In Pumping Irony, fitness expert Andrew Ginsburg presents a workout and diet program that helps one lose weight, build muscle, and sculpt a unique body. Ginsburg treats each physique as an art project, except the body is the canvas, the weights are the paintbrush, and the food is the paint. In addition to the diet and exercise regime, this book offers unique insight into finding the right trainer, advice on how to sniff out fake trainers, gym etiquette, and details regarding how to find the right gym attire. The mental side of fitness is also discussed to keep the trainee motivated to reach their fitness goals. Pumping Irony presents a tried and true workout and diet strategy that leaves nothing to chance. By combining extensive fitness knowledge with engaging humor, this book makes the notion of going to the gym a fun and exciting one. Readers will be able to laugh their way through the workout, regardless of its intensity.

Offering students an informed overview of some of the most significant sociological work on gender produced over the last three decades, these readings are supplemented by a substantial critical introduction and editorial commentary.

Focusing on the sociological embodiment of various "social actors", the authors consider the subsequent links with the constraints of daily life i.e. the male body, female therapists, body builders, marital and sexual counsellors, sex workers. They present recent or new research findings on aspects of the body, variants from what is conventionally seen as "natural" and consider and question aspects of self-image versus society's expectations. A number of developments in discussions of the body on such topics as feminist thought, the study of health and illness and cultural theory are presented as a series of essays which demonstrate the variety of interests mentioned.; The book is aimed at undergraduates/postgraduates students and lecturers in sociology, cultural studies, women's and gender studies.

The author is a columnist for the Washington Post newspaper.

Little Big Men is a study of competitive bodybuilders on the West Coast that examines the subculture from the perspective of bodybuilders' everyday activities. It offers fascinating descriptions and insightful analogies of an important and understudied subculture that has risen to widespread popularity in today's mass culture. Alan Klein conducted his field study of bodybuilding in some of the world's best-known gyms. In studying the social and political relations of bodybuilding competitors, Klein explores not only gym dynamics but also the internal and external pressures bodybuilders face. Central to his examination is the critique of masculinity. Through his study of "hustling" among bodybuilders, Klein is able to construct a social-psychological male configuration that includes narcissism, homophobia, hypermasculinity, and fascism. Because they exist as exaggerations, these bodybuilder traits come to represent one end of the continuum of modern masculinity, what Klein terms comic-book masculinity. This study is a rare foray into the critique of contemporary American macho.

A collection of texts providing a useful resource for students in the field of sports studies. Subject headings include approaches to the study of sport, the development and structure of modern sport, sport and power relations, and major issues in contemporary sport.

The focus on concepts of power and domination in societal structures has characterized sociology since its beginnings. Max Weber’s definition of power as “imposing one’s will on others” is still relevant to explaining processes in the arts, whether their production, imagination, communication, distribution, critique or consumption. Domination in the arts is exercised by internal and external rulers through institutionalized social structures and through beliefs about their legitimacy, achieved by defining and shaping art tastes. The complexity of how the arts relate to power arises from the complexity of the policies of artistic production, distribution and consumption—policies which serve to facilitate or hinder an aesthetic object from reaching its intended public. Curators, critics and collectors employ a variety of forms of cultural and artistic communication to mirror and shape the dominant social, economic and political conditions. Arts and Power: Policies in and by the Arts brings together diverse voices who position the societal functions of art in fields of domination and power, of structure and agency—whether they are used to impose hegemonic, totalitarian or unjust goals or to pursue social purposes fostering equal rights and grassroots democracy. The contributions in this volume are exploratory steps towards what we believe can be a more systematic, empirically and theoretically founded sociological debate on the arts and power. And they are an invitation to take further steps.