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Journal articles on the topic 'Feminist drama'
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1
Sultana, Irem, Aiman Badar, and Sadaf Irtaza. "Impact of Television Drama Viewing on Feminist Awareness: A Study in Lahore, Pakistan." Global Sociological Review IX, no. I (March 30, 2024): 99–111. http://dx.doi.org/10.31703/gsr.2024(ix-i).09.
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This study assesses how watching TV dramas affects women's awareness of feminism in Lahore, Pakistan. Information is gathered through the online survey method (n=200) from female students of various public and private universities in Lahore. The study analyzes the impact of demographic factors, including age, education level, maternal education, and employment status, on young women's beliefs about traditional gender roles and their inclination toward feminism. The results of the study lend credence to the idea that feminist ideals—represented in television dramas and mothers' employment status—influence children's views on gender roles (H1 & H4). In addition, the findings indicate that education plays a significant role in forming feminist beliefs, particularly among female viewers who watch television dramas regularly (H3). However, the lack of statistical significance in the majority of models makes it impossible to definitively conclude that age has a significant impact on feminist beliefs among television drama viewers (H2).
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Nurgali, Kadisha, Aman Zhumsakbayev, Gaini Zhambabayeva, Aiman Zeinulina, and Gauhar Tileuberdi. "Philosophical ideas in drama on the example of women's drama." XLinguae 16, no. 3 (June 2023): 48–56. http://dx.doi.org/10.18355/xl.2023.16.03.05.
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In this article, specific methodological approaches to analyzing drama from a philosophical point of view are formulated. Our research’s principal conceptual basis consists of considering the personalities of the drama characters animated in the text (and especially in the stage action) as primary attractors for readers-viewers (recipients). Drama consideration (in addition to philological, psychological, semiotic, and other aspects) is proposed as a metaphor that leads to a holistic intellectual and spiritual understanding of its social and philosophical meanings in the unity of the personal-conscious, collective unconscious, and socially determined content. In addition, a conceptual system of socio-philosophical analysis of drama as a unity of society’s real microsocial and macrosocial environments, expressed by the images of the virtual world of the dramatic work in society as a whole, is proposed and implemented. The author explains and systematizes the socio-philosophical ideas and the geo-sociocultural aspect of feminism and feminist literature (features of feminism and feminist drama in the Anglo-American reality). In addition, the author contributes to understanding an important aspect of the modern Western mentality. It is shown that women’s drama is one of the most significant genres of expression of the “philosophy of women’s lives” in the socio-cultural dimension and contains relevant social and philosophical ideas related to gender issues. The article considers the application of the modern literary approach of “feminist criticism” in combination with traditional philological and philosophical approaches, which allowed us to offer a more systematic understanding of the phenomenon of “women’s drama” and revealed the links between the ideology and practice of the feminist movement with the peculiarity of expressing the positions of specific subjects in the form of dramatic works.
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Chen, Mingxin. "Study on Female Role Image Construction in A Dream of Splendor and Its Positive Influence on Society Based on Postmodern Feminism and Femininity." SHS Web of Conferences 180 (2023): 01001. http://dx.doi.org/10.1051/shsconf/202318001001.
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In recent years, feminism is increasingly discussed in Chinese social media, which means that people become more aware of and interested in learning about feminist issues in China. In order to satisfy the audience's pursuit of feminist values, more and more TV plays tend to create “Strong Female Lead” themes. This paper will focus on the drama “A Dream of Splendor”, which is also based on the same theme. In order to study the drama's image of female characters and its positive impact on society, the drama's plot and secondary data, such as media and audience reviews of this drama, will be analyzed in this paper. It is found that the female characters in this drama present diverse image characteristics when fighting against patriarchy, and the growth and transformation of women's awakening of consciousness are also demonstrated to the audience. In addition, the images and plot settings of the drama fit the reality and reflect the dilemmas of contemporary women. This not only arouses the audience’s empathy but also promotes the audience’s in-depth exploration and thinking about feminism. Meanwhile, the drama’s innovation in the portrayal of women is a positive reference for the creation of subsequent ancient costume dramas with the theme of “strong female protagonist”.
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Novianty, Suci Marini. "Representasi Feminisme Radikal dalam K-Drama sebagai Resistensi Budaya Patriarki." Jurnal Mahardika Adiwidia 3, no. 2 (June 21, 2024): 110–24. http://dx.doi.org/10.36441/mahardikaadiwidi.v3i2.2198.
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This study examines the representation of radical feminism in the South Korean drama "Love to Hate You." Using a qualitative approach with a critical paradigm, the research employs Sara Mills' critical discourse analysis to understand how language and text structure create representations of women in the drama. The analysis aims to unveil how radical feminist values are reflected in dialogues, actions, and character relationships in the drama. The findings of the study suggest that the drama "Love to Hate You" provides a complex and nuanced representation of radical feminism. On the one hand, the drama portrays the protagonist, Yeo Mi Ran, as a strong and independent woman who resists patriarchal norms. Mi Ran rejects marriage, childbirth, and romantic relationships, and she pursues a career in law. On the other hand, the drama also shows how Mi Ran is still subject to patriarchal stereotypes and expectations. For example, Mi Ran is often portrayed as being cold and unemotional, and she is criticized for her lack of femininity. Overall, the study argues that the drama "Love to Hate You" provides a valuable contribution to the understanding of radical feminism in South Korean culture. The drama challenges traditional stereotypes about women, and it portrays a complex and multifaceted image of a radical feminist.
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Novak, Melita. "Postfeminist construction of women's sexuality in The village bike by Penelope Skinner." Acta Neophilologica 47, no. 1-2 (December 16, 2014): 41–54. http://dx.doi.org/10.4312/an.47.1-2.41-54.
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Penelope Skinner's drama The Village Bike deals with issues ranging from pregnancy to sexuality, pornography and sexual exploration. In this article I focus on the way these issues are presented and explain why pornography and sexual exploration belong to the postfeminist ideology. Namely, the author uncritically deals with these issues, objectifies a woman's body and favours gender constructs. Contemporary British drama by women playwrights is not marked by its engagement with feminism even though it might declare itself as pro-feminist or feminist. Penelope Skinner is one of the contemporary playwrights. I try to present that even though her drama seems to appear provocative at first sight this is not really the case. The provocation does not offer a critical insight and distance. I argue that this drama is postfeminist because it mainstreams pornography and presents a peculiar view on the part of sexual liberation, which is very limited.
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Sabakti, Sri. "RESISTENSI PEREMPUAN DALAM DRAMA “SENANDUNG DAYANG DERMA” KARYA RINA NAZARUDDIN." Madah: Jurnal Bahasa dan Sastra 5, no. 2 (August 16, 2017): 231. http://dx.doi.org/10.31503/madah.v5i2.514.
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The play script "Senandung Dayang Derma (SDD)," by Rina Nazaruddin is a literary work that has much of Malay culture. Through characterization of Dayang Derma, the play script contains the perspective of feminism. The research on the script of "SDD" aims to reveal the women resistance or attempt in Malay culture. The approach used in this drama script analysis is feminist literary criticism by applying qualitative research methods. The results showed that women suffer oppression in Malay culture caused by a customary norms that in favor of the patriarchal ideology. The oppression of women is perceived as unfair because it all leads to women inferior and showed mrn superior. Therefore, women make an effort or resistance to unfair treatment by doing resistance.AbstrakNaskah drama "Senandung Dayang Derma (SDD)," karya Rina Nazaruddin adalah sebuah karya sastra yang sarat dengan budaya Melayu. Melalui penokohan Dayang Derma naskah drama ini mengandung perspektif feminisme. Penelitian terhadap naskah "SDD" bertujuan untuk mengungkapkan resistensi atau upaya perempuan dalam budaya Melayu. Pendekatan yang dipergunakan dalam analisis naskah drama ini adalah kritik sastra feminis dengan metode penelitian kualitatif. Hasil penelitian menunjukkan bahwa perempuan mengalami ketertindasan dalam budaya masyarakat Melayu yang disebabkan norma adat yang lebih memihak kepada ideologi patriakhal. Ketertindasan itu dirasakan perempuan sebagai perbuatan yang tidak adil karena semuanya mengarah kepada inferior perempuan dan menunjukkan superior laki-laki. Oleh karena itu, perempuan melakukan upaya atau resistensi terhadap perlakuan yang tidak adil tersebut dengan cara perlawanan.
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SHIM, JUNG-SOON. "Recasting the National Motherhood: Transactions of Western Feminisms in Korean Theatre." Theatre Research International 29, no. 2 (July 2004): 143–54. http://dx.doi.org/10.1017/s030788330400029x.
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The image of the National Motherhood is the potent cultural code for Koreans. The word ‘Feminism’ in the Korean context is identified as a system of ideas originating from the West. What happens when these two disparate cultural/historical impulses meet at the intersection of modern Korean theatre? This study examines the cultural transfer of Western feminisms and feminist plays in the Korean theatre from the 1920s, when Ibsen's play A Doll's House was first introduced to Korea, to the present. More specifically, it analyses six Western feminist plays such as Nell Dunn's Steaming and Marsha Norman's 'Night, Mother, by focusing on how the Korean women's movement and modern Korean drama movement intersect with each other in terms of historical and cultural background; how these two historical impulses interact with Western feminist plays in terms of the intentions and reception of such plays in the Korean theatre arena, and how the image of the National Motherhood, the potent cultural code for Koreans, intervenes in this process.
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Chaudhry, Aisha Arshad, Rana Imran Ali, and Zakia Aslam. "Women Representation in Pakistani Television Dramas: A Critical Discourse Analysis." Global Language Review VI, no. III (September 30, 2021): 103–12. http://dx.doi.org/10.31703/glr.2021(vi-iii).11.
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The current study aims to investigate the representation of women in Pakistani television dramas that reflect the female stereotypical image of women in society. The drama discourse is analyzed through the lens of the critical discourse analysis model by Fairclough (1995). The study explores that women represented in Pakistani dramas are bold or assertive, or they are restricted to conventional norms by male-oriented society. The methodological approach adopted to analyze is suitable to study the independent and dependent variables. The critical discourse analysis model is applied to describe,explain, and interpret the drama discourse. For data analysis, three dramas, “Cheekh” and “Khaani,”have been selected from different Private television channels to ensure the validity of the analysis. The leading female roles in these dramas confront the feminist issues in a patriarchal society. Even in this modern era, Pakistani women are still struggling against odds for injustice and equality, where male-dominated culture is challenging as ever for women to survive. This research will help researchers to work on the different themes of television dramas related to feminist issues.
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Malik, Aisha. "Transnational Feminist Edutainment Television in Pakistan: Udaari as Case Study." BioScope: South Asian Screen Studies 10, no. 2 (December 2019): 129–44. http://dx.doi.org/10.1177/0974927619896774.
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First created in the context of state-controlled broadcast television of the 1960s, the Urdu serial drama form has proven enduringly popular in Pakistan. This article examines how institutional changes, including the appearance of nongovernmental organisations in this space, have altered the production and reception of these serial dramas and their thematic content, which has recently included such highly charged topics as sexual abuse, harassment and rape. First, I look at how transnationally funded content has impacted modes of production in a liberalised and deregulated Pakistani television industry. Second, I give a case study of the internationally funded drama serial Udaari as an example of agenda setting television intended to create public dialogue and galvanise change, to which I give the name feminist edutainment (FE) that intentionally recalls the form of entertainment education (EE) associated with the work of Miguel Sabido. Finally, I draw on my ethnographic research to argue that contemporary serial dramas, while engaging a domestic reception space primarily occupied by women, have expanded into the online space through the social media activism of feminist influencers.
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Shote, Karena Goodness. "Accommodation of Feminism in J. P Clark’s Wives Revolt." Journal of Women Empowerment and Studies, no. 35 (July 24, 2023): 1–9. http://dx.doi.org/10.55529/jwes.35.1.9.
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Feminism has become a major topic of discussion and research in African drama over the years. Playwrights as well as critics have written numerous works on different aspects of feminism in Africa, including J. P. Clark’s Wives Revolt. But the burden of the African feminist ideology and the different ways it is reflected in the African feminist dramatic texts (the different dimensions of feminism) have not gotten the needed critical attention. This caught the attention of the current study. The study used a literary qualitative and analytical approach, with the primary play text chosen for the study being critically analysed using feminism as the guiding theory. The study concludes that all of the play chosen for the study is feminist text because it deals with the burden of the woman. Beyond this portrayal, the play deals with the place of women and their responses in different ways, thereby attending to the different strands of feminism. The study concludes that the only way to wholly appreciate this play is by connecting the various strands of feminism in their appreciation.
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Ben-Zvi, Linda, and June Schlueter. "Feminist Rereadings of Modern American Drama." Modern Language Review 87, no. 3 (July 1992): 734. http://dx.doi.org/10.2307/3732980.
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Reinelt, Janelle. "Beyond Brecht: Britain's New Feminist Drama." Theatre Journal 38, no. 2 (May 1986): 154. http://dx.doi.org/10.2307/3208116.
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Dillon, Janette, Alison Findlay, Viviana Comensoli, and Anne Russell. "A Feminist Perspective on Renaissance Drama." Yearbook of English Studies 32 (2002): 293. http://dx.doi.org/10.2307/3509087.
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Wall, Barbara. "From Patriarchal Motherhood to Feminist Mothering? The Depiction of the Single Mother Tongbaek in the K-drama When the Camellia Blooms (2019)." Korean Studies 48, no. 1 (2024): 221–49. http://dx.doi.org/10.1353/ks.2024.a931002.
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Abstract: The South Korean television series When the Camellia Blooms ( Tongbaekkot p'il muryŏp , 2019) was one of the highest-rated and most-discussed miniseries dramas of 2019. It is notable that the K-drama has succeeded in attracting viewers from all demographics. This popularity seems to be related to the issues that are highlighted in the drama, such as the #MeToo movement, misogynist murders, and new concepts of family. This article focuses on the portrayal of the single mother Tongbaek in the drama and argues that When the Camellia Blooms used intertextual references to other single mothers from Korean literature and film as a contrast to portray its own message as progressive. The title alone suggests understanding When the Camellia Blooms in relation to both the title of the short story When Buckwheat Flowers Bloom ( Memilkkot p'il muryŏp ) from 1936 and the film title Ms. Camellia ( Tongbaek agassi ) from 1964. Both the short story and the film depict the single mother as a self-victimizing character reduced to her role as mother. In contrast, the K-drama chooses the other extreme and celebrates the single mother as a self-sufficient heroine. While the drama's idealization of motherhood seems to be at odds with the feminism it promotes, the emphasis on solidarity and alternative parenting/caring communities toward the end of the series suggests a more open-minded narrative. I argue that by providing diverse messages on mothers, mothering, and motherhood, the drama stimulates the discussion on how to overcome patriarchal motherhood and move toward feminist mothering.
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Uddin, Md Abu Saleh Nizam. "From home to homelessness: A reflection on Nora�s possible post-departure feminist life in A Doll�s House by Henrik Ibsen." EduLite: Journal of English Education, Literature and Culture 7, no. 2 (August 31, 2022): 296. http://dx.doi.org/10.30659/e.7.2.296-310.
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In Henrik Ibsen�s A Doll�s House, Nora�s departure from home being hurt by her husband�s behavior appears to be the most important event of the drama igniting so far a wide critical parlances of Feminist array that appreciate the departure as Nora�s freedom from male-dominated society. But Nora�s success in having a home of comfort and happiness in her post-departure future life in Feminist world deserves critical attention too. We may posit Nora will shift to a Feminist world considering the departure as the manifestation of her newly imbibed Feminist spirit because the first wave Feminism of her time is either indifferent about or antagonistic to family life by being politics-centric. However, when Nora has within her a woman�s indispensable family-centric female construction to face nonfamilial politics-centric first wave feminism, she is sure to find no home in that Feminist world. Thus, this paper aims at examining how Nora, with her declared departure from home, is going to shift to the world of first wave Feminism which, by being nonfamilial and politics-centric, works against the very family-centric construction of Nora�s female construction and offers homelessness to her.�
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Stanley, Ordu,, and Bassey Nkechinyere. "Intersectional Feminism in Irene Salami’s Sweet Revenge." Journal of Women Empowerment and Studies, no. 31 (January 31, 2023): 36–45. http://dx.doi.org/10.55529/jwes.31.36.45.
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Feminism has become a major topic of discussion and research in African drama over the years. Playwrights as well as critics have written numerous works on different aspects of feminism in Africa, Irene Salami’s Sweet Revenge. But the burden of the African feminist ideology and the different ways it is reflected in the African feminist dramatic texts (the different dimensions of feminism) have not gotten the needed critical attention. This caught the attention of the current study. The study used a literary qualitative and analytical approach, with the primary play texts chosen for the study being critically analysed using feminism as the guiding theory. The study concludes that the play chosen for the study is a feminist text because it deals with the burden of the woman. Beyond this portrayal, the play deals with the place of women and their responses in different ways, thereby attending to the different strands of feminism. The study concludes that the only way to wholly appreciate the play is by connecting the various strands of feminism in their appreciation. The study recommends that there are new emerging approaches to feminism, such as "burial feminism," “snail sense feminism and that these approaches should be studied alongside the existing strands using intersectionalism.
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Uddin, Md Abu Saleh Nizam. "Revisiting Alu of The Swamp Dwellers by Soyinka and Views by Beauvoir in The Second Sex: Unifying Humanity Versus Feminist Separatism." Indonesian Journal of English Language Studies (IJELS) 8, no. 1 (March 17, 2022): 17–32. http://dx.doi.org/10.24071/ijels.v8i1.3788.
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This paper concentrates on a comparative study between Alu of the drama The Swamp Dwellers by Soyinka and the Feminist views of Beauvoir in The Second Sex while the areas of the drama so far explored and discussed are native narrative, political views, decline through modernization, moral-spiritual standpoint, family bonding and human-nature tie. In the drama, if the vital role played by Alu is construed, she appears as a woman figure of infinite capaciousness with her duties, responsibilities, feelings, commitments, rights and privileges in family and society. Alu succeeds because her human-centric Yoruba tradition gives support to her family-centric biology and psychology. But contrary to Alu, Feminist views disseminated by Beauvoir in The Second Sex embark on the estrangement of women from family and humanity. Thus, the paper seeks to unearth how Alu of Yoruba tradition harmonizes and unifies humanity through her role in family and society while Feminism of Beauvoir opposes them and wishes women to be separated. In this qualitative research of thematic analysis method, Family Systems Theory and Religious Humanism Theory were applied. By recommending for women the re-introduction of traditional human-centric life in family and society, this research may contribute to women’s emancipation from misery.
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Coulthard, Lisa, Tanya Horeck, Barbara Klinger, and Kathleen McHugh. "Broken Bodies/Inquiring Minds: Women in Contemporary Transnational TV Crime Drama." Television & New Media 19, no. 6 (April 27, 2018): 507–14. http://dx.doi.org/10.1177/1527476418768001.
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This special issue concentrates on a dominant trend in contemporary transnational crime television: quality dramas featuring serial criminals who break the bodies/psyches of young women or children, thereby attracting the inquiries of female detectives who have suffered trauma themselves. This trend has generated resources, industrial partnerships, avid viewers, and, importantly for the authors here, feminist commentary across continents. We reframe the debate over whether these shows are feminist or misogynist by exploring staples of transnational language that underwrite their popularity in disparate national markets. In fact, we address the paradoxical gender-based violence and female empowerment at their core as crucial to their transnational legibility by tracking recurring elements that circulate a gendered and raced lingua franca rooted in fundamentals of media aesthetics: strategies of storytelling and genre, modes of perception, and the production of affect. Ultimately, these programs raise questions about cultural currencies of televised feminism in the digital era.
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Smith, Gretchen Elizabeth. "A Feminist Perspective on Renaissance Drama (review)." Theatre Journal 54, no. 2 (2002): 336–38. http://dx.doi.org/10.1353/tj.2002.0061.
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McLuskie, Kathleen. "A Feminist Perspective on Renaissance Drama (review)." Shakespeare Quarterly 53, no. 1 (2002): 132–35. http://dx.doi.org/10.1353/shq.2002.0011.
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Bartleet, Carina. "Sarah Daniels: Feminist Enque(e)ry within the Mainstream." New Theatre Quarterly 26, no. 2 (May 2010): 145–60. http://dx.doi.org/10.1017/s0266464x1000028x.
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Sarah Daniels is a playwright who has been closely identified with feminist theatre throughout her career. In this article, Carina Bartleet examines Daniels's plays from the early work of the 1980s through to her more recent output by exploring lesbian representation. Emphasis is placed on lesbian/queer representations through renegotiation with feminist theatre and gendered spectatorship. The work argues that Daniels's oftcriticized reluctance to stage lesbian desire can be viewed as a continuation of her feminist intervention into the gendered construction of the gaze in mainstream theatre. Carina Bartleet is a Lecturer in Drama at Oxford Brookes University. She read Biological Sciences at Oxford University, taking her PhD in Drama at Exeter on the intertextual dimension of the plays of Sarah Daniels. Her interests are science, gender, and performance in contemporary theatre. She is currently working on a book on theatre and science, and has published articles in Modern Drama and Studies in Theatre and Performance.
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Guo, Zhen. "The Analysis of Why Women Kill Season 2 Based on the Development of Feminism in China." SHS Web of Conferences 155 (2023): 03006. http://dx.doi.org/10.1051/shsconf/202315503006.
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The second season of Why Women Kill has been widely disseminated and discussed in China. By combining an in-depth viewing of Why Women Kill II and the current development of Chinese feminism, this paper adopts the textual close reading to analyze the connotation of beauty, the awakening of female self-awareness, and the abnormal development of Chinese feminism. The work hopes to promote the further development of Chinese feminism, raise the level of gender consciousness in the whole society and accumulate experience and provide reference for similar feminist drama series and related researches in China and abroad.
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N, Umadevi. "Women Liberation Politics Explained in Kaalakkanavu – Modern Drama." International Research Journal of Tamil 4, S-14 (November 29, 2022): 101–6. http://dx.doi.org/10.34256/irjt224s1417.
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Ideas like Women’s Liberation, Women’s rights, Women’s Development, Feminism, Women’s Law, Equality for women, resistance against male chauvinism are sounding all over the world. Women are voicing everyday to attain her independent space. But her voices are chocked by male chauvinistic voices. Even after all her voices for liberation, her revolutionary history has been denied and dissembled. Women’s history of liberation has been constructed by men here. Periyarist and Feminist researcher V. Geetha has collected Women’s history and she has written this as a play under the title of “KAALAKKANAVU”. Professor A. Mangai direct this play and she published this text as a book. This research paper has been pertaining to women liberation thoughts highlighted in this kaalakkanavu modern Drama.
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DERE, Özden. "From Suffragette to Diversity of Voices in Feminist Drama: Pam Gems’s Dusa, Fish, Stas and Vi." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 58, no. 1 (October 5, 2018): 710. http://dx.doi.org/10.33171/dtcfjournal.2018.58.1.33.
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Feminist hareketin kendi içerisindeki farklı görüşlere ilişkin tartışmaları ele almak için uygun bir tür olan feminist drama kadın hareketine paralel bir şekilde gelişmiştir. Britanya’da birinci dalga drama örneklerine, esasen kadınların oy kullanma hakkı kazanmasına yönelik bir çaba olan Süfrajet (Suffragette) hareket tarafından desteklenen Actress’s Franchise League gibi Süfrajet tiyatro grupları için yazılan kadınlar ile ilgili oyunlarda rastlanmaktadır. Bu oyunlar farkındalık yaratmak için yazılmış oyunlardır. Süfrajet tiyatronun gelişiminden sonra, Britanya’da 1968 Parlamento Kararı ile sansürün kaldırılması İngiltere’de feminist tiyatronun gelişimi açısından hem bir dönüm noktası hem de ikinci adım olarak değerlendirilebilir; zira bu karar feminist oyun yazarlarına önceleri yasak kabul edilen birçok konuyu ele alma olanağı sağlamıştır. Dolayısıyla, birinci dalga, diğer bir deyişle, Süfrajet tiyatronun aksine, savaş sonrası ikinci dalga feminist tiyatro kadın sorunlarını daha geniş bir ölçekte ele alma özelliği taşımaktadır. Bu dönemde, farklı yaklaşımlar benimseyen kadın oyun yazarlarının neredeyse tümü kadın sorunları ile ilgili kaygılarını sahnede ifade etme olanağı bulmuş ve bu yazarların çoğu daha küçük ölçekli alternatif tiyatrolarca ve kadın birliklerince desteklenmiştir. Bu bilgiler ışığında, bu çalışmanın amacı, savaş sonrası İngiliz feminist tiyatrosunda görülen çok sesliliği veya çeşitliliği Pam Gems’in Dusa, Fish, Stas and Vi (1976) başlıklı oyunu üzerinde ayrıntılı bir inceleme yapmak suretiyle incelemek ve örneklendirmektir.
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Eziechine, Augustine Obiajulu, and Jude Aigbe Agho. "Democracy, Gender Issues and Women Empowerment in Nigeria: Reflections on Selected Nigerian Feminist Drama." Journal of Gender Related Studies 4, no. 1 (June 5, 2023): 1–10. http://dx.doi.org/10.47941/jgrs.1296.
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Purpose: Gender inequality has thrived in Nigeria for too long. Feminist scholars therefore feel that there is urgent need to change the status quo through feminist inputs and this led to the present persistent advocacy for women empowerment. Drama has been mostly deployed as a means of expressing this new trend of discourse. Thus, Nigerian writers, especially feminist dramatists, consciously reflect in their works the frightening realities of the prevailing socio- political and economic situations in the country, drawing the attention of the masses, especially the female gender to the inequality inherent in their exploitation, mobilizing the society to rise up against their oppressors. This paper therefore, is set to examine the issues of gender and women empowerment in Nigeria as reflected in selected Nigerian plays. The plays include Tess Onwueme’s The Reign of Wazobia, J.P. Clark’s The Wives’ Revolt and Fred Agbeyegbe’s The King Must Dance Naked.
Methodology: Textual analysis of the selected plays is carried out.
Findings: The analysis reveals that drama can be employed as a weapon to break the walls of cultural barriers that impede the struggle of women for social, political and economic empowerment.
Unique Contribution to Theory Policy and Practice: Thus, premised on the Womanist theory, this paper concludes that drama can be deployed as a means of promoting justice, gender equity and fair play in Nigeria’s drive towards the possibilities of true democracy. This is the playwrights’ contribution to the theory and practice of feminist drama in Nigeria.
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Park, Joo Eun. "The Background and the Characteristics of Feminist Drama." English21 23, no. 2 (June 2010): 51–71. http://dx.doi.org/10.35771/engdoi.2010.23.2.003.
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Claycomb, Ryan. "Playing at Lives: Biography and Contemporary Feminist Drama." Modern Drama 47, no. 3 (September 2004): 525–45. http://dx.doi.org/10.3138/md.47.3.525.
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Doebler, Bettie Anne, Dorothea Kehler, and Susan Baker. "In Another Country: Feminist Perspectives on Renaissance Drama." Rocky Mountain Review of Language and Literature 46, no. 4 (1992): 239. http://dx.doi.org/10.2307/1347142.
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Khan, Amara. "Metamorphosis of a Despondent Indian Woman: A Feminist Evaluation of Girish Karnad's Naga-Mandala." Global Regional Review V, no. II (June 30, 2020): 102–8. http://dx.doi.org/10.31703/grr.2020(v-ii).11.
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The article engages with the feminist approach in Girish Karnad's Naga-Mandala (1988) in the framework of postcolonial gender analysis. Naga-Mandala (1988) addresses the continued uneven power relations between female and male gender. Karnad's female character, Rani, in Naga-Mandala, is primarily pitiable, downgraded and most importantly an object of patriarchal social and political dominance and authority. The paper postulates Rani as a site of theoretical transformations, engaging with issues of gender subjectivity, sexuality, and power positionality in relation to the patriarchal Indian state. It further argues that Rani situates a performative self in the text through an interrogatory narrative voice that succeeds in participating in the critique of patriarchal subjectivity and hegemonic feminist positioning while inserting a resistant feminist ideology into gender discourse to re-envision the role of Indian women in India's development. Naga-Mandala echoes a substantial constituent of feminism. The drama enquires the patriarchal ethical enigma which burdens women with fidelity to their husbands but not the loyalty of men to their wives.
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Katarskytė, Auksė Beatričė. "The Feminist Potential of Beatrice Helen Barmby’s Gísli Súrsson: A Drama." Scandinavistica Vilnensis 17, no. 1 (July 31, 2023): 155–75. http://dx.doi.org/10.15388/scandinavisticavilnensis.2023.9.
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The late Victorian Britain was fascinated with the ancient North. British literary authors of the second half of the nineteenth century sought inspiration for their novels, poems, and plays in medieval Icelandic imagery. One of these authors was Beatrice Helen Barmby, author of Gísli Súrsson: A Drama. Since her authorship has largely been forgotten, this paper is an attempt to reintroduce her as one of the Victorian enthusiasts of Old Norse literature. Gísli Súrsson: A Drama (1900) is a play based on the medieval Gísla saga Súrssonar. Notably, the adaptation centres around the relationships between the main characters rather than the existential drama of the outlaw Gísli. I argue that the play can be interpreted as an invitation to consider women’s rights, or the Woman Question, a topic which excited heated debates in late nineteenth-century Britain. The play’s depiction of marriage is especially close to the early liberal feminist critique of the inferior role of women as harmful for both women and men. On the other hand, the play portrays Gísli’s wife Aud as a universally stoic and moral character, a domestically emancipated free woman. This paper thus analyses Gísli Súrsson: A Drama as a Victorian work on Old Norse-inspired themes with activist potential.
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Forbang-Looh, Gilda N. "The Fallacy of the “Metropolis” in Postcolonial Feminist Discourses: Reading Osonye Tess Onwueme’s Tell it to Women: An Epic Drama for Women." International Journal of Applied Linguistics and English Literature 8, no. 4 (July 31, 2019): 51. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.4p.51.
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This paper focuses on intra-gender representations and difference, using Osonye Tess Onwueme’s Tell it to Women: An Epic Drama for Women, the major concern being the controversies in universalising Western Oriented Feminist discourses in non-Western contexts. Among these are questions of patriarchy, oppression, mothering and universal sisterhood which tend to dominate metropolitan discourses, yet do not represent non-western Feminist ideologies and the other. Postcolonial Feminism is used to discuss these fallacies and the need for assertiveness of the other-Idu women in the stronghold of Eurocentric Feminism as espoused by Ruth and Daisy. Analyses show that it is fallacious not to consider, study and understand other contexts/people or supposed others before theorising about them and their needs. There is need to assert and preserve one’s identity in the face of Western impositions. Thus, the need for reorientation of the perception and consideration of modern intellectual women towards rural women is necessary. This is imperative because uncritically propagating western discourses in non-western spaces has remained unproductive and will for a long time be so.
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Pratiwi, Ricka Galuh. "Gender Inequality Portrayed in Hansberry’s A Raisin in The Sun and Hill’s Heart in The Ground." Journal of Literature, Linguistics, & Cultural Studies 2, no. 2 (May 7, 2024): 158–70. http://dx.doi.org/10.18860/lilics.v2i2.3707.
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Gender inequality is the term used to describe how men and women are treated differently. The target individual or group typically suffers or is disadvantaged as a result of inequality. This study's goal is to describe several types of gender inequality as they appear in Mansour Fakih's theory. Aside from that, consider how female characters approach gender inequity. Using data from the dramas A Raisin in the Sun by Lorraine Hansberry and Heart in the Ground by Doughlas Hill, this study adopts a feminist methodology and Mansour Fakih's concept of gender inequality. Literary criticism is the technique employed. Then, information is gathered by reading and documenting information that is pertinent to the theory and research issues. The results obtained from this study are (1) The two dramas each have three types of gender inequality. In Heart in The Ground there are subordination, violence and double burden. Three different types of women's inequality such as subordination, stereotypes, and marginalization are present in Hansberry's second play, A Raisin in the Sun. (2) Four ways to achieve their rights: rebelling, threatening, and talking about it, focusing on their goal.Keywords: Feminism, Gender Inequality, Drama
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Katie Normington. "‘Faming of the Shrews’: Medieval Drama and Feminist Approaches." Yearbook of English Studies 43 (2013): 105. http://dx.doi.org/10.5699/yearenglstud.43.2013.0105.
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Normington, Katie. "‘Faming of the Shrews: Medieval Drama and Feminist Approaches." Yearbook of English Studies 43, no. 1 (2013): 105–20. http://dx.doi.org/10.1353/yes.2013.0016.
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Lieblein, Leanore, and Linda Kintz. "The Subject's Tragedy: Political Poetics, Feminist Theory, and Drama." Theatre Journal 47, no. 2 (May 1995): 324. http://dx.doi.org/10.2307/3208506.
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Horeck, Tanya. "Screening Affect: Rape Culture and the Digital Interface in The Fall and Top of the Lake." Television & New Media 19, no. 6 (April 27, 2018): 569–87. http://dx.doi.org/10.1177/1527476418768010.
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Although it often goes unremarked, digital screens are a key point of commonality across the many different transnational renditions of the story of violence against girls and women found in contemporary TV crime drama. The Fall (United Kingdom, 2013–) and Top of the Lake (United Kingdom/Australia/New Zealand/United States, 2013–) are two striking examples of TV crime dramas that frame their self-conscious interrogation of rape culture through digital media. Considering the mutual imbrication of feminist politics and the deployment of new media technologies on these shows, this essay considers how the digital interface functions as a way of mediating viewer response to violence against women. Resisting a reading of digital technologies as either inherently oppressive or inherently liberatory, the essay explores how these TV series navigate the tension between the simultaneous violence of new media and its investigative/feminist/affective potential.
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Catanzaro, Gisela. "What Does our Feminism Need? Notes on a History “en sordina”." Res Publica. Revista de Historia de las Ideas Políticas 27, no. 1 (April 29, 2024): 11–16. http://dx.doi.org/10.5209/rpub.91552.
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El presente texto propone una lectura de A Feminist Theory of Refusal asumiendo como propia la doble clave teórica y política que el libro sostiene. En la primera parte se resumen los puntos centrales de Honig sobre el tipo de complejización e impurificación de la teoría vigente que el drama Las Bacantes de Eurípides habilitaría, y sobre la importancia de esta nueva conceptualización para la práctica política feminista. A continuación se formulan algunos interrogantes respecto del proceso histórico en el cual este concepto deviene protagónico para la teoría política crítica y se señalan posibles limitaciones del mismo a la hora de describir el tipo de desafíos que enfrentan las luchas emancipatorias e igualitarias emprendidas por el movimiento feminista en Argentina.
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Jermyn, Deborah. "Silk blouses and fedoras: The female detective, contemporary TV crime drama and the predicaments of postfeminism." Crime, Media, Culture: An International Journal 13, no. 3 (February 3, 2016): 259–76. http://dx.doi.org/10.1177/1741659015626578.
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This article examines the markedly contrasting fates of two recent female protagonist led police series, the dismally received Prime Suspect USA (NBC, 2011) and widely celebrated The Fall (BBC, 2013– ), asking what the reception of each suggests about the state of play for women in TV crime drama in today’s postfeminist culture. What do women cops need to do to make the cut in an era in which, on the one hand, it seems they are more prevalent and have more opportunities than ever before (Gerrard, 2014); but also, on the flip side of this, in which they must somehow offer something ‘extra’ to survive in an era where the presence of a female detective in itself is no longer an innovation or novelty? In an era in which, to adopt Angela McRobbie’s much-cited phrase, ‘feminism has been taken into account’ (2007: 255), how can these series’ invocation of feminism or ‘feminist issues’ be understood as fundamental to their respective demise and triumph? I argue that, crucially, Prime Suspect USA’s account of sexist bullying in the NYPD was greeted as hackneyed and overblown, where The Fall spoke adroitly to a media culture in which ratings can be won via a superficial but glossily packaged nod to the female detective’s postfeminist ‘progress’, while relishing misogynistic violence. Hence the article also asks, what implications does an inquiry of the kind undertaken here – where interrogation of the genre combines comparative text-based analysis with critical reflection on the author’s own perturbed response to the eroticisation of violence against women in The Fall – have for future models of feminist criticism of TV crime drama?
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Berghaus, Günter. "Fulvia Giuliani: Portrait of a Futurist Actress." New Theatre Quarterly 10, no. 38 (May 1994): 117–21. http://dx.doi.org/10.1017/s0266464x00000282.
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Despite the importance of Italian Futurism to the modernist movement in Europe during the early inter-war period, it has suffered a bad press – initially because of its association with the emergent fascist movement, and more recently because of the feminist concern with apparently misogynistic elements in the writing of the acknowledged leader of the movement, F. T. Marinetti. However, Günter Berghaus argues that this is to ignore not only the roots of Marinetti's own anti-feminism – in contempt for the very aspects of subservient womanhood now condemned by feminists themselves – but also the support that Futurism enjoyed from a number of women artists in Italy at the time. Certainly, the early career of the actress Fulvia Giuliani affirms both her strong endorsement for and participation in the movement, and her contempt for women who passively accepted the roles assigned to them by the patriarchy. Günter Berghaus, who teaches in the Drama Department of the University of Bristol, here outlines Giuliani's role in the Futurist movement and documents it from previously unpublished sources.
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Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics." PMLA/Publications of the Modern Language Association of America 116, no. 3 (May 2001): 545–61. http://dx.doi.org/10.1632/pmla.2001.116.3.545.
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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.
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Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics." Publications of the Modern Language Association of America 116, no. 3 (May 2001): 545–61. http://dx.doi.org/10.1632/s0030812900112660.
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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.
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Nasir, Noor Ul Ain, Anam Shehzadi, and Anjum Zia. "Portrayal of Women Empowerment in Pakistani Drama: A Case of Ghisi Piti Mohabbat." Research Journal for Societal Issues 5, no. 4 (December 31, 2023): 93–116. http://dx.doi.org/10.56976/rjsi.v5i4.164.
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The research study explores/ analysis the portrayal of women empowerment in Pakistani drama “Ghisi Piti Mohabbat”. The drama is on aired on leading Pakistani drama channel ARY Digital. Furthermore it examines women empowerment under the following categories. The main categories will be Decision Making, Social Mobility, Confident and Financial or Economic Independence. The study analysis the portrayal of women in Pakistani drama by using qualitative method of discourse analysis in order to find out the contextual meaning of dialogues used in drama “Ghisi Piti Mohabbat”.Liberal feminist theory was employed as the theoretical frame work for the study. The finding of the study might suggest that women are shown/ represented in confidence, self-made and strong character, and shown as taking ownership of decision they take on the life. Finding further might suggest that women face many societal pressures throughout their life.
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A, Gurumoorthi. "Bharathidasan's Dravidian Ideology in Poetic Plays." International Research Journal of Tamil 4, S-5 (August 25, 2022): 271–75. http://dx.doi.org/10.34256/irjt22s542.
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The extensive use of his ideas through drama has been continuous since time immemorial. The structure of the play is what man created for the rest of time in the form of a story based on his fantasies. Bharathidasan's plays are a repository of all Dravidian ideologies such as self-respect, rationalism, feminist emancipation, communism, brahmanism, and denial of God. Of these, what we have taken into consideration are the Veera Thai drama, which explains that women are a symbol of heroism, the sea-top bubble drama that deals with communist ideas, and the play Puthukkaradi, which explains how the Aryans who changed Tamil culture introduced their ideas into Tamil Nadu.
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Koman, Aleksandra. "Ofelia Pirandella: rozważania nad kobiecym szaleństwem." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 150–58. http://dx.doi.org/10.24917/20811853.17.13.
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Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered.Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism
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McDonald, Jan. "New Women in the New Drama." New Theatre Quarterly 6, no. 21 (February 1990): 31–42. http://dx.doi.org/10.1017/s0266464x0000395x.
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While considerable attention has been paid in recent years to the work of women dramatists during the wave of proto-feminist activity in the early years of the present century, the way in which women characters – whether created by male or female writers – were presented has been less adequately investigated. Here, Jan McDonald, Head of the Department of Theatre, Film, and Television Studies in the University of Glasgow, explores the work of well-known and largely-forgotten playwrights alike, discussing the ways in which the ‘new drama’ – the subject of Jan McDonald's recent book for the ‘Macmillan Modern Dramatists’ series – reflected the concerns of the ‘new woman’.
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Case, Sue-Ellen. "Feminist Rereadings of Modern American Drama ed. by June Schlueter." Comparative Drama 25, no. 2 (1991): 202–4. http://dx.doi.org/10.1353/cdr.1991.0006.
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Abdullah Almaaroof, Ansam Riyadh, and Nisreen Fadhil Isa. "The Image of the Woman in Harold Pinter's The Birthday Party." JOURNAL OF LANGUAGE STUDIES 6, no. 1 (December 20, 2022): 321–36. http://dx.doi.org/10.25130/jls.6.1.19.
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The Birthday Party (1957) by Harold Pinter vividly depicts the reality of the modern woman, with a straightforward breakdown in communication among some of the characters. Pinter makes every effort to portray this truth throughout this piece. He speaks with many pauses and silences, implying that language isn't as crucial to modern women as it once was. The power of silence, according to Pinter, is greater than that of speech. As a result, Pinter's plays have long and brief pauses. The drama is about the degeneration of human beings and the dying process. The paper follows feminism as a critical theory. It hypothesizes that Pinter is a feminist playwright who criticizes society for the improper portrayal f woman.
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Nurbani, Armelia Nungki, and Sri Nurhidayah. "Ideological Fantasy on Feminist Cliché in Harold Pinter’s The Room: A Žižekian Analysis." Aksara 35, no. 1 (June 30, 2023): 53. http://dx.doi.org/10.29255/aksara.v35i1.898.53--61.
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This study aims to reveal women desires for freedom (without any menace), but she reproduces of male power restraints as it is represented in the drama script of Harold Pinter’s The Room. This research uses Žižek’s critical thinking framework regarding ideology, subject and practice. The approach used in this research is ground theory, the data used are quotations in the script, and the data source is the play script Harold Pinter’s The Room. With interpretation analysis techniques, this research reveals that the great ideals of women’s freedom are fantasmatic. Women’s freedom is an ideological fantasy. This play script reflects women’s freedom but instead explains the reality that they are shackled by patriarchal discourse. Harol Pinter seems to assert male power through the definition of women’s freedom through Rose in The Room. Therefore, the result shows that postmodernist, whose perspective is opposed to hierarchal system, is still trapped in patriarchal perspective AbstrakPenelitian ini bertujuan untuk mengungkap hasrat perempuan akan kebebasan (tanpa ancaman), namun ia justru mereproduksi pengekangan kekuasaan laki-laki seperti yang ada dalam naskah drama The Room karya Harold Pinter. Penelitian ini menggunakan kerangka berpikir kritis Žižek tentang ideologi, subjek dan tindakan. Pendekatan yang digunakan dalam penelitian ini adalah grounded theory, data yang digunakan adalah kutipan dalam naskah, dan sumber datanya adalah naskah drama The Room karya Harold Pinter. Dengan Teknik analisis interpretasi, penelitian mengungkapkan bahwa cita-cita agung kebebasan perempuan bersifat fantasmatik. Kebebasan perempuan adalah fantasi ideologis. Teks drama ini merefleksikan Kebebasan perempuan tetapi justru menjelaskan realitas bahwa ia terbelenggu oleh wacana patriarkis. Harold Pinter menegaskan kuasa laki-laki melalui definisi kebebasan perempuan melalaui Rose dalam The Room. Dengan kata lain, hasil penelitian ini menunjukkan bahwa posmodernis, yang notabene menentang hirarki, juga ada yang patriarkis.
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Ningsih, Anastasia Juwita, and Tomi Arianto. "REPRESENTATION AND IMPACT OF SYMBOLIC VIOLENCE IN GOLDMAN’S “THE LION IN WINTER” STORY." eScience Humanity Journal 3, no. 1 (November 25, 2022): 15–26. http://dx.doi.org/10.37296/esci.v3i1.49.
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Symbolic violence is a type of violence that is difficult to detect. However, this type of violence is really visible. It can be found in numerous forms and tactics throughout the entertain environment which is drama. Especially in “The Lion in Winter” drama. It is reflecfed the issue about the woman who had symbolic violence from her environment. Not only symbolic violence, the woman got gender inequality that continues to discredit her and patriarchal construction system that legitimizes gender inequality. Feminist approach applied to support the data in this research. This research used Bourdieu (1991) theory to analyze the representation of symbolic violence. Bourdieu used this notion to explain the mechanism by which the elite, or the ruling upper class, transmits their lifestyle to the ruling lower class. The method in this research applied in the descriptive qualitative method from Creswell (2009). To collect the data, this research used theory from Ratna (2004) which is regard to the actions and dialog performance. The story in the drama was studied using library research and a feminism perspective. The Result of the research showed that symbolic violence reflected from the main character who is becoming discrimination without relazing if she is in indoctrinate. The impacts of symbolic violence make the main character become betrayal, lying, disrespect, hatred speech, and insult.
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Moreman, Shane T., and Alexandria J. Aiello. "Prime-Time Television’s First White, Female U.S. President: Gender and Race Discourses of a Feminist Media Artifact." Journal of Communication Inquiry 44, no. 2 (September 5, 2019): 139–56. http://dx.doi.org/10.1177/0196859919873664.
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Commander in Chief is the first prime-time television drama to have a protagonist and an entire plot dedicated to a female U.S. president. Through a transversal discourse analysis, we explain how the series is a feminist artifact that valuably contributes to contemporary discourses of gender—but also of race. First, the study unpacks the show’s publicity that exaggerates essentialist views of White femininity. Second, the study considers ways that Commander in Chief offers protean but insufficiently intersectional representations. Third, the study examines how President Allen provides a third-wave feminist account of women.