Domestic labour is considered a typical female job, and due to the arrival of large migration flows to Italy it has experienced a massive ethnicized connotation, peculiar of this sector. This paper focuses on how a double and subaltern condition of belonging to a ‘minority group’ affects gender perceptions of male migrant domestic workers and how they construct their masculinity.
This research is based on a comparison between 54 interviews with male and female migrant domestic workers, drawing on an intersectional approach based on gender and nationality. It shows how moving across borders, living in a host society, and working in a non-traditional job can reshape male immigrants' gender division perceptions, often in contradictory and unexpected ways. It also emerges how the ‘racial glass escalator’ allows reaffirmation of characteristics tied to the privileges of masculinity and furnishes an important and useful framework in which to analyse the experience of men in ‘female’ occupations. 相似文献
AbstractAlfred Hitchcock’s Rear Window (1954) has been the subject of much critical attention, but the original story upon which it was based and its author, Cornell Woolrich, less so. This article examines ‘Rear Window’ (1942) in the context of Woolrich’s writing and his life more broadly, in order to reveal the privileged role of fenestral imagery in his work. Through a process which starts with surveillance through glass, and a creative interpretation of ‘real’ events consumed in terms strikingly similar to mass media entertainments, Woolrich’s marginalized protagonist assumes the role of the detective and, in doing so, his identity is enhanced. The Woolrichian window reifies abstract social boundaries. It serves, simultaneously, as a symbol of urban alienation and a fantasy of social integration. It also becomes a trope of consumption and popular culture. Hitchcock’s film has sometimes been praised for the self-conscious way in which it aligns the image of the window with the cinema screen in order to implicate viewers in the protagonist’s voyeuristic practice. This article extends such an analysis to Woolrich’s story, but also takes it a step further, to reveal the ways in which reading similarly might be regarded as a voyeuristic form of cultural consumption. 相似文献