess Anna – and dealing with themes such as sisterhood and female bonding, a close reading of the two films reveals that they are as much about masculinity as they are about femininity. For instance, filmmakers introduce heterosexual romance where there was none before, as well as male characters Prince Hans and Kristoff, who are not present in the literary source that they draw from, Hans Christian Andersen's ‘The Snow Queen’ (1844).

Furthermore, these male characters are given names, personalities, and motivations, which cannot be said of previous Disney fairy tale Prince Charming-type figures. Therefore, Hans and Kristoff are proposed to be variations of this archetype and can be read as an attempt on Disney's part to complicate it, undermine the patriarchal masculinity that it stood for in its previous Disney renderings, and propose alternative models for the implied 21st-century audience.

Although Prince Hans is initially presented as a stereotypical Disney fairy tale prince, he is eventually revealed to be a narcissistic lover and a patriarchal villain. Kristoff, by contrast, is the humble, lower-class, sensitive ‘new’ man who is presented as a socially acceptable alternative and finally takes Prince Charming's place by becoming the princess's love interest and partner. Frozen can be read as a cautionary tale that urges young women to choose their romantic (male) partners wisely and warns both male and female audiences against the dangers of fragile patriarchal masculinity.

This paper intervenes in the consequences of a myth propagated in academic discourse about the dancesport world, according to which half of the men in Latin dancesport are gay. I challenge two assumptions that surround this myth: that cisgender gay men do not contribute to the reification of the heteronormative gender binary, and that the dancesport scene is inclusive of gay people. These assumptions are based on a blatant lack of understanding of the position of gay men within the dancesport world – that is, the ways in which subjects are constituted through the effects of power.

This work is based on empirical research I conducted in the dancesport community, including ethnographic and autoethnographic fieldwork, extant documents (e.g. books, blogs, Judging Regulations) and interviews with experts and participants of the dancesport scene (2021/2022). To analyse the data, I relied on the principles of dispositive analysis, grounded theory and dance analysis.

I show that gay dancers have turned to assimilation as their only available strategy. I discuss the negative consequences of assimilation as a political strategy and how it impacted queer dancers – between invisibilisation, residual shame and a failure to challenge the heteronormative gender binary. This led gay dancers to rationalise and perpetrate harm based on the systems of oppression they had internalised.

I conclude the paper by highlighting a way beyond assimilation for queer dancers.

This paper addresses a critical gap in research on LGBT + inclusion in dancesport.

Based on interviews conducted in three schools in Helsinki, Finland, I examine in this chapter 12- to 15-year-old boys' narratives about their possibilities and practices of sharing emotions in their relationships with friends and parents. I focus on how these possibilities and practices are shaped by their understanding of masculinities and ask whether these narratives continue to be shaped by hierarchising hegemonic masculine norms or if there is room for discourses and practices that depart from these norms. I argue that contradiction is a central feature in the boys' narratives of masculinities: On the one hand, the boys are critical of hegemonic masculine norms that define confiding and sharing emotions as feminine. On the other hand, they reproduce the very same norms in many discourses and everyday practices, which makes confiding and sharing emotions difficult for them.

Fairy tale narratives have placed significant emphasis on depicting female and male protagonists through a binary understanding of gender roles. Major male characters are portrayed with traits associated with hegemonic masculinity, reinforcing concepts that uplift masculine superiority, such as independence, exercise of power, authority, and strength. Conversely, female protagonists are often represented in ways that emphasise hegemonic femininity, aiming to disempower and marginalise them by highlighting traditional feminine traits like passivity, dependence, and helplessness. Any female characters deviating from these norms and depicted as powerful and dominant are positioned as villains in relation to the main female protagonist, embodying non-hegemonic feminine characteristics.

The representation of women in these ways primarily serves one purpose: to uphold masculine superiority. Hegemonic femininity portrays women as damsels in distress, awaiting rescue. On the other hand, non-hegemonic femininity manifests through villainous women performing antagonistic acts towards conforming female protagonists, thus forcing them into a helpless position. This is the critical juncture where the main male protagonists' step in – rescuing the helpless female protagonists and defeating the female villains – reinforcing masculine values in both scenarios.

However, the 21st century fairy tale narratives have challenged this ideology. I argue that recent fairy tale narratives have adopted the technique of ‘Feminist Quest Heroine’ to challenge and deconstruct male characters' heroism through the re-portrayal of female and male characters. The selected fairy tale narratives include Frozen (2013) and a comparative analysis of Sleeping Beauty (1959) and its cinematic adaptation Maleficent (2014). The findings suggest that these fairy tales rework the representation of male characters in three ways: the application of post-feminist masculinity, the modification of heteronormative temporality, and the prominence of sisterhood upon the critique of patriarchy.

In many storybooks in the Philippines, the presence of a sibling is a commonplace in writing the child protagonist's world. More specifically, the kuya, which is the Filipino term for older brother, is a male character that can influence the child protagonists. In this chapter, my goal is to analyse the positionalities of the kuya as male characters in four storybooks from the Philippines that feature the bond between a younger child and the older brother/s. These storybooks are Salo-Salo Para Kay Kuya (A Feast for Big Brother), Sandosenang Kuya (A Dozen Big Brothers), Ang Kuya Kong Zombie (My Big Brother Zombie) and Ang Misteryo ng Patong-Patong na Damit ni Hulyan (The Mystery Behind Hulyan's Layered Clothes).

Through this chapter, I aim to theorise the roles that male characters play vis-à-vis their relationships with their younger siblings. The male characters' narrative journeys, character developments and roles in the context of the story are analysed through what Michael White calls ‘subordinate storylines’, which is character information that cannot be accessed by mere conversation among children. Thus, in the chapter, I investigate the values; intensions; knowledge and skills; and social, relational and cultural genesis of the male characters vis-à-vis the narratives and their interplay with the child protagonists in the story.

Tabletop ‘pen and paper’ role-play games (TTRPGs) can function as spaces of creative experimentation with gender identity through shared storytelling. The last decade has seen an explosion of Actual Play (AP) shows that broadcast recorded gameplay of TTRPGs to online audiences. Neverafter is the 15th season of well-known AP show Dimension 20 and is a horror-themed re-imagining of classic fairy tales through the rules of Dungeons and Dragons. Four of the six player characters are male, based individually on the fairy tales of Pinocchio, Puss in Boots, the Frog Prince, and a (gender-swapped) Mother Goose, adventuring together in a story-world called ‘The Neverafter’. Not only are these versions of the fairy tale characters shaped by the players' own explorations of identity, but as an AP show, this is also layered with the expectations produced by the show's wide fan base. Their diverse gender explorations and their subversion of fairy tale conventions are enabled by the fluency of the players and audience in freely flowing between the framing perspectives of player and character. This chapter will focus on non-binary player Ally Beardsley's creation and performance of Mother Timothy Goose as a gay, elderly, human man as a particularly meaningful case study. This analysis considers how heroic masculinity is reconceptualised in Neverafter through the horror-themed embodiment of fairy tale men in the context of contemporary gender issues.

Drawing on affective events theory, the purpose of this paper was to investigate direct and indirect relationships between perceived organizational politics and workplace cyberbullying (WCB) perpetration mediated through anger, as well as to examine the moderating role of gender in these relationships.

The sample comprised 534 white-collar employees who were employed in a variety of service industries, including banking, higher education, telecommunications, health care and insurance in Islamabad, Pakistan. Data were analyzed using the structural equation modeling technique in Amos.

Results demonstrated that perceived organizational politics has a direct positive effect on WCB perpetration. Moreover, results indicated that perceived organizational politics evokes anger among employees that, in turn, triggers WCB perpetration. Results of a multigroup analysis revealed that the positive effect of perceived organizational politics on WCB perpetration was not significantly different between men and women. However, the positive relationship between perceived organizational politics and anger was significantly stronger for men than for women. Likewise, this study found a significantly stronger relationship for men than for women between anger and WCB perpetration. Anger partially mediated the relationship between perceived organizational politics and WCB perpetration only among men.

This study contributes to the literature by demonstrating that perceived organizational politics triggers WCB perpetration directly and indirectly through its impact on anger. Moreover, this study identified gender differences in the experience and expression of anger in response to perceived organizational politics.