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Journal articles on the topic 'Feminine fantasy'
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Sulistyani, Hapsari Dwiningtyas. "Pemaknaan Lokal terhadap Teks Global Melalui Analisis Tema Fantasi." Jurnal ILMU KOMUNIKASI 13, no. 2 (January 20, 2017): 201. http://dx.doi.org/10.24002/jik.v13i2.721.
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Abstract: This study focuses on exploring the use of Fantasy Theme Analysis for examining local interpretation on global media texts, particularly the way in which Indonesian girls interpret Disney princesses. The main theory used in this research is Symbolic Convergence Theory in which the theory is used as a tool to analyze the chain of meanings. This research uses fantasy themes analysis as the method of analysis. The results indicate that the girls perceive the beauty images constructed by Disney as ideal. Consequently, they have negative perception to the dominant physical characteristics of Indonesian women.Keywords: beauty codes, fantasy themes analysis, feminine codes, local meaningsAbstrak: Penelitian ini fokus pada eksplorasi penggunaan analisis tema fantasi untuk melihat pemaknaan lokal terhadap produk global melalui interpretasi anak perempuan di Indonesia terhadap film putri Disney. Teori utama yang digunakan dalam penelitian ini adalah Teori Konvergensi Simbollik dengan analisis tema fantasi sebagai metode. Hasil penelitian menunjukkan bahwa anak-anak perempuan menempatkan konstruksi kecantikan oleh Disney sebagai kecantikan yang ideal, sehingga mereka cenderung memiliki persepsi negatif terhadap karakteristik fisik dominan yang dimiliki oleh sebagian besar perempuan Indonesia.Kata Kunci: analisis tema fantasi, kode feminin, pemaknaan kecantikan, pemaknaan lokal
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Tait, Peta. "Feminine Free Fall: A Fantasy of Freedom." Theatre Journal 48, no. 1 (1996): 27–34. http://dx.doi.org/10.1353/tj.1996.0022.
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Măcineanu, Laura. "Feminine Hypostases in Epic Fantasy: Tolkien, Lewis, Rowling." Gender Studies 14, no. 1 (December 1, 2015): 68–82. http://dx.doi.org/10.1515/genst-2016-0005.
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Abstract The paper identifies the types of female figures present in the works of three well-known fantasy writers, J.R.R. Tolkien, C.S. Lewis and J.K. Rowling, discussing the ways in which these characters are presented, their relationship with other characters, and their role in the economy of the novel, which is more important than may appear from a first reading. It also tries to explain the reasons that prompted the above-mentioned authors to choose these female hypostases.
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Pickering-Iazzi, Robin. "Structures of Feminine Fantasy and Italian Empire Building, 1930-1940." Italica 77, no. 3 (2000): 400. http://dx.doi.org/10.2307/480305.
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Matthews, Susan. "Productivity, Fertility and the Romantic ‘Old Maid’." Romanticism 25, no. 3 (October 2019): 225–36. http://dx.doi.org/10.3366/rom.2019.0428.
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William Hayley's Essay on Old Maids (1785, 1793) bafflingly constructs an image of the old maid from libertine fantasy, learned wit, pro-feminine critique and feminist scholarship. This essay traces some of these strands in later treatments of female sexuality and ageing in writing by Hannah More and Joanna Southcott, suggesting ways in which shifting attitudes to fertility enable new accounts of the female body. It argues that the terms of Hayley's Essay constrain later attempts to shift the debate. Whilst More attempts to escape the representation of the ageing body, the topic of female writing allows a renewed focus on reproduction.
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Claypool, Lisa. "Feminine Orientalism or Modern Enchantment? Peiping and the Graphic Artists Elizabeth Keith and Bertha Lum, 1920s–1930s." Nan Nü 16, no. 1 (September 10, 2014): 91–127. http://dx.doi.org/10.1163/15685268-00161p04.
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The ideological suppositions, images, and fantasy associated with orientalism has given rise to the conceptualization of a materialist “feminine orientalism.” The term refers to an historical moment in the early twentieth century when white women in Europe and North America defined their social roles and gender by appropriating male orientalist politics and ideology. This article challenges the concept of “feminine orientalism” through the study of the prints and travel writing of two modern graphic artists who sojourned in Republican-era Peiping in the 1920s and 1930s: Bertha Lum and Elizabeth Keith. Through close formal analysis of the new visions of Peiping that the two women conjured in their prints – a vision that relied as heavily on urban ethnography as it did on fantasy – it proposes an alternative concept of “modern enchantment” as a heuristic device to interpret gender. Drawing from Wolfgang Iser’s notions of the “fictive,” “modern enchantment” lays as much weight on Weberian modern rationality as it does on imagination, and critically functions as a means to recuperate cultural boundary crossing in female gender performance and construction.
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Driscoll, Kerry. "Mark Twain’s Masculinist Fantasy of the West." Mark Twain Annual 20 (November 1, 2022): 100–114. http://dx.doi.org/10.5325/marktwaij.20.1.0100.
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Abstract In chapter 57 of Roughing It, Mark Twain extols his experience of the West in terms that are at once highly idealized and strangely skewed: “It was a wild, free, disorderly, grotesque society! Only swarming hosts of stalwart men—nothing juvenile, nothing feminine, visible anywhere!” This description, however memorable, is also blatantly false. The 1860 federal census records 111 women in Virginia City and Gold Hill, “83 of whom were living with their husbands . . . and caring for more than 100 children.” Clemens’s cognizance of this fact is reflected in the circumstances of his own brother Orion, who, within a year of their 1861 arrival, was joined in Carson City by his wife and daughter, as well as in his reporting for the Virginia City Enterprise. This article explores the personal and cultural underpinnings of this omission, examining it in relation to conventional nineteenth-century gender hierarchies.
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Cuzovic-Severn, Marina. "The Geopolitics of Emilia Pardo Bazán’s La Quimera: Femme Fatale as Split Feminist Subject." Mediterranean Journal of Social Sciences 8, no. 5 (September 1, 2017): 31–40. http://dx.doi.org/10.1515/mjss-2017-0021.
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AbstractThis paper analyzes the representation of the femme fatale in Emilia Pardo Bazán’s La Quimera (1905). Femme fatale is described by many critics as an expression of masculine anxieties and fears, caused by political crisis and growth of feminine independence in the nineteenth century. Male authors employed this figure to preserve patriarchal structure and the existent power balance between prescribed gender roles. I argue that Pardo Bazán, through imitation of male writers and manipulation of hidden meanings in La Quimera, employs this masculinist projection to express latent feminist ideas and a critique of the contemporary social position of women. In her novel, Pardo Bazán creates a feminist femme fatale and, through her geopolitically split formation (France/Latin America/Spain), criticizes Spanish patriarchy, domesticity and non-modernity. She achieves this without overtly violating masculine narrative structure or demeaning patriarchal order, as she appropriates the originally masculinist imagery of fatal woman. Nevertheless, the eventual fate of Pardo Bazán’s femme fatale—especially the elaboration of internal dialogs and her presentation not as antagonist and invasive Other but as protagonist and subject—demonstrates fundamental differences of a feminist perspective within her elaboration of this masculine fantasy. In this way, in a time and space where feminism as a movement did not yet exist or was in its formative years, Pardo Bazán immensely contributed to the development of European/Spanish feminist thought.
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Porteous, Holly. "From Barbie to the oligarch’s wife: Reading fantasy femininity and globalisation in post-Soviet Russian women’s magazines." European Journal of Cultural Studies 20, no. 2 (April 13, 2016): 180–98. http://dx.doi.org/10.1177/1367549416638613.
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This article demonstrates how an analysis of fantasy femininity sheds light on how norms of gender, class and national identity reflect global and local cross-cultural currents in post-Soviet Russia. Drawing on a discourse analysis of women’s magazines and in-depth interviews with readers, it shows how, in the globalised post-Soviet cultural landscape, fantasy femininity represents both change and continuity. Feminine archetypes in women’s magazines, from fairytale princesses to Barbie dolls, reflect a wider post-Soviet cultural hybridisation and are an example of how Western women’s magazines have adapted to the Russian context. Furthermore, the article highlights readers’ ambiguous attitudes towards post-Soviet cultural trends linked to perceived Westernisation or globalisation, such as individualism, conspicuous consumption and glamour.
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Bondar, Alanna F. ""Life Doesn't Seem Natural:" Ecofeminism and the Reclaiming of the Feminine Spirit in Cindy Cowan's A Woman from the Sea." Theatre Research in Canada 18, no. 1 (January 1997): 18–26. http://dx.doi.org/10.3138/tric.18.1.18.
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While critical reception of Cindy Cowan's A Woman from the Sea has typically valued its magical and fantasy elements, little critical attention has been given to its larger implications for ecofeminist spiritual revisioning. In what follows, the author considers Cowan's efforts to outline the liberating potential of ecofeminism and female spirituality. Drawing on textual evidence, the author examines how Cowan organizes a rediscovery of the sensual feminine through dramatic narrative.
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Măcineanu, Laura. "Women Figures in George Macdonald’s and J.R.R. Tolkien’s Fantasy Writings." Gender Studies 18, no. 1 (December 1, 2019): 69–82. http://dx.doi.org/10.2478/genst-2020-0006.
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Abstract It is an undisputed fact that George MacDonald’s fantasy books were among J.R.R. Tolkien’s many sources of inspiration when writing his Middle-earth epic. Among these, “The Princess and the Goblinˮ and “The Princess and Curdieˮ attracted my attention, through the figures of some interesting women who appear in both of them. This paper endeavours to draw a comparison between Tolkien’s outstanding female characters in “The Lord of the Ringsˮ and the earlier versions of the same feminine archetypes in the two MacDonald books, noting both points of similarity and differences, as well as the strong effect these women have upon other characters in the stories.
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Nelson, Adie. "Halloween Costumes and Gender Markers." Psychology of Women Quarterly 24, no. 2 (June 2000): 137–44. http://dx.doi.org/10.1111/j.1471-6402.2000.tb00194.x.
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A content analysis of 469 children's Halloween costumes explored the extent to which children's fantasy dress reproduces and reiterates more conventional messages about gender. Based on the presence of gender markers, masculine, feminine, and gender-neutral costumes were identified and reanalyzed using a modified version of Klapp's (1962) categorization of heroes, villains, and fools. Both male and female costumes contained a high proportion of hero costumes. However, feminine costumes were clustered in a narrow range depicting beauty queens, princesses, and other exemplars of traditional femininity and contained a higher proportion of costumes of animals and foodstuffs. Masculine costumes emphasized the warrior theme of masculinity and were more likely to feature villains, especially agents or symbols of death. Gender-neutral costumes accounted for less than 10% of costumes examined.
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Albert, Orsolya. "The Fantastic and the Feminine Sublime of Carroll’s Alice’s Adventures in Wonderland." Ostrava Journal of English Philology 13, no. 2 (February 2022): 51–66. http://dx.doi.org/10.15452/ojoep.2021.13.0010.
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The study presents a close analysis of the immersive yet disorienting textual space of Lewis Carroll’s Alice’s Adventures in Wonderland in order to explore its sublime aesthetics. As a piece of portal fantasy, the work enables readers to enter into the transcendent sphere of uncontrolled imagination via the adventures of the prophetic Dream Child, eliciting what David Sandner has defined as both a reformulation and an extension of the Romantic sublime: the fantastic sublime. A more favourable attitude towards the elusiveness of meaning in the text lies in Barbara Claire Freeman’s feminine sublime, which prefers the excessive and unrepresentable to exclusion and control.
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Mlott, Sylvester R., Philip F. Rust, Jane L. Assey, and Margaret S. Doscher. "Performance of Male Nursing Students on the MMPI, Fantasy, and Self-Esteem Inventories." Psychological Reports 58, no. 2 (April 1986): 371–74. http://dx.doi.org/10.2466/pr0.1986.58.2.371.
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The field of nursing in the past has been considered a stereotypically feminine vocation, but in recent years an increasing number of men have begun to enter. The present study shows the present day men entering the nursing profession as possessing adequate self-concept, level of ego strength, self-esteem, and male sexuality. They are comparable to other men in the various areas of personality explored and have less need to rely upon fantasy in their everyday functions than control peers in this study.
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Ellman, Paula L. "Cultural, historical and psychoanalytic contributions to female identity in China: a discussion of articles by Tong Jun and Wang Qian." Proceedings of the Wuhan Conference on Women 3, no. 2 (December 31, 2020): 191–97. http://dx.doi.org/10.33212/ppc.v3n2.2020.191.
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This article offers a discussion of two articles that are both considerations of the intersection of culture and the psyche. The development and conflicts within the Chinese woman's psyche are examined within the context of the history, values, and culture of China. This article considers the place of the powerful maternal imago in understanding the denigration of the feminine position. The presence of unconscious fantasy along with intergenerational trauma is examined, particularly in instances of misogyny. The contributions to the psychoanalytic theory of femininity and female development is reviewed with a discussion of clinical application.
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임지연. "Criticism of Idealized Fantasy and Paradoxical Modern Subject in the 1990’s Feminine Poetry." Korean Poetics Studies ll, no. 53 (February 2018): 85–117. http://dx.doi.org/10.15705/kopoet..53.201802.003.
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Nygaard, Taylor, and Jorie Lagerwey. "Broadcasting Quality." Television & New Media 18, no. 2 (August 1, 2016): 105–13. http://dx.doi.org/10.1177/1527476416652485.
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This special issue is devoted to The Good Wife ( TGW) and unpacking the discursive divide between “quality” niche programming and mass entertainment broadcast programming. These essays question the conversations about quality swirling around a show that carries all the markers of prestige, but that also features the female protagonist, broadcast home, procedural roots, and soapiness often denigrated or overlooked by critics and academics alike. In response to the inherently gendered notions of quality, these essays re-center feminine subjects and interrogate masculinizing discourses through an array of approaches to a single series, analyzing TGW via the lenses of habitual mobile technologies, fashion, fantasy, and the labor of wifedom and motherhood. Analyzing this particular series through discourses of quality is not only a way to acknowledge a broadcast series within pre-existing standards of excellence but also a way to begin to reclaim television studies’ feminist roots from often hyper-masculine discussions of twenty-first-century quality TV.
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Ryu, Jin-A. "A Study on Embodiment of Theme of Feminine Novels: Focusing on Fantasy and Realism Novels." Women’s Studies Center 31 (December 31, 2020): 35–59. http://dx.doi.org/10.47949/gas.2020.31.002.
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Renik, Owen. "A Case of Premenstrual Distress: Bisexual Determinants of a Woman's Fantasy of Damage to Her Genital." Journal of the American Psychoanalytic Association 40, no. 1 (March 1992): 195–210. http://dx.doi.org/10.1177/000306519204000108.
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Case material is used to illustrate specific clinical application of the concept of primary femininity. Some contemporary contributions to the psychoanalytic theory of female psychosexual development are presented as complementary with, rather than contradictory to, more familiar, longstanding formulations that emphasize phallic strivings in women. In the clinical example reported, a fantasy of genital damage underlay a woman's premenstrual distress. Aspirations and concerns related to both aspects of her fundamental bisexuality participated in symptom formation and had to be investigated in order to achieve symptom relief. As the analytic work unfolded, it could be seen that the patient's awareness of her feminine aims served to keep her masculine aims out of awareness, and vice versa.
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Măcineanu, Laura. "Masculine and Feminine Insights Into the Fantastic World of Elves: J.R.R. Tolkien’s the Lord of the Rings and Muriel Barbery’s the Life of Elves." Gender Studies 15, no. 1 (December 1, 2016): 270–83. http://dx.doi.org/10.1515/genst-2017-0018.
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Abstract The paper focuses on the fantasy universes created by J.R.R. Tolkien and by the more recent French writer, Muriel Barbery. The two authors excel in their depiction of the elusive world of the elves, each offering a deeply personal vision (a man writer’s and a woman writer’s) of what such magical beings may be like and how they may relate to humankind.
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Milloni, D., S. Morandi, and R. Giommi. "“What Women Want” Sexual Imagination and Sexual Satisfaction in a Lesbian Women Sample." Klinička psihologija 9, no. 1 (June 13, 2016): 54. http://dx.doi.org/10.21465/2016-kp-op-0032.
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Objective: Imagination is an important driving force of sex. We present some data on sexual imagination and sexual satisfaction collected in an ongoing research project at our Institute. Our aim is to explore the world of imagination and sexual reveries in lesbian women in autoeroticism and during the intercourse with a partner and to reflect on thematic nucleus of feminine’ sexual imagination activity. Design and Method: To this end, we consider a sample of 65 lesbian women that shared their sexual fantasies and their level of sexual satisfaction. We used the Index of Sexual Satisfaction Questionnaire and we collect sexual fantasies by a verbal description in an anonymous way by submitting an online questionnaire. Results: Results show that lesbian women have a high level of sexual satisfaction and a great number of fantasies when they imagine themselves as a man or in a man-style sexual practice in order to penetrate their partner. Many women aim to transfer in their real world the fantasy that appears in autoeroticism activities. Conclusions: By exploring the narrative contents and themes in fantasies, we found some similarities with the past literature but also some differences related to the idea of feminine mental sexual activity and stereotypes.
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V. S, Namitha. "Blue Mountain and Blue Roses: An Exploration of the Feminine Psyche in Tennessee Williams’ The Glass Menagerie." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 28, 2021): 192–205. http://dx.doi.org/10.24113/ijellh.v9i1.10891.
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Tennessee Williams, the remarkably outstanding American dramatist of the 1920s, through his plays, presents a marked concern for the identity crisis a woman faces. He projects the crisis arising out of the conflict between a woman’s own aspirations and the traditional role expectations. The Glass Menagerie (1945) depicts the life of two women- Amanda Wingfield and her daughter Laura Wingfield. Amanda is the typical Southern belle that suffered a reversal of economic and social fortune, who withdraws from reality into fantasy. Her daughter Laura, the physically and emotionally crippled heroine of the play is a self-less character who does not speak as much of others. She is extra-ordinarily sensitive and delicate; and her cripple isolates herself into her own illusory world with her own glass menagerie. This paper is an attempt to close study the women protagonists in this play and to reveal that they are a combination of a particular personality type. Williams seems to be interested in the personal and psychological aspects of his women. This paper tries to analyse the psyche of these women and prove that they seem to be more complex and complicated than portrayed in the work.
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Hosmillo, Bernidick Bryan P. "“She Had ‘Balls’”: Islamic Liberalism And The Modern Woman In A Contemporary Malaysian Fiction In English." Lingua Cultura 5, no. 1 (May 31, 2011): 61. http://dx.doi.org/10.21512/lc.v5i1.376.
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The paper wants to dissect the plurality of contemporary Malay society by focusing on the construction of woman sexuality as charged with an amalgam of Islam Parochialism that is seen as a restrictive sociopolitical mechanism and (de)concentrated modernization that decentres religious functions in contemporary Malay society and uses instead a rather ‘filtered’ Islam as colour for the contours of life. Further, the paper underscores the fictive, yet real advances of the Malay woman in terms of critical consciousness and beauty manifested in cultural materialism as both are seriously equated to power. The woman, however, with all the intellectual and material elevation intervenes with (masculine) sexualisation. Hence, the paper capitalizes thenecessity to examine the complexities of masculine sexualisation, as fortified by Western modernity, which is a process of recognizing the feminine presence that inevitably generate erotic desire to sexual fantasy that ultimately constructs the woman. The paper’s major thrust is to reconceptualise the notion of power anchored in the ideological framework of its polysemous nature. Such progressive elucidation of the concept creates tension between empowerment and domination which is a relevant concern in feminist politics and interpretations in that the specific implication of such reconceptualization is the object of becoming not oppressors, but of becoming liberated that in the discourse of Malayness is largely problematic as it is always perceived to be antithetical to revitalization of Islam through authentic Malaysian Literature in English for ‘liberalism’ in this case, is associated with the rupture of women’s sexuality.
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N. Ravikumar et al.,, N. Ravikumar et al ,. "The Existence of Feminine Masculinity in a Classic Epic Fantasy of J. R. R. Tolkien’s The Silmarillion and the Lord of the Rings." International Journal of English and Literature 8, no. 6 (2018): 19–26. http://dx.doi.org/10.24247/ijeldec20183.
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Cedro, Carmel. "Just add nostalgia and stir: Mythmaking Australian femininity through Anzac Biscuits, collective commemoration and heteronormativity." Australasian Journal of Popular Culture 8, no. 2 (September 1, 2019): 229–43. http://dx.doi.org/10.1386/ajpc_00007_1.
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Many sweet foods featured in contemporary Australian cookbooks are indelibly connected to culinary tradition and use nostalgia to encourage a sense of collective identity and experience. Anzac Biscuits exemplify this through ubiquity and familiarity, and the annual baking ritual becomes a collective commemoration that shapes ideologies of identity and myth, which are somewhat central to understanding the Australian experience. Yet the mythology around the biscuits is flawed. The recipe recognizable today as Anzac Biscuits can be traced from the 1920s onwards in Australian cookbooks, which calls into question the veracity of the well-told story of women on the home front baking and sending the biscuits to the Anzac trenches during the First World War. This article will examine the parallels between Australian traditions of baking culture and the functional value of the Anzac myth, and the way both seem to reaffirm cultural standards, and attempt to secure gender ideals by presenting unattainable fantasies. While the Australian interpretation of the Anzac myth reinforces a certain unattainable ideal of heroic masculinity – with courage, determination and sacrifice for nation – contemporary cookbooks reflect a romanticized domestic fantasy that centres on family and feminine practice, both heavily reliant on proscriptive heterosexuality and heteronormativity, enhanced and polished via a nostalgia-tinged lens.
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Knadler, Stephen. "Miscegenated Whiteness: Rebecca Harding Davis, the "Civil-izing" War, and Female Racism." Nineteenth-Century Literature 57, no. 1 (June 1, 2002): 64–99. http://dx.doi.org/10.1525/ncl.2002.57.1.64.
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This essay examines Rebecca Harding Davis's resistance to the Civil War discourse in the Atlantic Monthly in order to complicate the relation between nineteenth-century racism and sentimental fiction. While much revisionary work has been done on nineteenth-century women'sfiction and how it reinforced racial ideologies, the misleading question often asked is whether white women did or did not participate in the public arena of race. Yet this initial framing of the question denies the alternative possibility: that white women might have engaged in their own gendered forms of racial activity, or in a "female racism" (to use Vron Ware's term), that did not correspond to or act in complicity with a racism that is by default seen as public and masculine. By imagining her heroine as a "woman from the border" inWaiting for the Verdict (1868), Davis works to oppose and overturn a particular regional and gender-based inscription of whiteness that was being disseminated amid the war crises as an emergent New England-based national identity. In contrast, Davis creates a particular feminine and liminal version of white racial power, or a "miscegenated whiteness." But this fantasy of an imagined national community based on the "white mulatto" finally undoes itself in the novel's moments of narrative crises about a free and open female sexuality, and Davis'snovel seeks to restore the white female body to its "purity."
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Monnet, Livia. "Towards the feminine sublime, or the story of 'a twinkling monad, shape-shifting across dimension': intermediality, fantasy and special effects in cyberpunk film and animation." Japan Forum 14, no. 2 (January 2002): 225–68. http://dx.doi.org/10.1080/09555800220136374.
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SARACOGLU, Dr Semra. "A Comparative Analysis Of ‘The Snow Child’ By Angela Carter And ‘Yedi Cucesi Olmayan Bir Pamuk Prenses’(‘A Snow White Without Seven Dwarfs’) By Murathan Mungan." International Journal of Arts, Humanities & Social Science 03, no. 10 (October 11, 2022): 37–42. http://dx.doi.org/10.56734/ijahss.v3n10a4.
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The aim of the present study is to make a comparative analysis of the transformation of the fairy tales in the stories of one English and one Turkish writer -Angela Carter and Murathan Mungan. The study restricts itself to one story by each writer: ‘The Snow Child’ by Angela Carter and ‘Yedi Cucesi Olmayan Bir Pamuk Prenses’ (‘A Snow White Without Seven Dwarfs’) by Murathan Mungan as the parodies of ‘The Snow White with Seven Dwarfs’. Both writers deconstruct the Grimm Tale to challenge the imposed patriarchal ideologies and gender roles, especially the women’s socially approved behaviour patterns in the patriarchal system and intentionally subvert them and their representations in their works using the same postmodern frame-breaking devices - parody, pastiche and intertextuality. Both aim to offer their readers insight on the archetypes and stereotypes of women and force them to confront the women’s entrapment within the male world regardless of geography. While undermining the familiar narrative, Carter prefers blurring the boundaries of the fairy tale genre with her use of fantasy, Gothic, pornography and folklore. She explores and problematizes the unquestionable topics such as female sexuality, violence against women. Mungan, on the other hand, inverts the perception and the representation of women rewarded for virtue and conformity to the patriarchal ideology. He critiques the negative sides of the present socio-cultural issues in a mocking way and promotes women to possess both feminine and masculine qualities and reclaim control over their social stance.
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Pascual, Jean-Paul, and Colette Establet. "WOMEN IN DAMASCENE FAMILIES AROUND 1700." Journal of the Economic and Social History of the Orient 45, no. 3 (2002): 301–19. http://dx.doi.org/10.1163/156852002320896319.
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Abstract449 inventories of deceased Damascenes around 1700 help us to approach a subject which is related to gender studies, since it allows us to compare the economic, social and even cultural domains of feminine and masculine worlds. In this society, the social differences were still signi cant, and women received a patrimony which was clearly inferior to that of men. It consisted of certain items: some real estate, but primarily jewelry and domestic goods. There are few objects that indicate public activities by women and which match men's inventories of this period. Women ruled, with more or less variety and fantasy, the furniture of the house which was used not only for rest and sleep, but also as a venue for receiving guests. 449 inventaires après décès damascènes, vers 1700, aident à aborder un sujet qui s'inscrit dans les gender studies, en permettant la comparaison entre le monde féminin et le monde masculin, dans le domaine économique, social, voire culturel. Dans cette société, où les différences sociales restent déterminantes, les femmes possèdent un patrimoine nettement inférieur à celui des hommes et dont les éléments sont bien particuliers: quelques biens immobiliers, mais avant tout des bijoux et des biens domestiques. Peu d'objets qui ouvrent vers le monde et le temps: les femmes dominent, avec plus ou moins de variété et de fantaisie, l'intérieur textile de la maison destiné aux fonctions du repos, du sommeil, mais aussi de la réception.
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TOLA, MIRIAM. "Composing with Gaia: Isabelle Stengers and the Feminist Politics of the Earth." PhaenEx 11, no. 1 (June 5, 2016): 1–21. http://dx.doi.org/10.22329/p.v11i1.4390.
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This essay brings the work of Isabelle Stengers into the fold of feminism to propose a feminist politics of the earth that disrupts the fantasy of human exceptionalism underpinning much Anthropocene discourse. I begin by situating Stengers’s political use of Gaia theory in current debates on the Anthropocene. Next, I show how Stengers’s reworking of Gaia helps in reconsidering the relations between two bodies of feminist theory—Deleuzian feminism and Marxist ecofeminism—that are rarely brought into conversation. On this basis, I explore what a feminist politics of composition with the earth might look like.
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Boyes, Johanna Morgan. "Genre and Subjectification in Janine Antoni’s Loving Care." Journal of Student Research 7, no. 2 (December 31, 2018): 14–17. http://dx.doi.org/10.47611/jsr.v7i2.605.
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In her 2008 book, The Female Complaint: The Unfinished Business of Sentimentality in Popular Culture, Lauren Berlant writes, “femininity is a genre… an aesthetic structure of affective expectation… promising that the persons transacting with it will experience the pleasure of encountering what they expected, with details varying in the theme”. This perspective provides a grounding for Berlant to argue that popular culture offers conventions of female experience marked by sentimentality, specifically, the disappointments in the relationship between fantasy and lived intimacy. Central to Berlant’s work is a desire for conventionality- through adherence to convention, one becomes a social subject. This echoes but is distinct from the work of poststructuralists, who regards the assumption of a sexual identification as how one moves out of the abject into the social realm. The interaction between an individual and the genre of femininity as domestic, intimate, and emotionally fraught is useful to understanding Janine Antoni’s 1993 performance Loving Care. In Loving Care, the artist dipped her hair in a bucket of black hair dye and, on her hands a knees, used it to mop the floor. This essay will argue that Antoni’s performance is a self-conscious reiteration (and exaggeration) of feminine convention. Through dying hair and mopping, Loving Care shows the desire to become a social subject, a woman. Through representions, womanhood has developed a shared understanding of being inherently straining and tenuous, with its obligations of beauty and emotional labor as prerequisite to social belonging and desirability. Antoni’s performance will be analyzed as an experience imagined by the viewer, one that attempts to perform the process of the formation of a subjectivity.
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Козій, О. Б. "THE IMAGE OF A TREE AS THE EMBODIMENT OF PHILOSOPHICAL CONCEPTS IN J. R. R. TOLKIEN’S OEUVRE." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, no. 93 (2019): 82–91. http://dx.doi.org/10.34142/2312-1076.2019.3.93.07.
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English linguist Tolkien is world-famous as the creator of the fantasy genre and the author of the epic novel «The Lord of the Rings» which has overgrown the measures of a novel having become a cultural phenomena. The tree is one of the universal symbols of the spiritual culture. It unites the Earth with the heaven, defines the human’s way to oneself, to spiritual summits. In the works of J. R. R. Tolkien the tree isn’t just a detail but also a character, the symbol of the eternal life circulation. Symbolizing the synthesis of heaven, earth and water, the dynamics of life, combining the worlds, the tree in the creation of Tolkien is a complex archetypal derivative that accumulates feminine as a source of life, male as a defender of the genus. Being fond of Welsh and Finnish, Scandinavian and Celtic mythology, Tolkien used the elements of the latter to build a model of his own artistic world. But being a Christian, he could not implement his ideas into the Universe without a god. God is present in the work of Tolkien, though remains invisible. The artistic world of many works is built around a tree, which is not only a biblical image, but also a part of the social subconscious, archetype. The close relationship between the creator and creation is a reflection of the ancient beliefs about man and the tree as indivisible unity, that the tree could become a friend, a «twin brother» of a man, the incarnation of his soul. The tree becomes the creating centre of the main character’s own universe, the logical conclusion of the artist's life search. Not only mastery, but the power of the author's imagination is in the focus of the writer's attention.
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KOZII, Olha. "THE IMAGE OF THE TREE AS THE EMBODIMENT OF COSMOLOGICAL AND SOLAR ASPECTS IN J. R. R. TOLKIEN’S WORKS." Astraea 3, no. 1 (2022): 65–78. http://dx.doi.org/10.34142/astraea.2021.3.1.04.
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English scientist J. Tolkien became world-famous as the creator of the fantasy genre and the author of the epic novel «The Lord of the Rings» which has overgrown the measures of a novel having become a cultural phenomena and causing cultural movement. His works – «The Lord of the Rings» and «The Hobbit» have already been analyzed in the light of the genre novelty. The purpose of this paper is to enlighten the ways of the embodiment of philosophical concepts of the image of the world tree in J. Tolkien’s creative work. The methodology includes literature review related to the topic; methods of analysis, classification and comparative analysis. The image of the tree is analyzed as one of the universal symbols of the spiritual culture. It unites the Earth with the heaven, defines the human’s way to oneself, to spiritual summits. In the works of J. R. R. Tolkien the tree isn’t just a detail but also a character, the symbol of the eternal life circulation. Symbolizing the synthesis of heaven, earth and water, the dynamics of life, combining the worlds, the tree in the creation of J. Tolkien is a complex archetypal derivative that accumulates feminine as a source of life, male as a defender of the genus. The Trees of Valinor, lone tree-pastors, the creations of Niggl are characterized by the synthesis of cosmogonic and solar aspects. The depth of the perception of the artist («The Leaf by Niggle») the writer transforms into world creation. Niggle works much on details, but dreams of drawing the whole tree. The artist is inspired by a picture of a living tree, the embodiment of the mythological universe. It is concluded that the close relationship between the creator and creation is a reflection of the ancient beliefs about man and the tree as indivisible unity, that the tree could become a friend, a «twin brother» of a man, the incarnation of his soul.
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Capern, Amanda L. "The fantasy of feminist history." Journal of Gender Studies 22, no. 3 (September 2013): 344–46. http://dx.doi.org/10.1080/09589236.2013.824723.
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Sørensen, Michael Kuur. "The Fantasy of Feminist History." European Review of History: Revue europeenne d'histoire 20, no. 3 (June 2013): 518–20. http://dx.doi.org/10.1080/13507486.2013.792612.
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Ingham, Patricia Clare. "The fantasy of feminist history." Psychoanalysis, Culture & Society 19, no. 3 (September 2014): 323–25. http://dx.doi.org/10.1057/pcs.2014.25.
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Grimshaw, Jean. "Ethics, Fantasy and Self-transformation." Royal Institute of Philosophy Supplement 35 (September 1993): 145–58. http://dx.doi.org/10.1017/s1358246100006305.
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In this paper I want to discuss an issue (usually perceived as an ethical one) which has generated a great deal of feminist discussion and some profound disagreement. The issue arises as follows. One of the most important targets of feminist action and critique has been male sexual violence and control of women, as expressed in rape and other forms of violent or aggressive sexual acts, and as represented in much pornography. Pornography itself has been the subject of major and sometimes bitter disagreements among feminists, especially around the issue of censorship. But it is not that with which I am concerned here. The issue which I want to discuss involves the question of sexual desire and fantasy, and their apparent potential incompatibility with political and ethical principles. This is by no means, of course, an issue of exclusively feminist concern; but I shall focus on some recent feminist argument, since it is that with which I am most familiar.
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HILL, SHONAGH. "The Crossing of Boundaries: Transgression Enacted." Theatre Research International 36, no. 3 (August 30, 2011): 278–82. http://dx.doi.org/10.1017/s0307883311000526.
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Feminist discourse has proven to be a vital component in the expanding field of Irish theatre studies owing to its exposure of elided work and the articulation of unrepresented voices. Irish women's participation in the public sphere and cultural fabric of society has been hindered in the course of the twentieth century and this is reflected in limiting representations of femininity as perpetuated by discourses of nationalism and Catholicism: the dominant imagery of the idealized mother which merges the feminized nation – Mother Ireland – and the Virgin Mary. In Hegemony and Fantasy in Irish Drama, 1899–1949, Paul Murphy highlights the ‘contradiction between the symbolic centrality of Woman as fantasy object and the social subordination of women as social subjects’. The incongruity between the shifting realities of Irish women's lives and the inflexible institutions that shape cultural representations is the focus of much feminist theatre research in Ireland. This research examines work which articulates the experience of estrangement from the dominant cultural imaginary and attends to the possibilities of staging more accommodating models through three interlinked strands: self-representation and the unhomely experience; constraint and freedom as explored through space and form; and a shift in focus to performance and the body.
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Chayanika Roy. "Reversing the Gaze: Subversion and Re-interpretation of Mythical Stereotypes in Chitra Banerjee Divakaruni’s The Palace of Illusions." Creative Launcher 6, no. 2 (June 30, 2021): 113–18. http://dx.doi.org/10.53032/tcl.2021.6.2.16.
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Epics are indeed an indelible part of our existence carrying us into the timeless history where reality and fantasy blends into a harmonious whole. A diasporic women writer re-creating myth and folklore in a contemporary context and re-telling a popular epic Mahabharata from Draupadi’s perspective is monumental and extraordinary. There have been sudden inclinations on part of the contemporary writers to re-interpret the epics in a new light highlighting the women characters who have been otherwise neglected in the original story as tangible subjects. Usually, epic narratives portray women on an ideological viewpoint; women being embodiments of perseverance and forbearance, mute spectators of misery and injustice perpetrated on them. But Divakaruni re-created the women characters by assigning them a voice of their own so that they become strong enough to express their choices and by living their own bodies vis-à-vis lives. The mystifying feminine psyche of the mythical women characters is unfolded before the readers and many unknown crevices of the inner mind are laid bare. These impressions and explorations of the epic characters were actually a hidden trope for self-discovery and articulation. The Palace of Illusions is a re-creation of the illusionary, magical world of Draupadi and her dream destination and how this world gets shattered in front of her eyes is not only literal but metaphorical in course of the novel. In an attempt to re-work the epic, the contemporary women writers deviate from the usual phallocentric thrust of the epic and make Draupadi the hero of the novel; subverting the stereo-typed gendered version of an epic. Divakaruni’s fiction strives to subvert the gendered binaries looking at the epic and its magnificent characters and events through Panchaali’s gaze. Thus, the Western model of the male gaze is repudiated and the female gaze is celebrated in an altogether new form. Is the story of Mahabharata a familial clash between fraternity or a woman’s personal desire and Panchaali’s revenge which drenched the country and its inhabitants in the blood is the question that is left open-ended for the readers who revisits Mahabharata through the eyes of Draupadi vis-a-vis Chitra Banerjee Divakaruni.
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Tolliver, Joyce. "Savage Madonnas: ’La mujer filipina’ in the Nineteenth-Century Colonialist Imaginary." Letras Femeninas 41, no. 2 (November 1, 2015): 21–34. http://dx.doi.org/10.2307/44735027.
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Abstract The fiction of a national Spanish "family" that embraced the inhabitants of its "overseas provinces" was promulgated insistently in nineteenth-century colonial discourse. The fragility of this fiction was demonstrated dramatically in writings about the Philippines by peninsular Spaniards, as they tried to reconcile the profound cultural, linguistic, and ethnic heterogeneity of the archipelago with the notion of biological and cultural filiation. In his 1886 painting España y Filipinas, the Philippine reformist artist Juan Luna allegorically portrayed Spain and the Philippines as matron and racialized adolescent, suggesting that the Philippines’ future depended on its mestizo population. In the same year, Faustina Sáez de Melgar imagined both the Philippines and the Americas as "nuestras hijas" in her anthology of costumbrismo sketches, Las mujeres españolas, americanas y lusitanas pintadas por sí mismas. The volume’s title evoked a fantasy of feminine agency belied by the fact that virtually none of the sketches were written by a member of the "type" portrayed; and that the volume was illustrated not by a woman but by Eusebio Planas, known for his eroticized sketches of women. Josefa Estévez, a peninsular Spaniard, contributed the essay on "La filipina," in which she distinguished sharply between the Christianized populations of the archipelago and the non-Christianized "salvajes." Rather than contributing an ethnographic study of the "savage" tribes, Estévez represented this "tipo" through two narratives of sexual brutality and conquest. Both narratives suggested that the social structure of the non-Christianized colonial Philippine populations was not only untenable but unimaginable: the only moral compass available to these populations was to be found in female instincts of maternity and heterosexual love, which were ineffective against the uncontrolled instincts of lust and rage that guided both native and Spanish male characters. Estévez’s conventional invocation of the power of Christianization rings hollow in the face of her portrayal of the sexual opportunism, abuse and abandonment suffered by the native woman at the hands of the putative father of the colonial family. Ultimately, in both Estévez’s text and Planas’s illustrations, "civilization" through mestizaje in the Philippines is portrayed as impossible.
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Farrimond, Katherine. "‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences." Horror Studies 11, no. 2 (October 1, 2020): 149–68. http://dx.doi.org/10.1386/host_00016_1.
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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.
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Bradnock, Lucy. "Autobiographical Fantasy and the Feminist Archive." Archives of American Art Journal 60, no. 1 (March 1, 2021): 44–61. http://dx.doi.org/10.1086/714301.
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Farmer, Lesley S. J. "Feminist Science Fiction, Fantasy, & Utopia." Reference Reviews 32, no. 2 (February 19, 2018): 14–15. http://dx.doi.org/10.1108/rr-01-2018-0004.
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Arent, Marion. "(In)fidelidade feminina: entre a fantasia e a realidade." Psicologia Clínica 21, no. 1 (2009): 153–67. http://dx.doi.org/10.1590/s0103-56652009000100011.
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Este artigo investiga a (in)fidelidade conjugal feminina em um "Clube de Mulheres" na cidade do Rio de Janeiro. Dados revelam desigualdades de gênero em relação à infidelidade conjugal. Alguns alicerces da dominação masculina, como a heteronomia e a vitimização, persistem entre as informantes. Para a maioria delas, querer não equivale a poder trair, como atestam as diversas estratégias de ocultação e as "justificativas" que apresentam à traição como reação à rotina do casamento e/ou à suposta infidelidade do parceiro. Traidores e/ou traídos, os homens, enquanto categoria sociossexuada, são dominantes. A ruptura com certos preceitos normativos do gênero feminino é fonte de prazer, mas também de culpa. Valores tradicionais, como fidelidade, segurança e estabilidade aparecem lado a lado com outros considerados modernos, como independência, autonomia e privacidade.
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Ferreday, Debra. "‘Only the Bad Gyal could do this’: Rihanna, rape-revenge narratives and the cultural politics of white feminism." Feminist Theory 18, no. 3 (July 28, 2017): 263–80. http://dx.doi.org/10.1177/1464700117721879.
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In July 2015, Rihanna released a seven-minute long video for her new single, entitled ‘Bitch Better Have My Money’ (more widely known as ‘BBHMM’), the violent imagery in which would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘white feminism’. ‘BBHMM’ is not the first time Rihanna’s work has been considered in relation to these debates: not only has she herself been very publicly outed as a survivor of male violence, but she has previously dealt with themes of rape and revenge in an earlier video, 2010’s ‘Man Down’, and in her lyrics. In this article I explore the multiple and layered ways in which Rihanna, and by extension other female artists of colour, are produced by white feminism as both responsible for perpetrating gender-based violence, and as victims in need of rescue. The effect of such liberal feminist critique, I argue, is to hold black female artists responsible for a rape culture that continually subjects women of colour to symbolic and actual violence. In this context, the fantasy violence of ‘Man Down’ and to a greater extent ‘BBHMM’ dramatises the impossibility of ‘being paid what one is owed’ in a culture that produces women of colour’s bodies, morality and personal trauma as abjected objects of consumption. I read these two videos through the lens of feminist film theory in order to explore how such representations mobilise affective responses of shame, identification and complicity that are played out in feminist responses to her work, and how their attachment to a simplistic model of representation conceals and reproduces racialised relations of inequality.
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Ruparelia, Rakhi. "Legal Feminism and the Post-Racism Fantasy." Canadian Journal of Women and the Law 26, no. 1 (January 2014): 81–115. http://dx.doi.org/10.3138/cjwl.26.1.81.
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Sayers, Janet. "Anorexia, psychoanalysis, and feminism: Fantasy and reality." Journal of Adolescence 11, no. 4 (December 1988): 361–71. http://dx.doi.org/10.1016/s0140-1971(88)80035-6.
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Di Cori, Paola. "Book review: The Fantasy of Feminist History." European Journal of Women's Studies 20, no. 3 (July 29, 2013): 322–25. http://dx.doi.org/10.1177/1350506813484239b.
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LEHTONEN, SANNA. "Invisible Girls: Discourses of Femininity and Power in Children's Fantasy." International Research in Children's Literature 1, no. 2 (December 2008): 213–26. http://dx.doi.org/10.3366/ircl.2008.0008.
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In children's fantasy, invisibility is a popular motif, typically achieved by using different magic items. Invisibility also serves an important role in feminist discourses of femininity and power. In feminist theory, invisibility has been used to describe the status of females in patriarchal systems, while in fantastic texts invisible females have often literally served as the monstrous Others. However, invisibility has also been seen as a form of empowerment, particularly in fantastic contexts where it can be interpreted both literally and metaphorically. To open up and explore these questions, this article examines the feminist discourses of invisibility, femininity and power in two British children's fantasy novels: The Time of the Ghost (1981) by Diana Wynne Jones and The Ghost Drum (1987) by Susan Price .
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Chatterjee, Ronjaunee. "PRECARIOUS LIVES: CHRISTINA ROSSETTI AND THE FORM OF LIKENESS." Victorian Literature and Culture 45, no. 4 (November 8, 2017): 745–62. http://dx.doi.org/10.1017/s1060150317000195.
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In its anonymous reviewof Christina Rossetti'sSpeaking Likenesses(1874), theAcademynotes rather hopelessly: “this will probably be one of the most popular children's books this winter. We wish we could understand it” (606). The reviewer – who later dwells on the “uncomfortable feeling” generated by this children's tale and its accompanying images – still counts as the most generous among the largely puzzled and horrified readership of Rossetti's story about three sets of girls experiencing violence and failure in their respective fantasy worlds (606). While clearly such dystopic plots are not out of place in Victorian literature about children, something about Rossetti's unusual narrative bothered her contemporaries. John Ruskin, for instance, bluntly wondered how Rossetti and Arthur Hughes, who illustrated the story, together could “sink so low” (qtd. in Auerbach and Knoepflmacher 318). In any case, the book still sold on the Christmas market, and a few months later, Rossetti would publishAnnus Domini, a benign pocketbook of daily prayers that stands in stark contrast to the grim prose ofSpeaking Likenesses.It is therefore tempting to cast this work of children's fiction as a strange anomaly in Rossetti's oeuvre, which from the 1870s, beginning withAnnus Domini, to her death in 1894, became almost exclusively dominated by devotional prose and poetry. In contrast, I argue in the following essay thatSpeaking Likenessespoints to a widespread interest throughout Rossetti's writing – but especially in her most well-known poems fromGoblin Market and Other Poems(1862) andA Prince's Progress(1866) – in alternative modes of sociality that refract a conceptual preoccupation with likeness, rather than difference. Following traditions of critical thought that have paid increasing attention to relations that resist oppositional logic – Stephanie Engelstein and Eve Kosovsky Sedgwick's late work comes to mind here – I establish the primacy of a horizontal axis of similarity in bothSpeaking Likenessesand Rossetti's most canonical poem, “Goblin Market.” For Rossetti, the lure of similarity, or minimal difference, manifests itself most often in siblinghood and more specifically, sisterhood, the dominant kinship relation throughout her lyrics fromGoblin Market and Other Poems. Sisterhood anchors the title poem I will examine in this essay, as well as shorter verses such as “Noble Sisters” and “Sister Maude.” At issue in such relations of likeness is the discreteness of a (typically) feminine self. For Rossetti, shunning oppositional structures of desire and difference that typically produce individuation (exemplified in the heterosexual couple form and the titles of her uneasy lyrics “He and She” and “Wife to Husband”) allows for a new (albeit perilous) space to carve out one's particularity as a gendered being.