Male Audience Research Articles

Women Talking Business: Domestic Settings for Economic Discourses in The Squatter and the Don

Women Talking Business:Domestic Settings for Economic Discourses in The Squatter and the Don Mike Lemon (bio) María Amparo Ruiz de Burton's The Squatter and the Don (1885) has proven a polarizing text for twenty-first century readers. Ruiz de Burton calls attention to illegal land seizures, frustrated economic development, and the subsuming of Californio land and culture within an Anglo-American nationalist paradigm. However, she simultaneously condemns mid-nineteenth-century racial hierarchies and relies on those very structures to argue the Alamar family's position within white American society.1 Additionally, the author's use of multiple popular nineteenth-century genres may distance readers. Literary scholars have identified within The Squatter and the Don historical romance, sentimentalism and melodrama, and realism, among many others.2 The novel's multiple genres warrant a complex reading approach; overlapping generic frameworks also suggest Ruiz de Burton's sophisticated rhetorical strategies for presenting the novel's pressing political and economic questions. To this point, however, scholars have neglected how Ruiz de Burton constructs physical and social spaces to facilitate conversations regarding business. While Marissa K. Lopez has written an excellent analysis on railroads in the author's [End Page 359] work, the use of domestic spaces as transgressive sites also deserves sustained attention.3 In analyzing how The Squatter and the Don uses physically constructed space, we can see that where Ruiz de Burton locates economic discourse allows the author to highlight exclusionary tactics that remove women from conversations about American economic affairs. The novel contains two economic narratives that were contemporary concerns. Furthermore, Ruiz de Burton demonstrate the plotlines' interconnected nature by using romantic storylines to entangle her principal families—the Alamares, Darrells, and Mechlins. The first plot functions as a composite account of illegal settlements on Mexican American lands. It details how William Darrell and other Anglo-American squatters seize and despoil the Alamar rancho. As the courts settle the contested land-claims, squatters shoot the family's cattle, depriving them of capital. Ruiz de Burton attempts to resolve this narrative through the marriage of Mercedes Alamar and Clarence Darrell; moreover, Clarence purchases the rancho to provide the Alamares capital.4 The second narrative centers on the proposed Texas Pacific Railroad that would have connected San Diego to the Mexican Gulf. Because they want to deter competition, the Central Pacific Railroad's so-called Big Four—men who fundamentally shaped California's economic future—frustrate the Texas Pacific's completion.5 The railroad's collapse necessitates Clarence, Mercedes, and the extended Alamar family to relocate to San Francisco. Even though male characters largely preclude women from business discussions, I argue that Ruiz de Burton intentionally has the novel's two matriarchs—Mrs. Mary Darrell and Doña Josefa Alamar—use their homes to invite themselves or become invited into these economic narratives. After framing domestic space historically, I track the author's gendered emphasis through three locations: the Darrells' homes, the Alamar daughters' placement in elite Eastern [End Page 360] venues, and Doña Josefa's San Francisco home. Because the story opens with Mrs. Mary Darrell admonishing her husband while they sit in their shared sitting room, the author emphasizes female voices in domestic spaces. During this and other moments within the land-claim plot, Mrs. Darrell actively drives the narrative action, instructing her affluent son Clarence to buy the land rather than pre-empt—that is, to prematurely settle on disputed Mexican land claims.6 Her climatic entrance into the room that the family later calls the "colony"—a domestic space appropriated by her husband—signals her reinsertion within the land-ownership plotline. That her presence discomforts the male audience demonstrates the author's ironic stance on excluding women from business matters. In the middle of the novel, the author curiously emphasizes the need for the female voice through its absence. During the wedding party chapters, Ruiz de Burton relocates two Alamar daughters on an extended visit to the eastern American seaboard. Even though these chapters do not overtly involve either economic plotline, they signal how gardens and trains actively remove the younger women from talking business. Ruiz de Burton closes the main narrative by returning her...

Bleacher Bugs and Fifty-Centers: The Social Stratification of Baseball Fans through Stadium Design, 1880–1920

Between 1860 and 1920, Americans grappled with the demographic and political changes of modernization. American baseball-team owners used furniture selection and arrangement to invite upperand middle-class native-born white men and women to the center of spectatorship and to marginalize nonwhite, immigrant, and working-class fans. Owners installed a new type of seating, the opera chair, to tame rowdy male audiences and protect the bodies of white women who attended frequent ladies' days. In newspapers, owners and sportswriters stereotyped spectators by seating section. Fans embraced, and at times resisted, the status imposed upon them through stadium design. A close reading of the interior landscape recorded in newspaper descriptions and photographs reveals spaces divided into hierarchical groups designed to assuage the anxieties of bourgeois white audiences. Professional baseball teams invited all into communal spectatorship to watch the national game, but segregated fans in pursuit of profit.

The Prophetic Literature

The Prophetic Literature

A masculinidade tóxica no discurso da saúde pública: estratégias de convocação dos homens em campanhas do SUS

Posto que há um imbricamento entre os discursos públicos de saúde que classifiam patologias e os modos de subjetivação que se materializam em discursos de consumo, o objetivo do presente artigo é mapear discursos sobre masculinidade que se entrecruzam no discurso da saúde pública sobre masculinidade tóxica. A partir dos pressupostos metodológicos da análise crítica do discurso, analisaremos os discursos que apelam para os modos de subjetivação em duas campanhas do SUS sobre masculinidade tóxica para que possamos explorar as formas de convocação do público masculino nelas presentes. É possível observar, em tais campanhas, a contraposição narrativa entre uma masculinidade saudável e outra doente, o deslocamento da responsabilidade pela saúde das instituições sociais para o indivíduo e elementos de legitimação do discurso que reforçam a masculinidade hegemônica nas mesmas peças (no caso, vídeos) que visam questioná-la.

A mulher como produto de satisfação masculina na pornografia: uma análise histórico-social

O presente artigo, tem como proposta apresentar a percepção da sociedade brasileira sobre o que é “ser mulher”, e sobre como esses estereótipos são reproduzidos nas mídias pornográficas, entendendo esse processo como uma construção social que acontece dentro de um sistema machista violento. A construção histórico-social do pornô foi descrita, englobando a era das revistas e fotografias, o avanço tecnológico com o cinema, o VHS, o DVD e, mais atualmente, a internet, podendo perceber o feminino sendo colocado nas mídias sempre de forma submissa e extremamente estereotipada. Além disso busca-se, também, apresentar um panorama das vertentes feministas que apoiam e reprovam a indústria pornográfica e como estas se posicionam com o fato de mulheres serem colocadas como produto comercializado para homens. Se caracteriza como um estudo bibliográfico, exploratório e descritivo, baseado em artigos científicos, livros e entrevistas relacionadas com a temática. Apesar de pouco ser discutido abertamente sobre a pornografia, ela é consumida por uma grande parcela da população e utilizada por muitos como “educadora sexual” sobre aqueles que não detém conhecimentos básicos em relação ao sexo. Já que em uma sociedade patriarcal, machista, misógina e sexista, dificilmente estas práticas serão reconhecidas como problemáticas para a vida das mulheres, em um meio que é voltado apenas para o prazer do público masculino. Por fim, é necessário que outras ciências, como a Psicologia, se apropriem ainda mais dessa discussão para que continue promovendo cuidado e suporte emocional para mulheres que vivenciam violências decorrente do machismo.

Gênero e sexualidade na publicidade

O objetivo deste estudo é analisar as representações de gênero e de sexualidade nas publicidades/propagandas veiculadas na televisão aberta brasileira, tomando-se como exemplo o anúncio publicitário da cerveja Nova Skin, que na peça denominada “Festa de São João” reitera o modelo de mulher ideal, bem como dissemina um texto que ridiculariza pessoas transgêneros. Busca-se, ainda, por meio do modelo tridimensional do discurso de Fairclough, utilizar-se da Análise Crítica do Discurso (ACD) para especificar como o discurso aparece enquanto texto, prática discursiva e prática social na reprodução publicitária. O referencial teórico-metodológico é formado pelos conceitos de gênero, sexualidade, publicidade e discurso por meio das teorias de Batista (2002), Butler (2010), Felipe (2006), Fairclough (2016), Freitas (2011) Gauntlett (2008), Leite (2002), Louro (1997) entre outros. O estudo demonstra, assim, a maneira discriminatória pelo qual o gênero e a sexualidade foi veiculada na campanha publicitária de tal marca de cerveja, cujo produto, de acordo com estudos já realizados, é direcionado ao público predominantemente masculino.

‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences

Horror has long been understood as a ‘bad object’ in relation to its audiences. More specifically, this presumed relationship is a gendered one, so that men are positioned as the genre’s natural audience, while women’s engagement with horror is presented as more fractious. However, those horror films framed as feminist require a reorientation of these relations. This article foregrounds the critical reception of a ‘conspicuously feminist’ horror film in order to explore what happens to the bad object of horror within an opinion economy that works to diagnose the feminism or its absence in popular culture. Reviews of Teeth (2007), a ‘feminist horror film’ about vagina dentata, illustrate the push and pull of gendered power attached to feminist media, where empowerment is often understood in binary terms in relation to its gendered audiences. The assumed disempowerment of male audiences takes precedence in many reviews, while other narratives emerge in which Teeth becomes an educational tool that might change gendered behaviours, which directly empowers female audiences or which dupes women into believing they have been empowered. Finally, Teeth’s reviews expose a language of desire and fantasy around vagina dentata as an automated solution to the embodied experiences of women in contemporary culture. Teeth’s reviews, I argue, offer a valuable case study for interrogating the tensions in discourse when the bad object of horror is put to work for feminism.

A Performatização de Masculinidades nas Capas de Sui Generis (1995-2000)

O artigo propõe, a partir de uma leitura crítica de 12 capas publicadas pela revista Sui Generis entre os anos de 1995 e 2000, analisar a construção discursiva (imagético e textual) das masculinidades, interrogando quais representações do masculino são ali encenadas, reiteradas ou deslocadas. Entende-se que esse conjunto permite refletir criticamente sobre como as masculinidades performadas na publicação inserem-se em processos de negociações e reelaborações editoriais e sociais que, no contexto de uma revista endereçada majoritariamente a uma audiência gay masculina, estão inter-relacionadas a processos mais amplos de visibilização e cenarização pública das homossexualidades no Brasil na virada do último século.
 Palavras-chave: Masculinidades. Homossexualidades. Jornalismo. Gênero.

TECHNIQUES FOR BLOGGERS WORKING WITH A MALE TARGET AUDIENCE ON THE EXAMPLE OF RUSSIAN BLOGGER DMITRY “GOBLIN” PUCHKOV

The concept of “blogger” as an integral and important part of “influence marketing”, as well as techniques and examples of competent work with the segment and advertising integration on the example of Russian blogger Dmitry “Goblin” Puchkov has been considered. The marketing mechanisms that the brand generally uses when attracting bloggers to promote the product have been reviewed. A number of methods of competent work of blogger Dmitry “Goblin” Puchkov with a male target audience has been highlighted, the resources on which he carries out his activities and the content contained on them have been considered. Recommendations to marketers aimed at an adult male audience for the successful development of channels with subsequent placement of advertising content have been given.

PROFILE OF USERS OF AMBULATORY AND HOSPITAL SERVICES

The goal of this study was to understand the gender and age profile of the users of ambulatory services at public hospital. Gender and age are fundamental elements for the construction of public policies at local and regional level. We performed a 3-year retrospective data collection, regarding age and gender of the population of the outpatient clinic of the public hospital between 2013 and 2015. It is a research with quantitative approach performed through three databases from january 2013 to December 2015 totaling 460.505 consultations. The database of the public hospital was adopted as the primary source, it was also consulted the database of the last two censuses of the Brazilian Institute of Geography and Statistics (IBGE) and the database of the Regional Health Division. The cross-checking of data, through Microsoft Excel and the Online Analytical Processing (OLAP) software, allowed the construction of a graph structured by gender and age according to the standards defined by IBGE on 2010, as well as the comparison between age and gender profile of the total population attended by public hospital and its consultations. The female audience represents 60.5% of the attendances, while the male population accounts for 39.5%. Only in the age groups between 0 and 14 and 85 to 89 years the male audience is larger. The difference in care is accentuated in the middle of the pyramid, in the ranges between 30 and 69 years, during which time women are responsible for 65.5% of the attendances against 34.5% of men. Such gender proportional differences are maintained on the total population, the only significant variation is on the age group from 80 and older where although there is a female majority of users, there is also a larger female majority on the population. Studies show that women make more references to health problems than men, as these represent, according to the male imagination, virility and strength, not representing vulnerability to the disease. Men do not recognize themselves as targets of health care and they are less likely to seek health services for cultural reasons, mainly, opening space for discussion about social inequalities in health between men and women.

CONSUMER BEHAVIOR IN RELATION TO COSMETICS

Cosmetics are shown highlighted in trade not only in Brazil, but also worldwide. If previously there was little participation of the male audience in this segment, currently the scenario is different. The change in male behavior, the demands of modern society and the labor market for a better appearance, were the main factors that drove male demand for beauty products and services. The general objective is to understand and analyze male consumer behavior with cosmetics. The methodology used was a bibliographic, exploratory, quantitative research, with male consumers. The survey showed that 58% are concerned with appearance, 73% spend up to R $ 100.00, 55% are concerned with quality, 57% buy from specialized stores, vanity is related to well-being 61% and 48% buy products to take care of the whole body.

Feasibility and acceptability of a video library tool to support community health worker counseling in rural Afghan districts: a cross-sectional assessment

BackgroundRural Afghan populations have low skilled birth attendance rates and high maternal and infant mortality. Insecurity and armed conflict, geographic barriers, and cultural norms often hinder women’s access to facility-based reproductive, maternal, newborn, and child health (RMNCH) services. Community health workers (CHWs) are critical agents for behavioral change in this and similarly fragile settings, where RMNCH information exposure is limited by low literacy and mass media access. We assessed the feasibility and acceptability of a computer tablet-based health video library (HVL) to enhance CHW counseling on RMNCH topics in three rural Afghan districts.MethodsThe HVL was introduced by trained CHWs in 10 pilot communities within one rural district in each of Balkh, Herat, and Kandahar provinces. We used a mixed-methods study design to assess exposure to and perception of the HVL 6 months post-introduction. We surveyed married women (n = 473) and men (n = 468) with at least one child under 5 years and conducted in-depth interviews with CHWs and community leaders (shuras and Family Health Action groups) within pilot communities (n = 80). Program improvement needs were summarized using quantitative and qualitative data.ResultsHigher proportions of women in Balkh (60.3%) and Herat (67.3%) reported viewing at least one HVL video compared to women in Kandahar (15%), while male HVL exposure was low (8–17%) across all districts. Most HVL-exposed clients (85–93% of women and 74–92% of men) reported post-video counseling by CHWs. Nearly all (94–96% of women and 85–92% of men) were very interested in watching videos on other health topics in the future. Participants recommended increasing the number of videos and range of topics, using tablets with larger screens, and translating videos into additional local languages to improve the HVL program.ConclusionThe HVL was a highly acceptable tool for relaying health information, but coverage of female audiences in Kandahar and male audiences broadly was low. The HVL should better engage men and other key influencers to engineer local solutions that directly facilitate male HVL exposure, indirectly improve women’s HVL access, and support collaborative spousal health decision-making. A larger efficacy trial is warranted to measure the HVL’s effect on knowledge and health-related behavioral outcomes.

ANALYSIS OF MALE BEHAVIOR TOWARDS PRIMARY HEALTH CARE SERVICES AND RECOMMENDED BY PNAISH IN THE PERCEPTION OF NURSES

Abstract: In 2009, the Ministry of Health published the National Policy for Integral Attention to Men's Health (PNAISH). This policy calls for holistic attention and attentive to the singularities of health behaviors inherent to the male audience. However, the presence of men and the services offered are still meaningless when compared to other priority populations in Primary Care. To analyze male behavior in relation to primary health care services and recommended by PNAISH in the perception of Nurses. This is a descriptive study with a qualitative approach. Data collection took place through a semi-structured interview with Nurses of the Family Health Strategy (FHS) in the municipality of Itaitinga in the state of Ceará-Brazil. Data analysis was done based on Bardin (through coding) and the discussion in the light of the available literature. From the interviews conducted, two categories can be inferred from the light of the pertinent and updated literature: 1) Search, presence and access of men to the health service offered in Primary Care; 2) Factors involved in health care provided to the male population. These categories guided the understanding of how the reality of attention to men's health has been experienced. It is concluded that there are several obstacles that need to be overcome so that good practices in human health are feasible. For that, health practices and intersectoral and transdisciplinary discussions are needed to promote the singular approach and the individualized reception of men in health services. In order to develop together with the male population, the deconstruction of gender stereotypes that conceptualize them as invulnerable beings, provide open spaces to speak about their weaknesses and needs, having their demands welcomed and resolved, in order to approach and insert men in primary care services. Keyword: Nursing. Public policy. Men's Health.

ENERVADAS, DE MME. CHRYSANTHÈME: UM SIMULACRO AUTOBIOGRÁFICO

Mme. Chrysanthème (1870-1948) foi presença recorrente nos periódicos das primeiras décadas do século XX, publicando inúmeras resenhas, crônicas e alguns de romances. Entretanto, caiu em completo esquecimento: eis o destino costumeiro das mulheres escritoras que contrariavam, em alguma medida, as expectativas do público masculino. Impulsionados pela recente reedição de Enervadas (2019), destrincharemos alguns dos traços inovadores de sua obra, dentre os quais a estrutura bipartida que nos conduz a um simulacro autobiográfico seguido por um diário ficcional. Trata-se de um livro em que a protagonista, Lúcia, transforma-se em uma obra de arte, performando uma existência artificiosa que subverterá as noções de gênero. Estamos diante, portanto, de um duplo movimento: um romance, ficcional por excelência, é também ficcionalizado pela sua narradora. O corpo de Lúcia é um quadro e suas atitudes são sempre calculadas para atingir determinado efeito. Este estudo, igualmente bipartido, pensando nos gêneros que a obra pretende simular, busca compreender as motivações de tão entediada personagem que age de acordo com os postulados pela burguesia para dela debochar. Pretendemos, ainda, demonstrar a modernidade que há em suas subversões, perfeitamente coerentes com o temperamento enervado da personagem.

‘Queering pornography’: situating lesbian identity and sexuality in the pornoscape and sexual-scape of Hong Kong

ABSTRACT This article intends to start a dialogue between the now globalized LGBT identity labels originated from Euro-American queer identity politics and the local experience of Hong Kong lesbians. In a three-year ethnographic research project conducted in Hong Kong, I found discrepancy between popular discourses on queer identity formation and the experience of Hong Kong consumers. Rather than relying on ‘queer pornography’ as the major point of reference and initiation, my lesbian-identified informants consumed mainstream pornographic videos depicting heterosexual intercourse presumably made for a predominately heterosexual male audience. This article examines what affects their choice(s) of pornography, to shed light on the complexity and agency of these porn-viewing lesbian subjects by not only situating them within the realm of ‘queer porn’ and globalized LGBT culture, but also teasing out the contextual limitations that gave birth to the specific form of lesbianism in the city. This enables insights into the ‘conditions of possibility for the appearance of these practices’ in the East Asian context – that is, how do these informants learn, understand, and interpret themselves as sexual beings, within the sexual culture of Hong Kong.

“Cultured Women” do not act in films: Tracing Notions of Female Stardom in Bombay Cinema (1930s–1950s)

Women were absent from the archives and rendered as invisible within the film business that was changing the urban landscape of Bombay city in the 1930s through talkies. Questions were raised about female sexuality and respectability primarily due to a morality discourse closely associated with women acting in films. Tension, moral panic and distress had emerged from the dominant stigma regarding films making industries being a heterosexual and hybrid workspace. Moreover, an economy that capitalizes on voyeuristic pleasures of its male audience by objectifying women’s bodies. So, even though it offered women higher salaries unlike other professions, it was deemed as “dangerous” for women. Therefore, “cultured women”, essentially from the upper class, were discouraged from being a part of the studio film industry situated in the cosmopolitan Bombay city. Taking forward Neepa Majumdar’s (2009) dialogue on the denial of agency to women in Indian cinema, this paper traces the incorporation of feminist agenda into film making. This paper is limited to studying the biographical, autobiographical details and picturization of three eminent actresses: Nargis, Kanan Devi and Durga Khote. Further, I would elaborate on the struggles undertaken by them and the roles they played in films in order to deconstruct the notion of female stardom and an “ideal Indian woman” picturized in Bollywood from the 1930s–1950s. This period holds relevance in film historiography due to the ideological construction of female stardom that had its pros and cons which I would be discussing in depth through the paper.

극단 시선의 아비뇽 오프 페스티발 프로모션 실제

The reality of the Avignon Off Festival promotion was analyzed based on market analysis. First, we approached the tendency of the entries and the audience. Participating works were successful in work and popularity, and were modern creative plays that utilized the characteristics of the country or the uniqueness of the performance team. The performances were perfect for all ages of the East and West. We distinguished between the works being performed and the performance genre preferred by the audience. There is a difference in probability between the participating teams and the audience''s preferred performance genre. The female audience, twice as many as the male audience, and the middle-aged, were the main audience of the festival, and more than 90% of the festival audience were French and Europeans from neighboring countries. We focused on the reality of performance promotions, focusing on the festival''s work, Mirong. The direction of the promotion is that you must visit the festival site in the previous year when the performance is scheduled, and that you should be introduced to a theater that is well-known through the directors or planners of the festival performance group. A well-known theater has its own network and has an audience, so it can help promote the performances of organizations entering overseas festivals at a high production cost and expense. The information that the audience comes and the performances are invited to other festivals just by promoting the streets is far from real. The need for publicity through local planners is absolute in promotions. A theater company or an artist who wishes to advance into the festival must systematically prepare based on a thorough field survey and network in advance. Human interaction with many stakeholders should be done and the prepared materials should be presented effectively. Countries such as Taiwan, China, and Denmark lend a theater to one of the theaters of the Avignon Off Festival for a long period during the festival, providing a foundation for their troupes to perform. It is hoped that Korea will also provide the foundation for performing at the national level to the troupes who want to advance to the Avignon Off Festival.

Psychology, Performance, and Social Context of Laughter in Azerbaijan Folklore

<p>Social context often drives the performance of laughter in cultural situations. As a metaphor, laughter provides not only an exchange of integrative information among the community members, but also the enactment of aggressive relations in the society. These characteristics may be seen clearly while observing metaphors related to the performance of laughter in the Azerbaijani socio-cultural environment. In the study of humor, content is usually analyzed but the performance of behavioral cues such as laughter is neglected, although it can shed light on the meaning of the communication. To understand folk behaviors and texts related to the laughter, I argue that special attention needs to be given to behaviors as well as texts communicated in a social situation. This study reveals that the jokes causing laughter are accepted and perceived by the male and female audiences differently. Women's laughter receives disapproval in the Azerbaijan cultural context regarding sexuality. Men take such laughter to be a threat to their manliness.</p>

Images, fantasy and violence: Woman in North Indian performance tradition svang

ABSTRACT The performative space of svang is primarily located within a prison house of male values, perspectives and judgments. In these performances, females are often revealed through male guts, literally and metaphorically, in their androgynous transformations wherein less of a woman and more of a man, they become a specimen of collective male consciousness on the stage. One important pattern of these representations is idealization of females as mothers/sisters and their devaluation as wife/beloved, revealing a significant ideological drive towards a dualistic image construction. The play of violence in these dramatic representations becomes manifest through a representational ideology, demarcating the feminine from the masculine in a set of attributes which become instrumental in constructing an on-stage image of females as unreliable and primitive. These popular dramatic representations constitute a space which largely remains in contrast to the practical and physically active world of the rural women and imagine a fantasy land where the male imagination cuts and fits females into fixed parameters of a make-believe world. Controlled and created by male imagination, watched by a male audience and often represented by males themselves, these representational spaces produce a curious impression of a group-controlled male fantasy in which females become a victim of a concerted psychological violence. The present paper seeks to dwell on the imaginative violence which is produced by these representations on the popular performative space of North India by focusing on examples from dramatic performances of svangs on the rural stages of North Indian states of Haryana, Uttar Pradesh, Punjab and Rajasthan.

SoHo as virtual theatre: performing gender, race, and class in 21st-century Colombia

ABSTRACT In this article I explore the cultural significance of SoHo, a magazine produced by and addressed to the Colombian elite yet consumed across a wider urban social spectrum. I carry out an analysis of the magazine in connection with the broader political, cultural, and social context of its production and circulation during the period it was directed by journalist Daniel Samper Ospina (2001–2015). I argue that under Samper Ospina, SoHo played a significant role in shaping gender ideologies in 21st-century urban Colombia. Overtly addressed to a male audience (its title means ‘Only for Men’) and following the model of Playboy and Esquire, SoHo operated during the period studied as a ‘virtual theatre’ where the Colombian elite converged and where a sort of education in postmodern sensibilities of both men and women took place. Such an educational process took the form of a double-edged performance of gender, social class, and race: firstly, in Austin's sense, upon the women it portrayed; secondly, in the theatrical sense, by the (mostly male) members of the Colombian elite that actively participated in its production. As a virtual theatre, SoHo carries out a specific type of ideological work that seeks to ensure cultural hegemony and, through it, the perpetuation of a system of domination that goes back to the colonial period and whose keys are ‘the lettered city’ and the ‘whiteness device’ (All translations are mine).