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Historians have long understood that transforming people into property was the defining characteristic of Atlantic World slavery. This chapter examines litigation in British colonial Vice Admiralty Courts in order to show how English legal categories and procedures facilitated this process of dehumanization. In colonies where people were classified as chattel property, litigants transformed local Vice Admiralty Courts into slave courts by analogizing human beings to ships and cargo. Doing so made sound economic sense from their perspective; it gave colonists instant access to an early modern English legal system that was centered on procedures and categories. But for people of African descent, it had decidedly negative consequences. Indeed, when colonists treated slaves as property, they helped to create a world in which Africans were not just like things, they were things. Through the very act of categorization, they rendered factual what had been a mere supposition: that Africans were less than human.

The Dictionary of National Biography (or DNB as it is commonly called and as it will be referred to in this paper) is a classic. Depending on whether a library owns an original edition published by Smith, Elder and Company or a reprint edition published by Oxford University Press, sixty‐three brown volumes or twenty‐two blue volumes and supplements loom bulkily from the shelves. It would be an odd, ill‐trained reference librarian, historian, or scholar of English literature who has never heard of the DNB, let alone used and perused it. But mere bulk does not explain the lasting fame and staying power of this reference work, whose first volume appeared in January 1885 over a century ago.

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.

The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students.

Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women.

Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman.

This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.

Decades after feminist scholars first applied the lens of patriarchy to explain gender inequalities, and wrestled with the consequences of the patriarchal order, masculinity studies have moved from an emphasis on hegemonic masculinities to more nuanced constructions of men’s gendered performances. However, many analyses about men’s social interactions still focus on a limited set of behaviors, and men’s relations with women are often presented as problematic. Many accounts pay insufficient attention to changing contexts and men’s own explanations or perspectives, so we do not see men’s struggles or fully understand why and how some men resist patriarchal norms and perform less conventional masculinities, and what the costs and benefits of contesting dominant constructions are. One of the abiding ideologies of manhood is related to the role of the provider. In this chapter, we propose that the persistence of the social expectation that men should be the (main) family providers, despite changing economic circumstances and historical evidence to the contrary, is profoundly implicated in the tenacity of social expectations for men to perform dominant roles. We explore this contention through conversations with young African men in six cities on the continent and in the diaspora, namely Accra, Kampala, London, Nairobi, Philadelphia and Pretoria.

Purpose: This chapter provides a contextualized understanding of the gendered anxieties expressed by elite sport regulators that motivated the formulation of sex testing policies in sport between 1937 and 1968. The focus is on complicating the claim that sex testing was first instituted to prevent explicit male bodies from fraudulently masquerading as women in sport. Rather, the chapter argues that sex testing policies were formulated in response to anxieties over sex binary pollution.

Methodology: The chapter is based on a genealogical study of the female category in elite sport, built on archival research conducted at the International Olympic Committee (IOC) historical archives and online newspaper archive collections.

Findings: Boundaries around female embodiment were navigated and written into sex testing policy in response to threats to presumed ideas around gendered and sexed normality in sport. These threats were embodied by athletes who polluted or crossed the border between female and male, to the extent that their bodies were rendered hermaphroditic, excessively masculinized, or hybrid. These bodies caused gendered anxieties for sport regulators, who reacted with policy responses that aimed to purify the sex binary from category pollution or sex abnormality.

Implications: As long as sex binary policing in elite sport continues, awareness of the contextual history of sex testing is essential for understanding the underlying ideas upon which sex binary policing in sport has been built.

Parts of this paper are based on a presentation on the same subject given by Stephen Manning to the Basel II & Banking Regulation conference organised by the Global Association of Risk Professionals in April 2005. The paper reflects the experiences of the authors in developing and implementing risk management within the Lloyd's insurance market.

Previous research suggests that women receive less critical attention and acclaim in popular music. The authors expect that gender differences in the amount and content of media discourse about popular musicians occur because music critics draw on the cultural frame of gender as a primary tool for critical evaluation. In order to explore the role of gender as a frame through which aesthetic content is evaluated, the authors conduct detailed content analyses of 53 critical reviews of two versions of the popular album 1989 – the original released by Taylor Swift in 2014 and a cover version released by Ryan Adams less than a year later. Despite Swift’s greater popularity and prominence, the authors find that reviews of her version of the album are more likely to focus on her gender and sexuality; less likely to describe her as emotionally authentic; and more likely to use popular aesthetic criteria in evaluating her music. By contrast, Ryan Adams was more likely to be seen by critics as emotionally authentic and to be described using high art aesthetic criteria and intellectualizing discourse. The authors address the implications of the findings for persistent gender gaps in many artistic fields.

This chapter focuses on how people with a history of short-term incarceration engage with the criminal justice system. It is based on analysis of interview data with men and women who had been incarcerated in a county-level facility in Massachusetts; they were interviewed up to five times (once prerelease and four times postrelease). A primary goal of most was to be free of or minimize criminal justice system contact (not just incarceration), and this drove their approach to criminal justice system contact. In spite of this goal, they often remained ensnared for lengthy periods.