Social representations, which appear in a variety of media, can influence the way sexual experiences are perceived and understood. While pornography is not the only medium in which orgasm is portrayed, it is the most explicit, and it is widespread and easily accessible. As such, pornography is an ideal medium for examining representations of male and female orgasm. PornHub's 50 most viewed videos of all time were viewed and coded for the frequency of male and female orgasm, orgasm-inducing sex acts (and whether activity inducing female orgasms included some form of clitoral stimulation), and auditory (verbal, vocal) and visual (bodily) indicators of orgasm. Content analysis was used to code and analyze the data. Results were analyzed in light of sexual script theory and previous orgasm research. Only 18.3% of women, compared to 78.0% of men, were shown reaching orgasm. Sex differences in depictions of orgasm, beyond the appearance of semen, were documented. Results support the male performance script as evident in pornographic depictions of orgasm, as well as coital and orgasm imperatives. As a result, representations of male and female orgasm in mainstream pornography may serve to perpetuate unrealistic beliefs and expectations in relation to female orgasm and male sexual performance.

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Analize -Journal of Gender and Feminist Studies is an on-line, open access, peerreviewed international journal that aims to bring into the public arena new ideas and findings in the field of gender and feminist studies and to contribute to the gendering of the social, economic, cultural and political discourses and practices about today's local, national, regional and international realities.Edited by the The Romanian Society for Feminist Analyses AnA, the journal intends to open conversations among eastern and non-eastern feminist researchers on the situated nature of their feminism(s) and to encourage creative and critical feminist debates across multiple axes of signification such as gender, sexual orientation, age, disability, ethnicity, religion, etc. The journal publishes studies, position papers, case studies, viewpoints, book reviews from practitioners of all grades and professions, academics and other specialists on the broad spectrum of gender and feminist studies.

Dans le contexte d'une recherche portant sur les femmes célibataires à Montréal, l'analyse de trois téléséries québécoises mises en ondes par Radio- Canada ayant comme personnage central une femme de carrière célibataire dans la trentaine (Tout sur moi, Les hauts et les bas de Sophie Paquin et C.A.) a été effectuée afin de dégager les représentations de leur vie sociosexuelle, et ce, à partir du concept d'agentivité sexuelle, de la théorie des scripts de la sexualité et celle des orientations intimes de soi. Les divers scénarios sexuels vécus par les trois personnages, des scripts de rencontre à ceux de rupture, en passant par les types de relations qui y sont rattachés, sont présentés.L'analyse suggère une grande variabilité dans les scripts sexuels féminins et l'adoption de scripts considérés traditionnellement comme masculins : notamment, les femmes prennent souvent l'initiative de la rencontre et des rapports sexuels. Deux des trois personnages féminins étudiés possèdent des caractéristiques d'une orientation intime de soi du type « désir individuel », le troisième personnage présentant une construction de soi du type « réseau sexuel »; cependant, les trois personnages conservent certains aspects d'une orientation intime de soi de la sexualité conjugale. Ces téléséries présentent donc des personnages féminins multipartenaires, sans les confiner dans des rôles de femmes faciles et sans que cet aspect leur porte préjudice, ce qui laisse ainsi suggérer une transformation des représentations de la sexualité des femmes célibataires québécoises.As a part of a larger research project on single women, an analysis was conducted of three television series of Quebec origin whose protagonists were single career women in their thirties (i.e. Tout sur moi, Les hauts et les bas de Sophie Paquin and C.A.). With sexual agency, sexual script theory (Gagnon and Simon 1973) and Bozon's (2001) intimate orientations as a theoretical framework, representations of the women's sexual lives were identified.The female characters adopted a wide variety of female sexual scripts in addition to some typically masculine scripts. Notably, they often initiated encounters and sexual contact. Two of the female characters showed signs of an “individual desire” intimate orientation, while the remaining character's orientation fit the “sexual network” type. Each nevertheless maintained aspects of a “conjugal sexuality” intimate orientation. While these television series present their female protagonist with multiple partners, they do so without confining them to the role of “easy woman” or other stereotypes. These series suggest that representations of the sexuality of single Quebec women are changing