This study explored inclusion of female participants in Natural Sciences and Engineering Research Council of Canada Discovery Grant (NSERC-DG)-funded human cardiovascular research at Ontario universities between 2010–2018. Ninety-six publications were examined and 4 principal investigators were interviewed. Females were excluded/underrepresented in 63% of publications with 49% male-only and 5% female-only samples. The sex-bias appears to be explained by dependence on research knowledge and methodologies that maintain and reproduce a firmly established discourse of the male norm. Novelty Female participants were underrepresented in NSERC DG-funded cardiovascular research at Ontario universities between 2010–2018.
This article brings an anthropological approach to bear on the question of 'children's voices' and, particularly, on the stories told by some young migrants about their recent arrival as asylum-seekers in Britain. Young migrants' narratives are examined as situated and self-conscious claims to a certain identity as child refugee. The question of why a particular narrative of 'arrival in Britain' was offered by a diverse group of young migrants and asylum seekers is discussed. These stories present a view of their tellers as alone and irreconcilably detached from past lives and relationships. These narrative repertoires as well as their telling draw from and elaborate certain views of the 'proper refugee child' that circulate through various regimes of immigration, welfare and emancipatory community work that all involved these young people. An approach to the stories as accomplished as well as situated performances that collapse the ordinary division between stories as 'facts' or 'fictions' is introduced. In this sense, the 'children's voices' heard in this study are recognised as situated and interested products of a research relationship.
For much of the 20th century, dance writers and critics regularly bemoaned a shortage of male dancers. As one writer put it, the average American father would rather see his son dead than performing on stage in tights. This article looks at commentary about male dancing as a means of understanding popular conceptions of effeminacy. It addresses the way discourses about sport, physical prowess and hard bodies have been appropriated in attempts to validate the manliness of male dancers. Drawing on works by dance educators, critics and dancers, such as Gene Kelly and American modern dancer Ted Shawn, the article looks at gendered notions of the body and movement and the way these have been shaped by the late 19th-century conflation of effeminacy and homosexuality. The athleticism and muscularity of male dancers were to have brought them mainstream respect; that they have yet to do so at all but elite levels reminds us that even the hardest bodies must be read through the limitations of the discursive contexts in which they move.
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