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Journal articles on the topic 'Feminine imperial figures'

Author: Grafiati

Published: 5 July 2023

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1

Blanchard, Lara C. W. "Defining a Female Subjectivity." positions: asia critique 28, no. 1 (2020): 177–205. http://dx.doi.org/10.1215/10679847-7913106.

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Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorpora

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2

Estep, Chloe. "“Still Holding the Pipa to Hide Half Her Face”: Visions of Bai Juyi’s ‘Song of the Pipa’ in Republican China." NAN NÜ 23, no. 1 (2021): 79–109. http://dx.doi.org/10.1163/15685268-02310013.

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Abstract A recurring subject of manhua (comics) in Republican-era China was the pipa player, a woman whose genealogy can be traced back to the disgraced and displaced subject of Bai Juyi’s ninth-century poem Pipa xing (Song of the pipa). This paper traces this woman’s development from her conception in Pipa xing and follows her as she is re-imagined by modern poets and manhua artists into a variety of figures, from scorned politicians to modern feminine archetypes. This paper argues that these artists leverage her precarity and anachronism to portray contemporary political turmoil and national

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3

Peng, Ying-chen. "A Palace of Her Own: Empress Dowager Cixi (1835-1908) and the Reconstruction of the Wanchun Yuan." Nan Nü 14, no. 1 (2012): 47–74. http://dx.doi.org/10.1163/156853212x651988.

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Empress Dowager Cixi (1835-1908) is one of the most significant and controversial political figures in modern Chinese history, yet her comprehensive engagement with court art, a symbolic realm of sovereignty in China, remains understudied and is therefore deserving of close analysis. To examine her patronage of art, this paper scrutinizes Cixi’s involvement in the Wanchun yuan (Garden of ten thousand springs) reconstruction project and argues that it not only exemplifies her strategy of asserting political power through art but also provides a rare glimpse of how a patron’s creation and decora

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O'Hearn, Leah. "Conquering Ida: An Ecofeminist Reading of Catullus’ Poem 63." Antichthon 55 (2021): 116–35. http://dx.doi.org/10.1017/ann.2021.5.

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AbstractMany have recognised poem 63 as a study in contrasts – light versus darkness, masculine versus feminine, rationality versus madness, animal versus human, culture versus nature. Caught between these polarities is the figure of Attis, removed from everything bright, male, sane, human, and civilised by one impassioned act. The poem suggests that it is partly the nature of the place, its quasi-Hippocratic airs, waters, and places, that emasculates Attis, making him like a notha mulier, iuvenca, and famula. This article will use ecofeminist theory – in particular, Val Plumwood's Feminism an

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5

Sassi, Nicolò. "Intertextuality, Isiac Features, and the Shaping of the Sacred Feminine in Trimorphic Protennoia (NHC XIII, 1)." Studia Orientalia Electronica 7 (April 25, 2019): 82–95. http://dx.doi.org/10.23993/store.76643.

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The aim of this paper is to bring to light through intertextual analysis some dimensions of continuity between the Hellenistic and Imperial theology of Isis and the figure of the Sacred Feminine as it appears in the Trimorphic Protennoia (NHC XIII 1). Instead of attempting to establish a diachronic (=historical) relationship of dependence between sources (e.g., borrowing, allusion, influence), this study establishes correspondences that can be traced on the literary level. Through a reception-oriented analysis, it will be possible to show the continuity between the Isiac religion and the late

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6

Jurt, Joseph. "O Brasil: um Estado-nação a ser contruído. O papel dos símbolos nacionais, do Império à República." Mana 18, no. 3 (2012): 471–509. http://dx.doi.org/10.1590/s0104-93132012000300003.

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Os símbolos da República, constituída no Brasil em 1889, não indicam uma ruptura radical com o regime monárquico anterior, como foi o caso na França. As cores da bandeira imperial remetiam às cores dinásticas. Na República, sua estrutura foi mantida, sendo acrescentado o lema "Ordem e Progresso", o que atestava que os positivistas haviam conseguido impor sua interpretação do novo regime. Quanto ao Hino Nacional, a República não havia conseguido infundir uma nova versão, o povo tendo manifestado sua predileção pelo hino imperial. Quanto à alegoria da República, havia tentativas de representá-la

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7

Forbes-Thomas, Christina. "Ensnare." Journal of Jungian Scholarly Studies 18, no. 1 (2023): 46–65. http://dx.doi.org/10.29173/jjs222s.

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The present research blends archetypal and feminist perspectives, along with current research into the hemispheres of the brain, to investigate the psychological implications of the pursuit and attempted murder of Ambrosia, a nymph and nursemaid to Dionysus, by King Lycurgus of Thrace in Ancient Greece. A depth psychological story of psychic activism, feminine liberation, and transformation, “Ensnare” builds around a single image from a piece of Greco-Roman artwork—the attack and attempted murder of Ambrosia by Lycurgus, whose deeds evoke the destructive forces of literalism, monotheistic temp

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8

Gill-Sadler, Randi. "The Minister of Mercy Is a Homegirl." Small Axe: A Caribbean Journal of Criticism 26, no. 3 (2022): 144–52. http://dx.doi.org/10.1215/07990537-10211751.

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This review essay on Laurie R. Lambert’s Comrade Sister: Caribbean Feminist Revisions of the Revolution (2020) considers the narrative and rhetorical strategies that Black women political figures use in their memoirs to represent US imperial presence and violence in the aftermath of the Grenada Revolution. As it highlights Lambert’s attention to Joan Purcell’s truncated temporal framing of the Grenada Revolution, the essay offers a close reading of Phyllis Coard’s memoir to elaborate the significance of temporality in literary representations of the revolution and to question how the memoir as

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9

MARTINS, CAROLINE MORATO. "MODELOS ÉTICOS FEMININOS NA ROMA ANTIGA: uma análise sobre a construção da fama de Lívia Drusila e Agripina Maior." Outros Tempos: Pesquisa em Foco - História 17, no. 29 (2020): 83–99. http://dx.doi.org/10.18817/ot.v17i29.754.

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Neste artigo, apresentamos parte da investigação que temos feito acerca da fama de duas específicas personagens femininas do início do período imperial romano: Agripina Maior e Lívia Drusila. Para tanto, discutimos múltiplas apresentações dessas figuras nas narrativas de Tácito e Suetônio, posteriores ao período Júlio-Cláudio sob o qual tais mulheres viveram. Analisamos como a construção ou reconstrução da fama ligadas às duas personagens convergem, nos Anais e nas Vidas dos doze césares, para uma alteração das condições ético-morais dessas mulheres. A alteração da fama de ambas é ocasionada p

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10

Neimneh, Shadi S. "Imperialism and Gender in J. M. Coetzee's Waiting for the Barbarian." Language Teaching 2, no. 2 (2023): p1. http://dx.doi.org/10.30560/lt.v2n2p1.

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Considering how power relations govern the construction of race and gender, this article looks at the ambivalent relationship between the Magistrate and the "barbarian" girl in J. M. Coetzee's novel Waiting for the Barbarians (1980), exploring intersections between imperialism and gender and negotiating how issues of representation are implicated in questions of identity construction. It highlights how identities inflicted by gender are constructed in imperial discourse: first by the colonizer who speaks the language of power and inscribes on the colonized meanings serving imperialism; second

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11

Radecka, Aniela. "Pożegnanie z imperium? Użyteczność teorii postkolonialnej w badaniach nad współczesną ukraińską prozą kobiecą." Slavia Occidentalis, no. 73/2 (June 14, 2018): 133–45. http://dx.doi.org/10.14746/so.2016.73.35.

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Farewell to Empire is not a one-off act but an extremely complex process that has lasted many years. The decolonisation and de-Sovietisation of Ukrainian society is possible only by overcoming the mental effects of colonialism. Existence from revolution to revolution, and in consequence from revolution to war, was an experience shared by at least three generations of Ukrainian writers. However, each generation has either had different experiences with the previous political system, or none at all. Yet their lives are now connected with it through the experiences of previous generations. In the

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12

Langlands, Rebecca. "Latin Literature." Greece and Rome 63, no. 2 (2016): 256–63. http://dx.doi.org/10.1017/s0017383516000139.

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Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativit

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13

Das, Devaleena. "What’s in a Term: Can Feminism Look beyond the Global North/Global South Geopolitical Paradigm?" M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1283.

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Introduction The genealogy of Feminist Standpoint Theory in the 1970s prioritised “locationality”, particularly the recognition of social and historical locations as valuable contribution to knowledge production. Pioneering figures such as Sandra Harding, Dorothy Smith, Patricia Hill Collins, Alison Jaggar, and Donna Haraway have argued that the oppressed must have some means (such as language, cultural practices) to enter the world of the oppressor in order to access some understanding of how the world works from the privileged perspective. In the essay “Meeting at the Edge of Fear: Theory on

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14

Fernandes, Weverton Ortiz, Fátima Graziele de Souza, and Albano Dalla Pria. "Dança do chorado: reescriturações de sentidos para a dançarina." TRAÇOS DE LINGUAGEM - REVISTA DE ESTUDOS LINGUÍSTICOS 1, no. 2 (2017). http://dx.doi.org/10.30681/2594.9063.2017v1n2id2644.

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Nesta pesquisa tomamos como objeto de estudo uma narrativa sobre a Dança do Chorado, referente ao período colonial e imperial, enunciada no ano de 2008 em Vila Bela - MT. Temos como objetivo compreender a significação dos nomes para as figuras femininas, nomeadas de senhoras escravas, senhoras e conselheiras da festança. Por buscarmos compreender o modo como os nomes significam, filiamos o presente estudo nos pressupostos teóricos da Semântica do Acontecimento (Guimarães, 2002, 2005). Na pesquisa, compreendemos que as designações atestam o lugar social das dançarinas da Dança do Chorado. Na na

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15

Bonner, Frances. "The Hard Question of Squishy Machines." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1785.

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Among the sub-genres of science fiction, one of the most traditional and most machine-laden is space opera. The name is dismissive and was coined in parallel with the now little recognised 'horse opera' (for westerns) in the wake of the success of the term 'soap opera' (for romantic serials). Space operas were adventure sagas across the galaxies with space ships carrying intrepid crews on voyages of discovery, into glorious battles and terrifying encounters with aliens. The 'opera' part presumably refers to their seriality and overstated melodrama. At various times during the last fifty years

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16

Fredericks, Bronwyn, and Pamela CroftWarcon. "Always “Tasty”, Regardless: Art, Chocolate and Indigenous Australians." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.751.

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Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women i

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17

Sully, Nicole. "Modern Architecture and Complaints about the Weather, or, ‘Dear Monsieur Le Corbusier, It is still raining in our garage….’." M/C Journal 12, no. 4 (2009). http://dx.doi.org/10.5204/mcj.172.

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Historians of Modern Architecture have cultivated the image of the architect as a temperamental genius, unconcerned by issues of politeness or pragmatics—a reading reinforced in cultural representations of Modern Architects, such as Howard Roark, the protagonist in Ayn Rand’s 1943 novel The Fountainhead (a character widely believed to be based on the architect Frank Lloyd Wright). The perception of the Modern Architect as an artistic hero or genius has also influenced the reception of their work. Despite their indisputable place within the architectural canon, many important works of Modern Ar

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18

West, Patrick Leslie. "“Glossary Islands” as Sites of the “Abroad” in Post-Colonial Literature: Towards a New Methodology for Language and Knowledge Relations in Keri Hulme’s The Bone People and Melissa Lucashenko’s Mullumbimby." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1150.

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Reviewing Melissa Lucashenko’s Mullumbimby (2013), Eve Vincent notes that it shares with Keri Hulme’s The Bone People (1984) one significant feature: “a glossary of Indigenous words.” Working with various forms of the term “abroad”, this article surveys the debate The Bone People ignited around the relative merits of such a glossary in texts written predominantly in English, the colonizing language. At stake here is the development of a post-colonial community that incorporates Indigenous identity and otherness (Maori or Aboriginal) with the historical legacy of the English/Indigenous-language

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19

Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno

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20

Brabazon, Tara. "Welcome to the Robbiedome." M/C Journal 4, no. 3 (2001). http://dx.doi.org/10.5204/mcj.1907.

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One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decade

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