Glass Slipper Research Articles

Medicine's Glass Slipper: The PAVAEX Boot and 20th Century Negative Pressure Therapy.

Before the 20th century, peripheral artery disease (PAD) manifested as extreme pain, chronic wounds, and, eventually, gangrene requiring amputation. Despite this, it was rarely diagnosed. However, at the turn of the century, Western medicine shifted focus from infectious to chronic illnesses, and with this change, physicians' engagement with PAD transformed. Aiming to mitigate long-term injury, physicians now worked to identify and treat vessel disease to restore meaningful blood circulation. This article explores the development and deployment of a new device resulting from this refocus, the PAssive VAscular EXerciser (PAVAEX) Boot, and its role as a creative response to a previously intractable clinical problem. The PAVAEX Boot, designed in 1933 by vascular surgeons Louis G. Herrmann and Mont R. Reid, was one of the few interventions for PAD at the time. Based on the observation that continuous negative pressure results in vasoconstriction, while short bursts transiently increase blood flow, the PAVAEX Boot utilized intermittent negative pressure to enhance peripheral vascular perfusion. Well-marketed and praised throughout the 1930s, it vanished from public writing and academic literature just 20years later. However, negative pressure wound therapy resurged in the late 20th century, and though its inventors failed to recognize the precedent of the PAVAEX Boot, many of these devices and therapies are rooted in identical theories. We examine why the PAVAEX Boot faded from use and argue that the device remains a crucial advancement in negative pressure therapy.

Fairy Tales at CU Boulder Banner 1

This piece of digital media, one out of a series, is made by me as part of a UROP effort alongside the Rare and Distinctive Collections at Norlin Library to make a vast fairy tale collection accessible to the public. Pictured in the banner are a variety of illustrations taken from different books being entered into an online database to create a fantastical scene, highlighting parts of little-known tales across cultures. The illustration for this college are taken from the following sources housed on campus: From Europa’s Fairy Book: “The Unseen Bridegroom,” from Histories or Tales of Past Times Written for Children Told By Mother Goose with Morals: “The Master Cat; Or, Puss in Boots,” From A Selection from Grimm’s Fairy Tales: “The Frog Prince,” “Rumpelstiltskin,” “Hansel and Gretel,” from The Sleeping Beauty and Other Fairy Tales from the Old French: “Beauty and the Beast,” and from The Allies’ Fairy Book: “Jack the Giant-Killer” and “The Golden Apple-tree”. This collage also contains images from the independent publication of Cinderella, or, The Little Glass Slipper (1904), as well as Beauty and the Beast (1891), along with a number of illustrations by fairy tale illustrators Edmund Dulac, John Dickson Batten, Alfred Henry Forrester, and Henry Justice Ford (Courtesy of Swann Auction Galleries).

“I’m Just so Used to Seeing Men Succeeding”: Gender Inequality and the Glass Slipper of Success in the Events Industry

This mixed methods study investigated differences in men’s and women’s career success in the events industry. A “glass slipper” of success was identified that aligns more readily with some bodies/people than others. An online survey tested the extent to which this glass slipper “fits” men and women. Results illustrate that men are more successful than women on all measures, indicating that the glass slipper of success is gendered. Interviews were used to explore experiences of success (or otherwise) and to investigate the workings of the glass slipper. Women were often aware of their lack of fit, whereas men did not recognize the gendered norms that make it easier for them to have their merit acknowledged and rewarded. The gendered glass slipper contributes to ongoing gender inequality in the events industry, making it harder for women to be recognized???by themselves and others???as successful in their careers.

Feeling your way as an occupational minority: The gendered sensilisation of women electronic music artists

This article develops a nascent theory of ‘sensilisation’ – a process of learning to be skilled in experiencing and displaying sensory knowledge according to social convention. In particular, I present data from an autoethnography of learning to be a DJ and producer of electronic music (hereafter ‘electronic music artist’), and in-depth interviews with 36 women at various stages of their careers as electronic music artists to present a tentative, sensory-led hypothesis for the enduring male dominance of the electronic music industry. I offer direction on how a ‘sensilisation analysis’ might be carried out, and conclude by suggesting that the lessons learned from this ‘extreme’ case study might illuminate more everyday encounters with gender, the senses and management learning and in particular, the Othering of minority individuals in occupational contexts. In addition, the article stands as an empirical exploration of Ashcraft’s concept of ‘senses of self’ in the construction and operation of occupational identities, and in particular occupational segregation – her metaphor of the ‘glass slipper’.

Book Review: Women Leading Change in Academia: Breaking the Glass Ceiling, Cliff, and Slipper

Book Review: Women Leading Change in Academia: Breaking the Glass Ceiling, Cliff, and Slipper

The glass slipper effect: understanding the Nordic gender equality paradox from an identity fit perspective

PurposeThis paper aims to introduce an identity fit perspective adding to the understanding of the Nordic gender equality paradox of top managing positions using a Danish sample as case.Design/methodology/approachIn total, five hypotheses concerning identity perception of top managing positions and the relationship with own identity and type of industry were tested through a correlational research design utilizing a cross-sectional survey methodology. A total of 1,054 women aged 18–60 participated in the survey.FindingsThe analysis revealed a strong masculine perception of a top managing position whereas women's own identity perception was much more diverse. The more masculine a woman perceives herself to be, the more motivated she is to climb the career ladder. Type of industry moderates the relationship between identity fit and motivation for top positions, but only for the masculine traits. The relationship between identity fit and motivation is stronger for women in high masculine industries.Originality/valueApart from being the first study of identity fit in a Nordic setting, this study contributes to the identity fit theory by employing a semi-objective fit approach exploring identity fit on an industry level, including female-dominated industries, as well as examining identity fit in relation to motivation to pursue a top managing position.

Publishing in the Academy of Management Journals

Publishing in the Academy of Management Journals

Does the Glass Slipper Fit?

Abstract. This study is a cross-sectional survey investigating the links between viewing Disney princess films and reports of romantic beliefs, relationship-contingent self-esteem, and attitudes relating to masculine courtship strategies. Results from the survey of 438 undergraduate students indicate a positive association between viewing Disney princess films and reports of relationship-contingent self-esteem, particularly for men, and endorsement of masculine strategies about courtship. Findings are discussed in the context of cultivation and social cognitive theory.

What happened women working in the hospitality industry when COVID-19 struck?

This original unpublished study explored the impact of COVID-19 on women working in the hospitality industry. The industry is a significant employer and its workforce has been, and continues to be, adversely affected by the COVID-19 crisis. 1 Worldwide, much of the hospitality workforce is female-dominated2  and, globally, women were most affected by the pandemic and suffered more job losses than men in the unpredictable and changing conditions.3 Therefore, exploring women's employment in the hospitality industry during the crisis is an important issue to investigate. Before COVID-19, women employed in hospitality had poorer quality jobs, with lower pay and fewer career opportunities than men.4 From a critical perspective, women's weaker employment position appears related to three aspects of hospitality organisations. Firstly, the glass ceiling associated with the absence of a gender equality lens in organisations forms invisible barriers that hinder women's careers. 5   Secondly, women's underrepresentation in executive management teams leads to their lack of agency in overcoming long-standing gender injustices.6 Thirdly, negative gender-based stereotypes related to women's presumed domestic skills and the feminised nature of many jobs, for example, housekeeping, retain women at the industry's lower levels; women working in the hospitality industry are stereotyped as prioritising family and household responsibilities. 6, 7 An interpretivist approach guided the collection of secondary data from three mass media news sources with a New Zealand focus: Radio New Zealand, the New Zealand Herald, and the Guardian. A convenience sampling strategy was used to collect 63 relevant news reports, from 23rd January to 23rd September 2020, by selecting keywords such as 'women in COVID-19' and ‘hospitality work’, from the targeted news platforms. Data analysis according to Braun and Clark's (2013) thematic analytical method 8  revealed four main themes related to COVID-19's impact on the hospitality industry, and women's employment. The routine social and physical interactions between people ceased abruptly, or were disrupted by COVID-19, leading to changes in hospitality operations and to the workforce. Women's hospitality employment and careers also changed significantly. Whether they were forced to, or 'voluntarily' stayed home, women  suddenly assumed the role of primary caregiver, along with domestic responsibilities and extra time-consuming commitments, such as children’s schooling. Consequently, women lost their jobs and were unable to avail of any new opportunities posed by the COVID-19 crisis. The key finding of this study is that the historic gender-based stereotyping of women employees (that they will prioritise family responsibilities) became the new reality for many women during the COVID-19 crisis. Following lockdown situations,  while women remained at home, men tended to go back to work. Therefore, as women already held a disadvantaged employment position before COVID-19, this novel crisis only magnified existing problems. The study showed the benefit of using mass media as data sources in hospitality research as they gave ‘real time’ snapshots of the negative effects of the Covid-19 crisis for women workers in the hospitality industry, in New Zealand and globally. The crucial message is that finally, gender equality must become an important priority for hospitality organisations post-pandemic. Corresponding author Lin Chen may be contacted at: tff7821@autuni.ac.nz. References (1) Jones, P., Comfort, D. The COVID-19 crisis and sustainability in the hospitality industry. International Journal of Contemporary Hospitality Management, 2020, 32(10), 3037–3050. https://doi-org/10.1108/IJCHM-04-2020-0357. (2) Baum, T., Mooney, S., Robinson, R., Solnet, D. Covid-19’s impact on the hospitality workforce – new crisis or amplification of the norm? International Journal of Contemporary Hospitality Management, 2020, 32(9), 2813–2829. https://doi.org/10.1108/IJCHM-04-2020-03 (3) Wenham, C., Smith, J., Davies, S. E., Feng, H., Grépin, K. A., Harman, S., ... & Morgan, R. (2020). Women are most affected by pandemics—lessons from past outbreaks. https://www.nature.com/articles/d41586-020-02006-z (4) Santero-Sanchez, R., Segovia-Pérez, M., Castro-Nuñez, B., Figueroa-Domecq, C., & Talón-Ballestero, P. (2015). Gender differences in the hospitality industry: A job quality index. Tourism Management, 51, 234-246. (5) Simpson, R. & Kumra, S. (2016). The Teflon effect: when the glass slipper meets merit. Gender in Management: An International Journal, 31(8), 562-576. https://doi.org/10.1108/GM-12-2014-0111 (6) Mooney, S., Ryan, I., & Harris, C. (2017). The intersections of gender with age and ethnicity in hotel careers: Still the same old privileges? Gender, Work & Organization, 24(4), 360–375. https://doi-org/10.1111/gwao.12169 (7) Costa, C., Bakas, F. E., Breda, Z., Durão, M., Carvalho, I., Caçador, S. (2017). Gender, flexibility and the ‘ideal tourism worker’. Annals of Tourism Research, 2017, 64, 64–75. https://doi.org/10.1016/j.annals.2017.03.002. (8) Clarke, V., Braun, V. Teaching thematic analysis: Overcoming challenges and developing strategies for effective learning. The Psychologist, 2013, 26(2), 120–123. https://doi.org/10.1080/17439760.2016.1262613

“Little Glass Slippers” on the American Silver Screen: An Inquiry into Hollywood Adaptations of Charles Perrault’s “Cinderella”

Considered as a form of translation, adaptations involve intersemiotic transfers of stories, novels and poems into the symbolic system of the cinema. This process could be construed as an attempt on the part of the “translators” to “consume and erase the memory of the adapted text or to call it into question” as also “pay tribute by copying” (Hutcheon, p. 7). Adaptations of folktales present a particularly challenging and at the same time, interesting task in that unlike novels or short stories, which are mostly in the written form and hence possess a fixed plot, folktales are mostly in the oral tradition and thus present regional and chronological variations. This accounts for the multiple adaptations of “Cinderella” or “The Little Glass Slipper”, one of the most popular tales by Charles Perrault, across and more importantly, within cultures, during different historical periods. In this paper, I attempt a diachronic comparative study of multiple adaptations of “Cinderella”, focusing on different ‘versions’ of the tale embodied in films produced in the USA, from the early 20th century to the contemporary times. The study would take into account the issues of race, gender, class as also the varying themes, keeping in mind the historical conditions under which the films were produced.

Inflection of nouns for grammatical number in spoken narratives by people with aphasia: how glass slippers challenge the rule-based approach

abstractInflection impairments are commonly noted in aphasia, particularly non-fluent variants, where descriptions of such difficulties often focus on inflection omission. This aligns withrule-basedtheory, in which inflected forms should be more difficult to produce than their uninflected counterparts. Recent studies address noun inflection for number and potential effects of the relative frequency of singular and plural forms (dominance effects). However, none examine number errors qualitatively or in spontaneous speech. We present quantitative and qualitative analyses of such errors in nouns produced by twelve people with aphasia in spoken Cinderella narratives, examining: error rate; error types and nouns involved; relationship between error production and dominance; and speakers’ consistency with error production and flexibility in varying the noun forms concerned. Twelve unimpaired speakers provide comparison data. While error rates were low, arguably more important is error type. Singularisation and pluralisation errors were observed, all on regular nouns and involving production of the dominant form. The pluralisation errors, all occurring on references to Cinderella’s glass slipper, arguably challenge rule-based predictions that the singular is easier to retrieve than the plural. We suggestconstructivist, usage-basedtheory as a promising framework to characterise such productions. Implications for aphasiology and clinical practice are also discussed.

Identifying the socio-economics of pantomime through Cinderella’s footwear in 2017–18 adaptations of the tale

Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.

‘Mothering the artist’

Abstract Drawing on Joan Acker’s notion of the ideal worker (1990) and Karen Ashcraft’s notion of the ‘glass slipper’ (2013), this paper investigates the organising practices that gender the occupation of artist manager and the music industry, and how women artist managers construct an identity in an occupation that is tailored on a male ideal manager, made to fit a man’s shoe. Empirically, we draw on thirteen semi-structured interviews with nine women artist managers, two women former artist managers, and two women former students of Music Management. In line with existing literature, our findings show that the Flemish music industry is organised around practices that reflect hegemonic masculinity, and that women managers mimic many of these practices to fit the ideal manager, and, although they see the gender inequality, they do not challenge it. At the same time, they construct an occupational identity by reframing stereotypical feminine competences as indispensable for being a good manager. By making a business case for these competences, they, however, paradoxically also reproduce those same notions of gender that they aim to overcome.

Virtuous Footwear: Pamela’s Shoe Heel and Cinderilla’s “Little Glass Slipper”

The scene in Samuel Richardson’s Pamela (1740) wherein Pamela tries to escape Mr B’s Lincolnshire estate provides a crucial metaphor for her virtue in her lost shoe heel. In this essay, I consider the ways in which Pamela’s lost heel comes to represent her virtue and assumed upper-class identity, and I place the scene alongside the English translation of Charles Perrault’s “Cinderilla, or The Little Glass Slipper” (1697), which Robert Samber translated into English in 1729. The lost glass slipper in “Cinderilla” carries ideas about fit, imitation, luxury, and virtue that are similar to those Pamela’s lost heel embodies; a reading of Pamela and “Cinderilla” with attention to the cultural significance of shoes, heels, and glass uncovers the ways in which these influential and highly material fictions use footwear to fetishize virtue and reform upper-class femininity.

Fearsome Giant, Fearless Child: A Worldwide Jack and the Beanstalk Story by Paul Fleischman

Reviewed by: Fearsome Giant, Fearless Child: A Worldwide Jack and the Beanstalk Story by Paul Fleischman Deborah Stevenson Fleischman, Paul, ad. Fearsome Giant, Fearless Child: A Worldwide Jack and the Beanstalk Story; illus. by Julie Paschkis. Godwin/Holt, 2019 [40p] (World-wide Series) ISBN 978-1-250-15177-3 $17.99 Reviewed from galleys R Gr. 2-4 In this successor to Glass Slipper, Gold Sandal (BCCB 11/07), Fleischman and Paschkis turn their lens to the tale of, as the back cover puts it, "child vs. giant." As he did in the "Cinderella" retelling, Fleischman deftly splices together a story from global variants of the "Jack in the Beanstalk"/"Tom Thumb" tale, drawing on tales from Denmark and Russia, Ethiopia and the U.S., Mongolia and Chile, and multiple other countries. Though the general bones of the tale will be familiar to most listeners, they'll be intrigued to see the variants: on one page the stolen item is a pillow, on another, it's a horse, on still another, it's a harp; in one paragraph the villain is an ogre, in another a witch. The narrative shifts from one country's contribution to another's with a clear visual differentiation, drawing attention to the transitions but keeping the bridges smooth and the momentum constant. The result is like an elegant round-robin story, and it cunningly uses echoes of plot beats as poetic repetition ("How he was the youngest of twelve. The youngest of thirteen. How the woman with seven brawny sons gave birth to an eighth who was no bigger than a finger"). In Paschkis' gouache art, each page sets a smaller full-color scene against a monochromatic or two-color background of intricate, narratively relevant design; the frame of the illustrations featuring the brothers laying down to sleep in the Gambian tale, for instance, includes the crocodile from that tale that never appears in this book's text, and its red-lined horizontal beds connect with the green-lined beds in the French scene opposite. This is packed with curricular possibilities for language arts (though kids may find the project harder to replicate than it seems) and cultural studies as well as offering an interesting opportunity for readers theater performance, and audiences will enjoy the opportunity to play compare and contrast with other tales they know. There are no specific source notes, but the author directs readers to two collections for more information. DS Copyright © 2019 The Board of Trustees of the University of Illinois

Dramatherapy and Gender: Shattering Norms and Unearthing Possibilities

This critique was initially written as part of my MA Dramatherapy Independent Scholarship at the University of Derby, standing alongside a 30-minute solo performance. Together, they created an overall body of work; an autoethnographic research project into a topic based upon personal experience. Originally titled “Dramatherapy and the Glass Slipper: Utilising the Story of Cinderella to Challenge What It Means to Be a Woman”, this theoretical and embodied investigation navigated my experience of gender within western society through the medium of dramatherapy, with Cinderella as its metaphor. One year on, I am proud to be returning to this investigation as part of the Dramatherapy journal LBGTQ+ special edition, enabling me to reflect upon my continuing journey with, and experience of, gender, society and dramatherapy. Utilising both my original research and recent reflections, this article will present how dramatherapy enabled me to explore, question and challenge the social construct of gender. Ultimately, igniting a personal transformation to a more authentic self, as well as unearthing a professional endeavour to create a therapeutic experience that can acknowledge the spectrum of individual experiences; one based on humanness.

Dancing Up the Glass Escalator: Institutional Advantages for Men in Ballet Choreography

A dearth of women exists in the upper echelons of ballet choreography. Both academia and the popular press have noted and documented this phenomenon. For instance, in “Breaking the Glass Slipper,” New York Times journalist Michael Cooper recently noted, “When it comes to choreography, at least at most major companies, ballet remains overwhelmingly a man’s world” [1]. Similarly, critic Luke Jennings has noted, “In professional ballet companies, faced with heavier workloads and greater competitive stress than their male colleagues (not to mention the exigencies of pointe work), few women have the time, energy or inclination to consider choreography” [2]. And yet many arguments (such as Jennings’) as to why women do not become choreographers reflect back on women in ballet – claiming a lack of interest, ambition, or even ability – and fail to acknowledge the structural and systemic inequities that promote men in ballet at the expense of their female peers. Even women choreographers themselves tend to claim that women do not become choreographers because of their own choices, constraints, etc., instead of citing systemic structures of unequal opportunity [3]. Failing to acknowledge institutional inequality places the fault of discrimination upon its victims, and ignores the gendered hierarchy within ballet institutions. As an alternative, situating ballet choreography in the context of sociological theory can shed light on how institutions promote token men in ballet to artistic leadership positions, and may help disprove the notion that women do not become choreographers simply because of cultural reasons that relate back to the women themselves.

The Teflon effect: when the glass slipper meets merit

PurposeThis paper aims to draw on Ashcraft’s (2013) metaphor of the “glass slipper” (which highlights the need for alignment between occupational identity and embodied social identities of workers) to show how merit may not adhere to individuals when social identity in the form of gender, race or class fails to fit the definition and perceived characteristics of the job.Design/methodology/approachThis is a conceptual paper.FindingsThis study develops the notion of the Teflon effect to describe the way merit may go unrecognised and may therefore not “stick” to the bodies of women in management and leadership roles.Research limitations/implicationsThis study provides an explanation for the persistence of the glass ceiling and the barriers women face as they undertake or aspire to management and/or leadership positions in organisations.Practical implicationsThis study introduces a more embodied notion of merit which relies on both performance and recognition to “take effect”. Professionals must see beyond “objective” measures of merit in performance reviews and/or in recruitment and promotion decisions to include reflection on the significance of merit’s subjective, “performed” dimensions.Social implicationsThis study adds to understandings of women’s positioning in organisations.Originality/valueThis study develops the notion of the Teflon effect. This highlights the significance of the recognition, performance and embodiment of merit and how merit may fail to adhere to the bodies of women in management and leadership roles.

Dancing Up the Glass Escalator: Institutional Advantages for Men in Ballet Choreography

A dearth of women exists in the upper echelons of ballet choreography. Both academia and the popular press have noted and documented this phenomenon. For instance, in “Breaking the Glass Slipper,” New York Times journalist Michael Cooper recently noted, “When it comes to choreography, at least at most major companies, ballet remains overwhelmingly a man’s world” [1]. Similarly, critic Luke Jennings has noted, “In professional ballet companies, faced with heavier workloads and greater competitive stress than their male colleagues (not to mention the exigencies of pointe work), few women have the time, energy or inclination to consider choreography” [2]. And yet many arguments (such as Jennings’) as to why women do not become choreographers reflect back on women in ballet – claiming a lack of interest, ambition, or even ability – and fail to acknowledge the structural and systemic inequities that promote men in ballet at the expense of their female peers. Even women choreographers themselves tend to claim that women do not become choreographers because of their own choices, constraints, etc., instead of citing systemic structures of unequal opportunity [3]. Failing to acknowledge institutional inequality places the fault of discrimination upon its victims, and ignores the gendered hierarchy within ballet institutions. As an alternative, situating ballet choreography in the context of sociological theory can shed light on how institutions promote token men in ballet to artistic leadership positions, and may help disprove the notion that women do not become choreographers simply because of cultural reasons that relate back to the women themselves.

The making of a glass slipper

Purpose– The purpose of this paper is to deploy the concept of the “glass slipper” to unpack the construction of systematic patterns of inclusion and exclusion along the lines of gender, age and class in the emerging, female-dominated profession of psychological counselling in Russia.Design/methodology/approach– The study draws on an analysis of 26 in-depth qualitative interviews with practising counsellors in Russia.Findings– Drawing on the glass slipper concept, the article demonstrates how seemingly neutral discursive “rules” of professional conduct articulated by counsellors create an association between a collective professional identity and the social identities of typical practitioners, making this profession appear most suitable for middle-aged, middle-class women. The findings also show how certain embodied identities – in this case masculinity – may be able to “fit” into a slipper that was not made for them.Originality/value– The paper extends the understanding of the dynamics of inequality patterns in a feminized profession in the Russian context by unveiling previously underexplored patterns of marginalization along the lines of class and age. It also strengthens the collective-associative view of occupational identity and extends the glass slipper concept by exposing the mechanisms of body-work association in this profession and demonstrating that certain identity characteristics may be more universally privileged in the construction of professional identities.