Conjunctiva in Contact Lens Wear Research Proposal

Conjunctiva in Contact Lens Wear - Research Proposal Example In a study conducted by Aragona P, Ferreri G, Micali A, Puzzolo D. in 1998 to detect the morphological changes of the conjunctival epithelium in contact lens wearers evaluated by impression cytology, it was found that cellularity, nucleus to cytoplasm ratio and goblet cell distribution were altered. In another study by Knop E, Brewitt H. in 1992 , where they discovered using the impression cytology technique on contact lens wearers that enlargement of the conjunctival cells took place as well as flattening of their cells. They also noted a decrease in the number of goblet cells. The late finding was contrary to what Connor C.G., Campbell J.B., Steel S.A., Burke J.H. have found in 1994 of an increase of goblet cells in daily contact lens wearers. As the conjunctiva has an important functional demand on the eye helping in keeping the eye moist and its cleansing effect through tears, it is thus an important first defence against debris and pathogens. Direct in vivo observation of the co njunctiva at a cellular level using the confocal microscope is likely to provide important new insights into the impact of contact lens wear on the ocular surface. This study is aimThis study is aimed to conclude results from in vivo research of those contact lens wearers. The significance of this research is to give more focused results on the effect of contact lenses contributing to add more knowledge to this specific aspect and whether or not any compromisation of the conjunctiva takes place. Please add a new paragraph as follows:- Program of research and investigation: - Under this heading, I would like you to write about To Clearly State the research problem, research key questions, sub question or hypotheses or key issues that will be tested or addressed This research will perform its investigation to describe the possible effects of lens wearing on 20 candidates to discuss the conjunctival hazardous effects (if present) and either confirm or deny the hypothesis in question. Inspection will be done at a cellular level to further investigate any changes that may occur in the conjunctiva cells including epithelial cells, goblet cells and cellular density. According to Adar S, Kanpolat A, Surucu S, Ucakhan OO 1997 "Epithelial changes were noted to be more frequent and more severe in symptomatic patients than in those without any complaints." Moon JW, Shin KC, Lee HJ, Wee WR, Lee JH, Kim MK. 2006 also found that "The ocular surface changes in keratoconus may be directly related to contact lens wear" The hypothesis is that contact lenses do not produce any significant effect on the conjunctiva, mainly superficial conjunctival epithelial cell density (it is unclear whether this would be an increase or decrease) and results in a decrease in

Reflections of a Pencil Essay Example | Topics and Well Written Essays - 750 words - 1

Reflections of a Pencil - Essay Example Teaching is likened to a pencil†¦. funny though, the thought of me being stick thin with a rubber head!...but seriously, like a pencil, everything I do leaves a mark†¦an impression that can be read and emulated by my students. It is important for me to build their trust in me as establish a relationship with them more than just being their teacher. Engaging them in conversations outside the academic subject matter we share during class time and focusing on their own interests would make them feel that I am truly interested in them as persons and not just in the school performance they can give out as students. One example is attending their extra-curricular events. Reaching out to their parents would definitely be beneficial not only to them but also to me. I would get a peep into their home lives and a more holistic view of my students, so I could more appropriately customize my teaching to them. Maintaining good and regular communication with parents gives me a lifeline of support in understanding my students better. Being a good role model not only to the students I teach but to everyone else is a tall order for a fallible creature like me, but that is what is called for as a teacher. Especially to my students, I am to embody what is true and good, a wellspring of values virtues wherefrom the youth can drink to sustain them in the building a good character. Thinking about such a noble task, makes me realize just how far I am from that ideal. Like everyone else, I am still a work in progress and very prone to commit mistakes. I lose my cool, I tend to favor some students over the others, and I don’t do a thorough lesson plan. These mistakes I could correct and rectify just like the pencil as I have become when my trusty rubber head comes in to erase my failures to provide me with a clean slate that can help me start a-fresh.   

Tesco Customer Experience Case Study Example | Topics and Well Written Essays - 1000 words

Tesco Customer Experience - Case Study Example People believe that they the company can use its size and success to be a force for good. This challenge is indeed accepted by Tesco with enthusiasm and commitment. Consumers identify a brand's distinctive capabilities based on their perceptions that have themselves been created by the marketers over a period of time. A genuine brand is "the internalized sum of all the impressions received by the customers and consumers resulting in a distinctive position in their mind's eye based on perceived emotional and functional benefits" (Knapp). A brand, in general, conveys certain aspects like attributes, benefits, values, culture, personality and user. According to a recent study, Tesco is believed to have the strongest brand image online and this fact is clearly visible from its official website. Tesco implemented the Club card rewards program to gather necessary customer information, which it then used to cater to specific customer needs and potential wants. When shoppers signed up for the card, they automatically submitted their age, gender, and income. Tesco was able to segment their shoppers based on these factors. As soon as the shopper used the card when shopping online or in-store, purchased product information was automatically uploaded into Tesco database. Product information was used to cross-sell additional products and services such as grocery delivery services. This way, Tesco strives continuously to keep all its customers satisfied and ensure quality shopping every time they visit the store or the website. A new strength that has been adopted among the staff at Tesco stores is called future, instead of having criteria to meet every store, the strengths, weaknesses, opportunities and threats are discussed with staff in each store and problem are sorted out, making each stores SWOT that little bit different, although the main goals are not ignored. Another ploy on Tesco's behalf to win the customers loyalty it that of vouchers for schools a scheme where one voucher I given for every five pounds that is spent in store, not only does this encourage adults to help their children but will make the children encourage the adults to shop at Tesco's to help their school. Tesco as a company uses clear values to underpin what they do. Their core purpose is based on "Creating value for our customers to earn their life time loyalty. Tesco has invested one billion pounds. Tesco believes in one important thing, i.e. they offer the best quality on a broad range of products and believe that they offer the best value. They have invested one billion pounds since 1996 on the campaign to reduce prices to customers and that continues to build as they go in to 2004. They offer outstanding customer service; every customer is offered help at the checkout. Location and convenience is another reason to choose Tesco, they have introduced a staggering 200 in the last two years that stay open 24 hours a day and they plan another 1540 new express stores, which are Tesco mini stores linked on to esso garages and forecourts. Another key

Reflections of a Pencil Essay Example | Topics and Well Written Essays - 750 words - 1

Reflections of a Pencil - Essay Example Teaching is likened to a pencil†¦. funny though, the thought of me being stick thin with a rubber head!...but seriously, like a pencil, everything I do leaves a mark†¦an impression that can be read and emulated by my students. It is important for me to build their trust in me as establish a relationship with them more than just being their teacher. Engaging them in conversations outside the academic subject matter we share during class time and focusing on their own interests would make them feel that I am truly interested in them as persons and not just in the school performance they can give out as students. One example is attending their extra-curricular events. Reaching out to their parents would definitely be beneficial not only to them but also to me. I would get a peep into their home lives and a more holistic view of my students, so I could more appropriately customize my teaching to them. Maintaining good and regular communication with parents gives me a lifeline of support in understanding my students better. Being a good role model not only to the students I teach but to everyone else is a tall order for a fallible creature like me, but that is what is called for as a teacher. Especially to my students, I am to embody what is true and good, a wellspring of values virtues wherefrom the youth can drink to sustain them in the building a good character. Thinking about such a noble task, makes me realize just how far I am from that ideal. Like everyone else, I am still a work in progress and very prone to commit mistakes. I lose my cool, I tend to favor some students over the others, and I don’t do a thorough lesson plan. These mistakes I could correct and rectify just like the pencil as I have become when my trusty rubber head comes in to erase my failures to provide me with a clean slate that can help me start a-fresh.   

THE ROLE OF WOMEN IN TODAY SOCIETY VERSUS THEIR TRADITIONAL ROLE Essay

THE ROLE OF WOMEN IN TODAY SOCIETY VERSUS THEIR TRADITIONAL ROLE - Essay Example However, with the passage of time, the writer forgot about the beauty the river exuded and instead concentrated only on thoughts of the usefulness the river in helping the author to safely row his steamboat. Moreover, instead of admiring the beauty of the river, he started finding out the negative traits the river had. He was more concerned in looking at a single living branch of a tall dead tree, difficulty in steering the steamboat in the night and other such problems the river may pose. The plain simple lives when people had time to watch the elegance of a woman has been lost with the passage of time. The author pities all those who overlook the gracefulness, elegance and charm a woman exudes especially doctors (Twain, 1883). Take the example of the legendary Egyptian queen Cleopatra. She was known for her beauty and charm. At the same time she was a great ruler and her achievement as a queen has spurred many stories (Tour Egypt, 2011). This is a single case. In the traditional so ciety life of women spiralled around the house and family. Most women got married at an early age and were thrust with the responsibility of bearing and caring off offspring. The role of modern women today is much greater. She has to equally take care of the house, family and also venture out to work.

American football positions Essay Example for Free

American football positions Essay Play design is two fold 1. To get to the outside and take advantage of our TB’s speed. 2. To create vertical seams so that we can take advantage of over pursuing defenders Oline Frontside- Reach Overtake Rules O-line Backside- Cut backside Defensive tackle Playside receivers†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦GOTTA MAN UP AND GET PHYSICAL HERE!!!! QBOpen at 4 or 8 o’clock and find the running back. Once you have handed off the ball Boot away from the play (Right) and carry out your â€Å"Winter†. Get on your horse to handoff the ball. TB is NOT waiting for you. LTStretch Rules LGStretch Rules CStretch Rules RGStretch Rules RTStretch Rules WPearl Route XWheel route YMan block. ZMan block FbMotion up to the line and block the Sam linebacker. If he is inside the box then go get him. TBLine up 7-8 yards from the line of scrimmage (in Pistol) or 2 yards behind the QB and directly behind the guard (in Gun). ONCE THE QB HAS THE BALL open up and aim 5 yards outside the play side tackle. Your read is the last man on the line. If the Tackle has him sealed then stay on your track to the outside, if we don’t have the edge cut it upfield RIGHT AWAY!!!! Coaching Points JESUS=CROSS Play designed to get our X receiver lost in coverage. Play also allows for us to take a shot if we have a coverage mismatch on the outside. QBAlthough this is our 30 series so it’s a quick 5 step drop. In any man coverage we are looking for the X receiver as he clears the tackle. In cover three (Cut and Hold) we are looking for the Y receiver who is hooking up in the zone. LTSlide Pro LGSlide Pro CSlide Pro RGSlide Pro RTSlide Pro WGo route. Get inside position and get upfield. Get on your horse as you are an option on this play. XDrag at 4 yards. If there is a linebacker in your track go underneath him. Make sure that you are going underneath both the FB and Y receiver. You should almost brush by them as you pass them. YRun a drag at 5 yards and once you get on top of the tackle, turn it into a hook. (you are setting the last â€Å"pick† for the X receiver coming across the formation) Don’t make the pick look deliberate, just turn and look for the ball forcing the defender to go around you. ZGo route. Get outside position and get upfield. Get on your horse as you are either getting the ball deep, or clearing out that area for the X receiver. FbMotion into the line and run a drag at 5 yards. You should look to brush by the X receiver as you pass by ONTOP of him. RbEarly Motion. Set up behind inside leg of tackle, and cover up that gap. If no one comes release to the flats. Coaching Points (H)awaii-Hooks QB’s know where you are going with the ball pre snap, and throw the ball on time on your third step QBPresnap read: FS for cover zero, and Man or Zone off motion. Cover 1 we are looking backside (W) . Cover zero we are looking to Go route (X). Cover 3 Hold and Cut we are looking for the Y receiver. If there is a blitz or interior pressure from a blitz we are checking down to FB. LTSlide Pro LGSlide Pro CSlide Pro RGSlide Pro RTSlide Pro WHook breaking 7 yards back to 5. Get inside position on your DB and attack the ball when its in the air. XGo route. In cover zero look for the ball as soon as you have cleared your defender. Get inside position on your defender ASAP. YGet inside position on your defender and Hook at 10 yards, work back to 7 yards. Break and come back to the QbDont wait for the ball to come to you, go get the ball ZGet inside position on your defender and Hook at 7 yards, work back to 5 yards. Break and come back to the Qb Dont wait for the ball to come to you, go get the ball FbDrag at 3-5 yards. RbEarly Motion. Set up behind between backside tackle and guard. You are responsible for anything that comes through this gap.

Media Essays Magazines Men Women

Media Essays Magazines Men Women Magazines Men Women Literature Review Many scholars have argued the media play an increasingly central role within contemporary society, and the shaping of identities (Holmes, 2007; McRobbie, 2000). Kellner (1994, cited in Durham, 1995, p.2) argues the media provide individuals with the materials to forge their identity and sense of selfhood; including our notions of male and female and what it means to be good or bad. As a medium, magazines have not been studied in as much depth as newspapers, television and radio. However they are still an important cultural tool and a valuable medium to study, with a unique function ‘to bring high-value interpretative information to specifically defined, yet national audiences’ (Abrahamson, 1996, cited in Holmes, 2007, p.511). The analysis of images within magazines is a valid way of studying gender roles and relations according to Butler and Paisley (1980, p.49). They argue images formed from mediated precepts become part of a viewer’s conception of themselves. Vigorito and Curry (1998, p. 136) point out that popular culture is ‘increasingly visual’, and that magazine pictures ‘carry significant messages about cultural norms and values, including the norms of gender relations’. In a study of the pictorial images featured in Playboy and Cosmopolitan, Krassas et al (2001, p.752) argue that images within magazines ‘have a demonstrable effect on how we think about ourselves’, and that they ‘explicitly advise the reader about how to look and act’. The following study that is predominantly image-based analysis is therefore a legitimate and valid way of studying the sample material. Research into masculinity and male depiction within women’s magazines has been scarce according to many scholars (Holmes, 2007; Farvid and Braun, 2006; Vigorito and Curry, 1998), with most research focused on ‘the social construction of femininity’ (Vigorito and Curry, 1998, p.135). However, with an established theory that identifies gender as a social construct that defines masculinity as historically reactive to changing definitions of femininity (Kimmel, 1995, p.14), the study of the representation of men and their roles within women’s magazines has become increasingly significant. As Farvid and Braun (2006) explain: The focus on men is particularly relevant because, in a heteronormative world, male and female sexualities are constructed simultaneously. Therefore, although previous examination of femininity/female sexuality in magazines have been useful, they are only partially complete, as female (hetero)sexuality is also constructed through the magazines’ account of male (hetero)sexuality (p.298). The following study concerned with the sexual representation of men in contemporary women’s magazines is therefore pertinent to existing theory. As the majority of studies are also American and at least five years old, there is justification for a contemporary, English study on the sexual presentation of men in women’s magazines. In his observation of women’s magazines, Gauntlett (2002, p.51) notes that the changes in content coincide with societal changes in gender relations. The 1940s and 1950s saw the emphasis was centred on a domesticated ‘simpering housewife’, that saw education and careers as the masculinisation of women. The 1960s saw the sexual revolution that marked the seeds of change within society and women’s magazines. From this time the sexual longings of all women including the ‘respectable’ and the unmarried, could openly be acknowledged and discussed (Wouters 1998, p.188). In the 1970s and 1980s magazines continued to change, to account for women and their changing positions within society (Gauntlett 2002, p.52). Attwood (2004, p.15) argues since the 1990s popular media has depicted ‘new sexualities’, which break existing norms of feminine behaviour by addressing women as ‘knowing and lustful’. McNair (2002, p.88) has also noted that we increasingly live in a ‘striptease culture’ that is focused on ‘sexual confession and self-revelation’, that manifests itself within print media. On a broad level, the following study is concerned with how this emerging sexual discourse within the media and society is manifested within women’s magazines. Alongside changing societal values and morals, there are strong arguments suggesting the content of women’s magazines can be directly influenced by the interests of advertisers. In the relentless search for new markets by advertisers, erotic images of men are designed to appeal to both liberated women as well as the new male consumer (Rohlinger, 2002, p.61). In the 1990s, rumours circulated that women’s magazine Company, had found a sales formula relating to circulation figures with the number of times the word ‘sex’ appeared on the cover lines (Gough-Yates, 2003, p.139). Consumers that buy young women’s magazines also have the most desirable demographic to advertisers – young, single, employed, well educated and urban – and are the most likely to buy a magazine for it’s coverage of sex (Rohlinger, 2002, p.61). There is a general agreement that the content of women’s magazines has reached a sexual peak in today’s society. Sex ‘sets the tone, defines the pace, and shapes the whole environment’ of women’s magazines (McRobbie, 1996, p.177). There is currently a ‘lust revival, an acceleration in the emancipation of sexuality’ (Wouters, 1998, p.200). Winship (2000, p.43) argues sexual discourse, which was once a private dialogue, has been re-positioned in a public space, moving it from a private to a public discourse. Attwood (2004, p.15) supports this idea, arguing that ‘sexy images have become the currency of the day’. Not only has the sheer volume of sexual coverage increased dramatically, Scott (1985, p. 387) points out that there has also been a complete liberalisation of the treatment of sex within women’s magazines. Sexuality has replaced romance as the ideological focus – with a more pronounced emphasis on ‘strong, frank, and explicitly sexual representations’ (McRobbie, 1996, p.192). With sexuality replacing romance as the ideological focus of women’s magazines, Giddens (1992, p.1-2) argues sexuality has been released from the confines of a heterosexual, monogamous, procreative hegemony and has been replaced with ‘sexual pluralism’, a sexual identity defined and structured by individual choice. This individual choice and ‘sexual pluralism’ can be seen within the pages of women’s magazines as young women are actively encouraged to be ‘sexual actors, even predators’ in their search for sex (Gauntlett, 2002, p.206). Gauntlett (2002, p.97) supports Giddens arguments for a post-traditional society, referring to the increased levels of divorce and separation as individuals move from one relationship to another. Furthermore, Wouters (1998, p.208) argues there is now a ‘sexualisation of love and an eroticisation of sex’. With the liberalisation of women’s magazines in favour of a more sexually confident standpoint, debates surround the change in attitude and treatment towards men in favour of an objectified, sexist approach. Men, it has been argued, are no longer treated with respect ‘but could be seen as inadequate, or the butt of jokes’ (Gauntlett, 2002, p.53). As Wolf (1994) explains: Male sexuality, once cloaked in prohibitions that kept women from making comparisons, is under scrutiny, and the secrets of male virility are on display (p.24). After years of women complaining about the objectification of their bodies, the male body was ‘on display: cut up, close up and oh! so tastefully lit’ (Moore, 1988, p.45). As women’s magazines became more sexual, the availability of men’s bodies as sex objects became ‘central to this emergent discourse’ (Ticknell et al, 2003, p.54). Counter to the argument of women’s magazines as a stage for demeaning and objectifying men, is the admittance this it is something men’s magazines have been doing for decades, and since both sexes chooses to do so it probably doesn’t matter in sexism terms (Gauntlett, 2002, p.174). Women’s magazines also do not treat men as just bodies or ‘sex machines’ all the time; they are also presented as thoughtful, emotional beings (Gauntlett, 2002, p.188). Additionally, it could be argued that far from being an ‘emergent’ discourse, the male appearance has been available for the viewing pleasure of women for centuries. In the nineteenth century, a man’s physical appearance was taken as a sign of intelligence and morality, and women were invited to view men’s bodies as a sign of their superiority and harmony (Stern, 2003, p.220). Despite evidence to suggest it is not a valid criticism that women’s magazines objectify men; the viewing of men’s bodies in today’s society is done so in a mainstream context, using mechanisms historically associated purely with men and how they look at women, signalling that, for the first time, ‘erotic spectacles had crossed gender boundaries’ (Moore, 1988, p. 47). Laura Mulvey, in her essay ‘Visual Pleasure and Narrative Cinema’ (1975), first introduced the idea of the ‘male gaze’; Mulvey argued that mainstream Hollywood cinema primarily sets out to satisfy the unconscious desires of men. She argued that male characters do most of the looking within films, making them the (active) subjects, and female characters are looked at, making them the (passive) objects. Male spectators identify with the male protagonist, and female spectators, Mulvey says, are also compelled to take the viewpoint of the central male character, denying women of their own perspective. A temporary masculinisation is the only way Mulvey can offer pleasure for the women viewer. And while the male hero in the film cannot be viewed as a sexual object, ‘according to the principles of the ruling ideology’, he can be admired by men narcissistically as an ideal version of the self (1975, p.14). Perhaps the biggest problem with Mulvey’s argument is the denial of a female gaze (Gauntlett, 2002, p.39). As Moore points out, To suggest that women actually look at men’s bodies is apparently to stumble into a theoretical minefield which holds sacred the idea that in the dominant media the look is always already structured as male. (Moore, 1988, p.45). Support for Mulvey’s masculinised female viewing is found in Krassas et al’s (2001) comparative study of gender roles in Cosmopolitan and Playboy. The study concluded that both magazines reflected the male gaze, regardless of audience, because both portrayed women as sex objects and the main concept within both was the idea of women attracting and sexually satisfying men. Additionally, if gaze behaviour is characterised by the viewing of a passive object, Schauer (2005, p.57) argues men are often pictured in traditional roles with power tools, hammers, army uniforms and so on, to show a engagement in an activity as a ‘strategy to offset the passivity of being looked at’. If this is the case, Mulvey’s framework of the gaze cannot be applied to women. However, since their earliest days, movies have included and celebrated attractive men whose sexual magnetism has no doubt drawn women into cinemas (Gauntlett, 2002, p.39). Since Mulvey’s argument, various writers have argued for the inclusion of the female spectator within the framework of the gaze and Gauntlett describes Mulvey’s argument as ‘untenable’ (2002, p.39). Van Zoonen (1994, p.97) argues Mulvey’s analysis of patriarchal cinema is ‘dark and suffocating’, which has lost ground to an alternative ‘more confident and empowering’ approach to female spectatorship that allows a ‘subversive’ way of viewing the texts. Moore (1988, p.59) also makes the case for a female gaze, arguing that it does not simply replicate a ‘monolithic and masculinised stare, but instead involves a whole variety of looks and glances – an interplay of possibilities.’ Attwood (2004, p.15) argues that in today’s society, objectification is a necessary precondiction for erotic gazing in a narcissistic culture ‘where the body is widely represented as an object for display’. In this climate, there is a ‘strong encouragement for a female gaze and the creation of a space for male narcissism’ (MacKinnon, 1997, p.190). Therefore, securing the gaze of others connotes ‘desirability and self-importance for both women and men’ (Attwood, 2004, p.15). It could be argued therefore, that women’s magazines may provide a stage for the objectification of men which in a ‘narcissistic culture’ is both inevitable and desirable. The following study is concerned with whether there is evidence of a female gaze within women’s magazines that fits within Mulvey’s framework of gaze. Thus, whether men are actively viewed by women as passive objects. Furthermore, Mulvey points out that the appearance of women are often coded for strong visual and erotic impact, so that they can be said to connote ‘to-be-looked-at-ness’ (1989, p.10). This element will be analysed in the examination of the images of men within the three chosen magazines to discover if men display the same visual codes and therefore imply they are receiving a female gaze. The growing preoccupation with sex and male bodies within women’s magazines has come under much debate by theorists, with one of the most passionately critical arguing they are morally reprehensible, offering ‘a depressing portrait of the modern British woman’ (Anderrson and Mosbacher, 1997, p.18). Women were described as dishonest and crude, with ‘no moral standard at all’ (p.56). Women can be, once corrupted, both more disgusting and degraded than men. As Shakespeare said, ‘Lilies that fester smell far worse than weeds’. (Burrows in Anderrson and Mosbacher, 1997, p.57) Despite the passionate and dramatic way the report denounced the content of women’s magazines and their sexual content, the arguments put forward were branded as outdated and rigid, with the overwhelming consensus agreeing that the liberalisation and sexualisation of magazines were, although not perfect, a good and liberating thing nonetheless. Magazines borrow from feminist discourse, which imply to their readership a genuine commitment to the equality of men and women in their sexual worth (Tyler, 2004, p.96). The depictions of female sexuality are an empowered one, as there are representations of young women as sexually active and independent with the right to desire sex and receive sexual pleasure. The magazines can therefore be seen as sexually liberating and offering an image of sexual agency for women (Farvid and Braun, 2006, p.299). The main elements and issues covered by women’s magazines all figure ‘high in the feminist agenda’, and confirm that women’s magazines strive to provide an image of equality (McRobbie, 1999, p.57). Others argue however, that regardless of the emergent sexual discourse which implies women’s magazines provide a feminist message for readers; the obsession with men in the magazine’s reinforce an earlier notion that believes men are the route to happiness, and in reinforcing this attitude, they are legitimising and naturalising patriarchal domination (Farvid and Braun, 2006, p.296). The ideological underpinnings conform to rigid and traditional norms. These constructions position women as objects of male desire and underscore women’s subordinate position in contemporary society’ (Durham, 1995, p.18). Furthermore, it has been argued that women’s magazines use sex as a faà §ade to represent women as dangerous and daring through sex when in fact, the sexual acts represented are only ‘mildly transgressive’, and are actually based on traditional gender roles (Machin and Thornborrow, 2003, p.455). The theory of women’s magazines presenting traditional and stereotypical gender roles in the subtle undertones of the magazine’s, mirrors the opinion theorists felt about women’s magazine’s in the 1940s and 1950s; that they projected the image of a ‘simpering housewife’. Admittedly the appropriate roles for men and women were referred to more explicitly in those times, however it still implies that both present essentially the same message: that men are the route to happiness (Klassen et al, 1993). Goffman’s (1979) study into gender stereotypes within advertisements commented on how different poses portray messages about masculinity and femininity. He found that ‘women were often portrayed in very stereotypical ways, such as in submissive or family roles and in lower physical and social positions than men’ (Baker, 2005, p.14). A number of theorists adopted his methods for analysing magazine images, all of which supported his findings that gender is stereotyped within images; with women portrayed as submissive and passive, and men as dominant and superior (Kang, 1997; Klassen et al, 1993; Krassas et al, 2001; Vigorito and Curry, 1998). Similarly, Kim and Ward (2004, p.48-49) argue that women’s magazines skew the portrayal of males and females to their target audience so that editors, writers and advertisers can take advantage of gender myths and fears. In contrast to this traditional view of gender is McRobbie’s (1999, p.50) argument that it is wrongly assumed the ideology of the magazine’s will be absorbed in a direct way by readers. Hermes (1995, p.148) supports this argument suggesting that readers only connect with part of what a magazine is saying, and cultural studies makes the mistake of assuming that ‘texts are always significant’. Additionally Gauntlett (2002, p.207) points out that the encouragement of women to be active in their search for sex is a rejection ‘of passive femininity’, and ‘is feminist progress’. He adds that while women’s magazines may have a large proportion of content concerned with finding the right man, women are aggressively seeking out partners rather than waiting for a ‘nice husband to come along’ (p.191). He therefore rejects the idea of women being presented as passive, subservient beings which is a traditional notion of femininity. The presence of men as objects to be viewed by women is in itself also a way in which traditional gender ideologies is subverted within the magazines. This approach to men is traditionally only associated with the way men have treated women (Gauntlett, 1999, p.188). Though there are convincing arguments for both sides of the argument; that women’s magazines either present a feminist message, or a traditional ideological message, most scholars agree women’s magazines ‘do not construct a single mythic meaning of feminine identity, or present one ideological position for their readers. Instead, the discourses of women’s magazines are mixed, somewhat contradictory’ (Bignell, 1997, p.56-57). The oppositional arguments surrounding the extent to which gender is presented within women’s magazines leads McRobbie (1994, p.163) to believe there are ‘spaces for negotiation’ within women’s magazines, and that they bring ‘half a feminist message’ to women that would not otherwise receive it. In support of this, Hollows (2000, p.195) argues the feminist messages that are within women’s magazines produce spaces ‘where meanings can be contested, with results that might not be free of contradictions, but which do signify shifts in regimes of representation.’ Within the following study I wish to identify to what extent gender is portrayed as stereotypical and traditional, and how this is negotiated within the ‘emergent’ sexual discourse of the magazine’s, specifically in the objectification of men. Alongside this aim, I also wish to identify whether there is evidence of a female gaze in which men are presented in a way that implies they will receive an active sexual objectifying gaze.