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Journal articles on the topic 'Feminist Myths'
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Ruah–Midbar Shapiro, Marianna. "Lilith’s Comeback from a Jungian-Feminist Outlook: Contemporary Feminist Spirituality Gets into Bed with Lilith." Feminist Theology 27, no. 2 (January 2019): 149–63. http://dx.doi.org/10.1177/0966735018814674.
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The article presents the feminist discourse on Lilith and asks why she has returned to the centre of activity and creation? It begins with Lilith’s Integrative Myth – a description of the classic Lilith myths – whilst trying to define her image’s central characteristics. Following, I offer one integrative myth: a complex essence that contains contrasts, and stems from a variety of sources, each contributing to the formation of Lilith’s story’s numerous aspects. Lilith’s Revival is discussed, surveying the different ways in which Lilith appears in today’s feminist spiritual discourse, while presenting some of the ways in which her story is re-interpreted and used towards contemporary feminist needs. A feminist Jungian outlook on Lilith’s Myths is included, deciphering Lilith as a symbol of the life-death-life cycle, which leads to a summary of the Jungian analysis’ implications.
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Conaghan, Joanne, and Yvette Russell. "Rape Myths, Law, and Feminist Research: ‘Myths About Myths’?" Feminist Legal Studies 22, no. 1 (March 8, 2014): 25–48. http://dx.doi.org/10.1007/s10691-014-9259-z.
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Andalas, Mutiara. "Stigmatized Identity in The Myth of Dewi Ontrowulan." SALASIKA: Indonesian Journal of Gender, Women, Child, and Social Inclusion's Studies 2, no. 1 (January 31, 2019): 1–14. http://dx.doi.org/10.36625/sj.v2i1.22.
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The dissociation of Dewi Ontrowulan from the pilgrimage site of Mount Kemukus and the participation of women in the sex ritual excite me to explore her myths. Surveying the various myths about Dewi Ontrowulan, this paper seeks to sketch the possibly dominant characterization of her. Besides her absence in providing blessings to pilgrims, her presence at the pilgrimage ritual greatly contributes to the brokenness of women’s bodies there. I apply feminist phenomenology to unveil the hiddenness of crimes against women. Reconstructing a liberating myth of Dewi Ontrowulan necessitates the de-stigmatization of her stigmatized character. A feminist re-reading on her myths hopefully also contributes to the liberation of these women from stigmatization.
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Cowan, Gloria, and Wendy J. Quinton. "Cognitive Style and Attitudinal Correlates of the Perceived Causes of Rape Scale." Psychology of Women Quarterly 21, no. 2 (June 1997): 227–45. http://dx.doi.org/10.1111/j.1471-6402.1997.tb00110.x.
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This study examines the relations between beliefs about the causes of rape and attitudinal and cognitive style (the tendency to think about social problems systemically, the view of people as complex and changeable, and an intellectual personality) measures in a sample of 270 community-college students. The Perceived Causes of Rape (PCR) Scale included the following subscales: Male Dominance, Society and Socialization, Female Precipitation, Male Sexuality, and Male Hostility. Beliefs about the causes of rape varied on three dimensions: individual versus sociocultural causes of rape, those causes that focus on the perpetrator versus those that focus on the victim, and rape myths versus feminist beliefs. The causes of rape identified as rape myths were associated with male sexuality stereotypes, a version of Burt's (1980) Rape Myth Acceptance Scale, attitudes toward feminism, and self-identification as a feminist. Agreement with the sociocultural causes of rape was associated with cognitive style measures and age. We suggest that belief in sociocultural causes of rape may require a predisposition to think systemically as much as an ideological stance.
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Zheng, Robin. "Precarity is a Feminist Issue: Gender and Contingent Labor in the Academy." Hypatia 33, no. 2 (2018): 235–55. http://dx.doi.org/10.1111/hypa.12401.
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Feminist philosophers have challenged a wide range of gender injustices in professional philosophy. However, the problem of precarity, that is, the increasing numbers of contingent faculty who cannot find permanent employment, has received scarcely any attention. What explains this oversight? In this article, I argue, first, that academics are held in the grips of an ideology that diverts attention away from the structural conditions of precarity, and second, that the gendered dimensions of such an ideology have been overlooked. To do so, I identify two myths: the myth of meritocracy and the myth of work as its own reward. I demonstrate that these myths—and the two‐tier system itself—manifest an unmistakably gendered logic, such that gender and precarity are mutually reinforcing and co‐constitutive. I conclude that feminist philosophers have particular reason to organize against the casualization of academic work.
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White, Aaronette M., Michael J. Strube, and Sherri Fisher. "A Black Feminist Model of Rape Myth Acceptance." Psychology of Women Quarterly 22, no. 2 (June 1998): 157–75. http://dx.doi.org/10.1111/j.1471-6402.1998.tb00148.x.
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A Black feminist model was used to investigate rape myth acceptance between African American antirape activists and a comparison group of nonactivists using Cross's (1991) racial identity model and Downing and Roush's (1985) feminist identity model. As predicted, activists rejected rape myths more than nonactivists; the earlier stages of both models were associated with rape myth acceptance; the later stages were associated with rape myth rejection; and activists evidenced more sociopolitical maturity (race and gender consciousness) than nonactivists. The findings suggest that researchers may need to investigate to what degree rape myth acceptance serves an overarching system of social domination where racism and sexism overlap.
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Barnett, Michael D., Kylie B. Sligar, and Chiachih D. C. Wang. "Religious Affiliation, Religiosity, Gender, and Rape Myth Acceptance: Feminist Theory and Rape Culture." Journal of Interpersonal Violence 33, no. 8 (August 24, 2016): 1219–35. http://dx.doi.org/10.1177/0886260516665110.
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Rape myths are false beliefs about rape, rape victims, and rapists, often prejudicial and stereotypical. Guided by feminist theory and available empirical research, this study aimed to examine the influences of gender, religious affiliation, and religiosity on rape myth acceptance of U.S. emerging adults. A sample of 653 university students aged 18 to 30 years were recruited from a large public university in the southern United States to complete the research questionnaires. Results indicated that individuals who identified as Roman Catholic or Protestant endorsed higher levels of rape myth acceptance than their atheist or agnostic counterparts. Men were found more likely to ascribe to rape myths than their female counterparts. Religiosity was positively associated with rape myth acceptance, even after controlling the effect of conservative political ideology. No significant interaction was found between gender and religious affiliation or gender and religiosity. Limitations, future research directions, and implications of the findings are discussed from the perspective of feminist theory.
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Zalaquett Aquea, Cherie. "FeminismoS en el horizonte del pensamiento latinoamericano contemporáneo." Hermenéutica Intercultural, no. 24 (August 29, 2016): 29. http://dx.doi.org/10.29344/07196504.24.536.
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ResumenNuevas exponentes de la teoría crítica feminista latinoamericana han desarrollado propuestas epistemológicas que desmantelan una serie de lugares comunes y mitos muy arraigados sobre el feminismo y los sujetos subalternos en nuestro continente, derivados de la inveterada costumbre de aplicar en nuestro suelo teorías elaboradas en el Primer Mundo. Estas pensadoras se sacudieron la colonización discursiva y la dependencia ideológica de los discursos académicos anglo-norteamericanos y exploraron la propia experiencia de las mujeres latinas, de color, afrodescendientes e indígenas. Sus elaboraciones teóricas, sobre todo nos muestran que la opresión es multidimensional, por lo tanto, la categoría de género por sí sola resulta insuficiente para abarcarla y es preciso intersectarla con variables como la clase y la raza para dar cuenta de la realidad “nuestramericana”.Palabras clave: Feminismo - género - pensamiento latinoamericano - epistemologías feministasAbstractNew exponents of the Latin American feminist critical theory have developedepistemological proposals that dismantle a series of commonplaces and myths very rooted on the feminism and the subaltern subjectsin our continent, derivatives of the deeply rooted custom to apply inour ground theories elaborated in the First World. These thinkers shookto the discursive colonization and the ideological dependency of theAnglo-American academic speeches and explored the own experience ofthe Latin women, of color, African descent and natives. Their theoreticalelaborations, mainly show to us that the oppression is multidimensional,therefore, the gender category alone is insufficient to include it and isprecise intersect it with variables as the class and the race to give accountof our American reality.Keywords: Feminism, gender, Latin American thought, feminist epistemologiesResumoNovos expoentes da teoria crítica feminista da América Latina, tem desenvolvidopropostas epistemológicas que abate uma série de locais comunse mitos arraigados sobre o feminismo e indivíduos subalternos no nossocontinente, derivada da inveterada costume de aplicar teorias elaboradasno Primeiro Mundo, em nosso solo. Essas pensadoras sacudiram a colonizaçãodiscursiva e a dependência ideológica dos discursos acadêmicosAnglo-Americanos e exploraram a própria experiência das mulhereslatinas, de cor, ascendência Afro e indígenas. Suas teorias mostram quea opressão é multidimensional, portanto, a categoria de gênero por si sóé insuficiente para ser abordada e precisa ser intersectada com variáveiscomo a classe e a raça para dar conta da realidade “nossamericana”.Palavras-chave:Feminismo - gênero - pensamento latino americano -epistemologias feministas
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Knotková-Čapková, Blanka. "Witches and Rebels." Archiv orientální 81, no. 1 (May 12, 2013): 33–47. http://dx.doi.org/10.47979/aror.j.81.1.33-47.
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The female literary character of “the witch” appears frequently in various genres – myths, fairy tales and also modern stories. When conceptualizing this character type from the perspective of a gender/feminist analysis, we have to include methodological approaches of feminist spirituality (theology) as well as a secular gender analysis of religion and literature. There is no general homogeneous opinion on the issue as to whether gender and feminist studies are one discipline or two different ones. I am not denying that the notion of ‘feminist’ usually evokes a closer connection to the political/ideological aspects, and, from the historical point of view, may even seem to be not an appropriate name for the discipline today, as current feminisms do not thematise only female identities but gender identities as a whole. Still, the methodological background of gender and feminist studies is one – feminist theories. I am using here the two notions mainly with regard to this common methodological source.
In myths and fairy tales, the witch is a magical being, supernatural, demonic – and mostly gendered. Its female image personifies destructive power/s, homologized with the essential feminine (see below). In modern literary texts, the female witch type is secular and human, but keeps the features of the destructive archetype – she is an evil, dangerous character who should be disciplined by the “right order.” In this article, I am first fgoing to introduce the methodological starting points of the above-mentioned analytical approaches, and shall then apply them to some selected Bengali literary texts. As will become evident, the concept of the witch as a supernatural, magical being (rebelling against the divine power order), and that of a disobedient, mundane woman (rebelling against the secular, human power order) may overlap. Both the orders are androcentric.
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Hakim, Catherine. "Five Feminist Myths about Women's Employment." British Journal of Sociology 46, no. 3 (September 1995): 429. http://dx.doi.org/10.2307/591850.
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Robles Brena, Lorena. "¿Qué es el feminismo y la teoría de género?" RA RIÓ GUENDARUYUBI 1, no. 2 (January 15, 2018): 8–12. http://dx.doi.org/10.53331/rar.v1i2.0046.
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This is a text of dissemination of feminist and gender theory, which exposes feminism as a democratic, liberating and enlightened theory and social movement. It discusses its historical background and some benefits of this theory and political practice. Likewise, the most common myths about feminism or the people who ascribe to it are reviewed. The concept of the scientific-academic axis of feminism, gender theory, as well as conceptual categories such as gender, sexism, patriarchy and gender perspective are discussed.
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Everingham, Jo-Anne. "Mahila Sanghas as Feminist Groups." Indian Journal of Gender Studies 9, no. 1 (March 2002): 43–60. http://dx.doi.org/10.1177/097152150200900103.
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With increasing focus on the place of women in development by multilateral agencies, donor countries and non-governmental organisations, various strategies of intervention are employed. One such intervention results in poor illiterate women in Orissa, redefining their position in contrast to the dominant discourses and gender ideology of state, religion and economy, to over come culturally enshrined powerlessness. From the observation of the work of the People's Rural Education Movement (PREM), and the women's organisations and credit unions they support and foster it is clear that such women's groups are appropriately understood as feminist in that they have claimed the right to speak for themselves (and those with whom they are attempting to change the social order); conceptualised an alternative social order and defined for themselves alternative social, political and economic activities within it; are challenging the mass of constructed ideas, values and myths around their gender; and are also challenging the social construction of male-female dualism and the ways in which it is reinforced. Their activities are considered in terms of Kristeva's three tiers of feminist thought: liberal feminism, radical feminism and symbolic-order post-structural feminism.
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Fernández-Santiago, Miriam. "Agential Materialism and the Feminist Paradigm. A Posthumanist Approach." Journal of Feminist, Gender and Women Studies, no. 10 (May 17, 2021): 31–39. http://dx.doi.org/10.15366/jfgws2021.10.004.
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Much has been argued within the fertile critical field of feminism in the second half of the twentieth century. With the advantage of distance from the twenty-first century, we can now gain a certain perspective on the general context of production and reception of feminist criticism as it becomes embodied in new myths that subvert the old phallogocentric ones. My approach intends to start a dialogue between such embodiments (mainly in the work of Cixous, Hayles, de Beauvoir, and Haraway) and Karen Barad’s agential materialism, using her critical construct of “phenomenon” as an instrument to understand the feminist paradigm in the post-human context and proposing accountable diffractive intra-action as an alternative to naturalized constructs.
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Elena-Claudia, Anca. "The Magic Toyshop –A Feminist Interpretation of Myths." Incursions into the Imaginary 6, no. 1 (October 15, 2015): 25–34. http://dx.doi.org/10.29302/inimag.2015.6.2.
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Mhana, Zainab Abdulkadhim, Rosli Bin Talif, Hardev Kaur, and Zainor Izat Zainal. "EMANCIPATORY DISCOURSE IN CAROL ANN DUFFY’S THE WORLD’S WIFE." Humanities & Social Sciences Reviews 7, no. 4 (September 4, 2019): 176–83. http://dx.doi.org/10.18510/hssr.2019.7423.
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Purpose: This study examines Carol Ann Duffy’s unique discourse of rewriting and telling old stories, fairy tales, and myths that represent female characters as marginalized, inactive, and weak.
Methodology: A qualitative research design was adopted to investigate the pervasive shifts of restructuring female convictions, configurations, and identity in selected poems from Duffy’s The World’s Wife. The research data in this paper is drawn from two main sources: literary books and articles.
Main Findings: The analysis unravels Duffy’s feminist attitude in her poetic collection to reveal how she used her poems as weapons to fight against female marginalization. Simultaneously, the study critiques the traditional patterns of feminist thinking with origins in history and myths that are still prevalent in Western culture.
Applications: This paper can be used by literary scholars and students.
Novelty/Originality: In this research, female characters were explored in the light of Simon de Beauvoir’s concept of the other from her book The Second Sex and Hélène Caxias’s critical notions postulated as écriture feminine.
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Nasr, Hala. "Safe Spaces for Refugee Women: Towards Cultivating Feminist Solidarity." Feminist Review 131, no. 1 (July 2022): 10–25. http://dx.doi.org/10.1177/01417789221102573.
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Over the last decade, growing concern over Syrian refugee women and girl’s gendered displacement experiences, including gender-based violence, has led to the proliferation of women and girl safe space interventions across neighbouring countries affected by the Syrian conflict. Though diverse in their design and implementation, some of these safe spaces aim to mobilise aspirations for feminist solidarity and collective action, where women recognise their collective power and work together to transform their gendered social conditions. Drawing on feminist ethnographic research in a safe space primarily targeting Syrian refugee women in Lebanon’s Beqaa valley, I explore several vignettes that complicate dominant feminist myths underlying its mandate. These vignettes reveal that the pursuit of feminist solidarity can neither rely on myths about refugee women’s identities and conditions, nor be taken-for-granted as an organic outcome of group activities. I offer several reflections on what these vignettes can tell us about better working towards cultivating feminist solidarity in safe spaces for refugee women in practice, with the hope that their generative and transformative potential be realised.
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Kim, Mimi E. "Anti-Carceral Feminism: The Contradictions of Progress and the Possibilities of Counter-Hegemonic Struggle." Affilia 35, no. 3 (December 11, 2019): 309–26. http://dx.doi.org/10.1177/0886109919878276.
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History reveals that the pathway toward carceral feminism was fraught with contradictions. Feminist reform strategies that appeared progressive devolved into mandates contributing to the policies of mass incarceration; frameworks meant to disavow racist myths of violence inherent to communities of color fueled color-blind narratives that cloaked white, middle-class-defined social movement priorities; safety strategies protecting survivors of violence entrapped them into set options violating the right to self-determination. Today’s account of carceral feminism reveals well-intentioned choices leading to often ill-fated outcomes. As the critique of carceral feminism seeps into the discourse of the feminist anti-violence movement, a shift toward new values, policies, and practices holds the possibility of radical new directions. However, there is no reason to assume that this new pathway will be so straightforward. This article centers the dynamic of contradiction to synthesize insights of post-Marxist thought in application to contemporary anti-carceral feminist trends represented by transformative justice options. It also reflects on the recent ascendance of restorative justice and a renewed potential for carceral co-optation. The aim is to illuminate troubled areas of revision and radical alternatives and better navigate inevitable ethical and pragmatic tensions that may define future social movement trajectories.
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Ling, Qi, and Sara Liao. "Intellectuals Debate #MeToo in China: Legitimizing Feminist Activism, Challenging Gendered Myths, and Reclaiming Feminism." Journal of Communication 70, no. 6 (October 17, 2020): 895–916. http://dx.doi.org/10.1093/joc/jqaa033.
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Abstract This study focuses on the intellectual debate over #MeToo in China provoked by an article written by a well-known Chinese scholar and public intellectual Liu Yu. Raising such countervailing issues as women’s supposed complicity in sexual harassment and the drawbacks of digital activism in comparison with legal action, Liu’s article marked a crucial moment in the public awareness and discussion of #MeToo and digital activism in China in 2018. By analyzing the critical responses to Liu’s argumentations, we examined the discursive impact of these critical efforts to destabilize Liu’s hegemonic reading of the sexual harassment culture in China. We show how Liu’s critics offered a compelling defense of #MeToo, deconstructed enduring gendered myths, and had a significant impact in terms of reclaiming feminism in China. We argue further that the critics’ intellectual and deliberative efforts exemplify China’s local struggles in the global #MeToo movement and feminist activism.
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Chand, Ashlynn. "Herstories on Screen: Feminist Subversions of Frontier Myths, Kathleen Cummins (2020)." Film Matters 13, no. 2 (September 1, 2022): 109–11. http://dx.doi.org/10.1386/fm_00235_5.
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Review of: Herstories on Screen: Feminist Subversions of Frontier Myths, Kathleen Cummins (2020)New York: Columbia University Press, 336 pp., ISBN: 9780231189514 (pbk), $30, ISBN: 9780231189507 (hbk), $95
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Legeza, O. "JUNG’S CONCEPT OF ARCHETYPES IN FEMINIST REVISIONIST MYTHOLOGY, IN THE CONTEXT OF M. ATWOOD’S PENELOPIAD AND M. MILLER’S CIRCE." East European Scientific Journal 1, no. 8(72) (September 14, 2021): 43–48. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.72.107.
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The article deals with the concept of archetypes by K. G. Jung in the context of M. Atwood’s The Penelopiad and M. Miller’s Circe, which represent feminist revisionist mythology tradition. The study focuses on exploring the transformation of the Jungian archetypes of the figures of Penelope and Circe in Atwood and Miller’s novels. The author argues that while in original myths Penelope and Circe represent the archetypes of Mother and the feminine representation of Wise old man, in the novels Penelope’s archetype transforms into Mask, and Circe starts representing Mother archetype. The author comes to the conclusion that such transformation is a result of Atwood and Miller’s dealing with feminist agenda as well their attempt to present different sides of female experience, making mythological figures closer to real women.
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Legeza, O. "JUNG’S CONCEPT OF ARCHETYPES IN FEMINIST REVISIONIST MYTHOLOGY, IN THE CONTEXT OF M. ATWOOD’S PENELOPIAD AND M. MILLER’S CIRCE." East European Scientific Journal 1, no. 8(72) (September 14, 2021): 43–48. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.72.107.
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The article deals with the concept of archetypes by K. G. Jung in the context of M. Atwood’s The Penelopiad and M. Miller’s Circe, which represent feminist revisionist mythology tradition. The study focuses on exploring the transformation of the Jungian archetypes of the figures of Penelope and Circe in Atwood and Miller’s novels. The author argues that while in original myths Penelope and Circe represent the archetypes of Mother and the feminine representation of Wise old man, in the novels Penelope’s archetype transforms into Mask, and Circe starts representing Mother archetype. The author comes to the conclusion that such transformation is a result of Atwood and Miller’s dealing with feminist agenda as well their attempt to present different sides of female experience, making mythological figures closer to real women.
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Gurnham, David. "A Critique of Carceral Feminist Arguments on Rape Myths and Sexual Scripts." New Criminal Law Review 19, no. 2 (2016): 141–70. http://dx.doi.org/10.1525/nclr.2016.19.2.141.
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Given the seriousness for both women and men of misunderstanding or miscategorising sexual victimization and coercion, scholarly engagement with this topic must be self-critical and careful about its methods and conclusions. This article seeks to test the plausibility and justifiability of some key claims made within feminist scholarship as regards the implications of the traditional sexual script and the prevalence and impact of the “real rape” myth. The criticisms offered below with respect to these claims identify three problems: (a) that evidence that would challenge carceral feminists’ framing of the traditional sexual script as essentially a blueprint for rape is either marginalized or excluded from consideration altogether; (b) that within that framing the scripted roles of the coercive male and the passive female who is victimized have been allowed to solidify into immovable and immutable stereotypes; (c) that studies purporting to show that rape myth acceptance is highly prevalent and influential on popular attitudes are flawed in ways hitherto not fully acknowledged or explored.
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Sullivan, Norma. "Myths and differences: feminist theory in island Southeast Asia." Asian Studies Review 15, no. 3 (April 1992): 157–63. http://dx.doi.org/10.1080/10357823.1992.9755403.
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Greene, Viveca S., and Amber Day. "Asking for It: Rape Myths, Satire, and Feminist Lacunae." Signs: Journal of Women in Culture and Society 45, no. 2 (January 2020): 449–72. http://dx.doi.org/10.1086/705005.
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Schwartz, Andi, and Morgan Bimm. "Review of Secret Feminist Agenda, Season 4." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 8, no. 2 (November 27, 2022): 199–214. http://dx.doi.org/10.15402/esj.v8i2.70813.
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Review of Secret Feminist Agenda, Season 4
By Andi Schwartz and Morgan Bimm
The Secret Feminist Agenda podcast was first encountered by then-graduate student Andi Schwartz as assigned ‘reading’ in a Queer Pedagogies seminar. The seminar was part of a student-run initiative facilitated by co-reviewer, Morgan Bimm, who started the seminar series as a critical response to a lack of teaching resources available to graduate students. The podcast’s aims and sensibilities spoke to our experiences and values both then, as first-generation university students and now, as emerging feminist media scholars.
Secret Feminist Agenda is recorded and produced by Dr. Hannah McGregor, an Assistant Professor of publishing at Simon Fraser University. Secret Feminist Agenda is McGregor’s second podcast, which she began in 2017 with the aim of bridging academia and feminism and forging connections between feminists.[1] In addition to producing the Secret Feminist Agenda podcast, podcasting has become an integral part of McGregor’s pedagogy[2] and research; she co-founded the SSHRC-funded Amplify Podcast Network to develop guidelines for peer reviewing podcasts. The original goals of the podcast, bridging academia and feminism and forging connects with feminists, remain the driving force behind season four, which is further organized around the principle of “keeping it local.”
Season four consists of 30 episodes, half of which offer long-form interviews with feminists in academia, art, sex therapy, podcasting, Canadian literature, comedy, and more, which effectively highlight the various forms that feminism can take and offer a window into feminist friendships and community. While the theme “keeping it local” was challenged by the onset of the COVID-19 pandemic (interviews could no longer be conducted in person), the podcast consistently succeeded in prompting listeners to think about space and place as they relate to feminism and community.
In our review, we were struck by the following three themes: 1) critiquing the expert(ise); 2) the spaces and places of feminist thought; and 3) the politics and affects of community space.
In form, the scholarly podcast acts as a critique of the existing structures of academia. Through interviews with feminists like Dawn Serra and Khairani Barokka, the notion of expertise is critiqued alongside academia’s role in perpetuating myths of excellence through citational and syllabi-building practices. Such critiques highlight the importance of DIY media, like podcasts, as spaces through which expertise can be critiqued and other points of view are circulated. Solo-recorded “minisodes” often engage with more personal or affective topics; though we debated the merits of these episodes, we came to the conclusion that introducing affect and the personal into scholarship is both an important feminist project and a vital challenge to existing ideas about academic rigour.[3]
Through interviews with feminists across fields, including sex therapy (Episode 4.2), comedy (Episode 4.6), podcasting (Episode 4.8), and art (Episode 4.4), the podcast demonstrates the many places and spaces in which feminist thought is fostered; indeed, that feminist thought and critique does not belong solely to the academy. The complexities of public intellectualism or public feminism are compellingly discussed in Episode 4.7: Trans Rights are Human Rights through the lens of cancelled and protested “gender identity debates” scheduled for public spaces across Canada. Campaigns to cancel these events are framed by some as an attack on ‘free speech’ and thus, perhaps, an attack on healthy public intellectual exchange, but these activist efforts are themselves an example of public modes of feminist thought. This and other discussions throughout season four of Secret Feminist Agenda highlight the multiple spaces of feminist thought and the multiple complexities of thinking feminism in public.
In the spirit of “keeping it local,” season four offers rich discussions of the politics and affects of community space. A favourite example is episode 4.14 with Hilary Atleo of Iron Dog Books in Vancouver, which explores the connection between small business and housing costs as well as the power of systems to foster or destroy community and communal affinities. Episode 4.15, a minisode about World Obesity Day, further demonstrates the malleability of (virtual) space via political intervention, and how the political occupation of space can foster solidarities and positive, communal feelings. The COVID-19 pandemic hit Canada midway through the season, around episode 4.16 with Kai Cheng Thom, whose work frequently engages with notions of disposability, accountability, and harm within queer communities. The intersection of Thom’s work and COVID-19 serves as an acute reminder of both the affective and material significance of community, and the potential devastation of losing it.
In addition to these themes, the podcast incites interesting questions about the feminist and scholarly potential of the podcasting form. McGregor and colleagues have developed podcast peer review guidelines as a mechanism for folding podcasts into the institutional understanding of rigour, and we further understand Secret Feminist Agenda as rigorous in its feminist politics of accessibility and the feminist practice of critique. Podcasts can be understood as a feminist medium in that they often feature grassroots and DIY production, have a wider reach than more sanctioned forms of scholarship, and have the capacity to bolster women’s, feminized, and otherwise marginalized voices. The feminist and scholastic merits of podcasting were explicitly discussed in episode 4.20 with Stacey Copeland and minisode 4.21, “Introducing the Amplify Podcast Network.” As Copeland and McGregor discuss, women’s voices have long been interpreted as unintelligent and unauthoratitive. Podcasting, with its grassroots and DIY sensibilities, has the potential to instill confidence in women, feminized and otherwise marginalized folks through building a practice of speaking; McGregor notes how podcasting has bolstered her own confidence in both academic and non-academic spaces.[4]
Oriented toward low theory and feminist media scholarship, we are perhaps already primed to welcome podcasts into the scholarly fold. In our view, Secret Feminist Agenda is exemplary of the benefits wrought by bridging traditional academic knowledges with low theory, community, and collaborative practices. It is our hope that, as academia becomes better acquainted with podcasts, they retain their radical potential, rather than become another research output taxing already overburdened academics.
[1] McGregor started her first podcast, Witch, Please, as a collaboration with her friend and former colleague, Marcelle Kosman, in 2015.
[2] In a review of season two of SFA, Anna Poletti suggests that the work done through the podcast is more akin to teaching than research (Poletti, 2019).
[3] In a review of season two of SFA, Carla Rice noted that the minisodes are where the podcast “shines,” writing with admiration of McGregor’s ability to address these more affective topics from both a personal and “big picture” perspective (Rice, 2019).
[4] Similar arguments have been made by podcaster-academics, Raechel Tiffe and Melody Hoffman, who hosted the podcast, Feminist Killjoys, Phd, among others (Tiffe & Hoffman, 2017).
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Lipton, Briony. "Writing through the labyrinth: Using l’ecriture feminine in leadership studies." Leadership 13, no. 1 (August 1, 2016): 64–80. http://dx.doi.org/10.1177/1742715015619969.
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Metaphors enable us to understand organisations in distinctive ways and explain the paucity of women in leadership positions, and yet, when gender discrimination is addressed via metaphor, women’s responses, resistance and agency are rarely included in such analyses. In this article, I employ a narrative writing practice inspired by the work of Hélène Cixous as a way of exploring how we might research and write differently in leadership studies. Cixous invites women to reclaim their sexuality and subjectivity through a feminine mode of women’s writing and what she defines as l'ecriture feminine can be interpreted as a liberating bodily practice that aims to release women’s repressed creative agency and transform phallogocentric structures. Using the Greek mythology of the Minotaur and the Labyrinth, this article weaves together these seemingly disparate concepts of myth, metaphor and feminist writing practices with leadership discourse to explore the ways in which academic women experience the university organisation as a labyrinth, how they navigate pathways to promotion and practice leadership. This creative analytic operates as a metanarrative that offers new ways of researching and writing leadership studies from the body, and reveals how myths continue to influence present experiences and structures in unexpected ways.
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Djuric-Kuzmanovic, Tatjana. "Small-scale family entrepreneurship as support to the neoliberal state in post-socialist Serbia." Sociologija 60, no. 1 (2018): 50–63. http://dx.doi.org/10.2298/soc1801050d.
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This paper points to the danger of the neoliberal instrumentalization of feminism in promoting family entrepreneurship as an emancipatory practice for women. It criticizes the key myths of neoliberal feminism about the freedom of choice that women have and their empowerment through family entrepreneurship. To that end, and through empirical research, it explores the benefits of women?s participation in the management of small-scale family entrepreneurship and business in 30 micro and small-sized firms in the traditional sectors, during the post-socialist transformation of Serbia. The aim of this article is to show that the process of women?s emancipation does not rest on these myths, but rather on the possibilities to change power structures based on the logic of capital and the neoliberal state in the semi-periphery of the world system, as well as the patriarchal gender regimes, that reproduce the strong subordination of women. The economic, social and moral benefits of entrepreneurship for women are debatable and limited by the interests of big capital and the neoliberal state. The possibilities of transforming gender relations through gender policies remain limited, because they do not derive from critically situated feminist discourse and do not correspond to the structural dispositions of a semi-peripheral economy and society like Serbia.
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DeKeseredy, Walter S. "Feminist contributions to understanding woman abuse: Myths, controversies, and realities." Aggression and Violent Behavior 16, no. 4 (July 2011): 297–302. http://dx.doi.org/10.1016/j.avb.2011.04.002.
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Syahrul, Syahrul. "DILEMA FEMINIS SEBAGAI REAKSI MASKULIN DALAM TRADISI PERNIKAHAN BUGIS MAKASSAR." Al-MAIYYAH : Media Transformasi Gender dalam Paradigma Sosial Keagamaan 10, no. 2 (December 31, 2017): 313–34. http://dx.doi.org/10.35905/almaiyah.v10i2.510.
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This paper seeks to expose feminist existence in the tradition of Bugis Makassar marriage by revisiting the position of Siri 'culture as the emancipation of human values, especially with regard to feminist and masculine essence in marriage. The marriage system shows the unclear direction or unrelatedness between the Siri 'values tradition and the concrete reality of feminist existence. The marriage system of Bugis Makassar is characterized by a shift in tradition which then raises the value of materialism into Siri 'culture. The problem becomes more complicated when faced with “uang panaik” tradition that so neutralize myths as a measure of establishment and masculine responsibility, so that the masculine reaction to the tradition of marriage Bugis Makassar feels necessary. Because this is what will create the feminist dilemma in the tradition of marriage.
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Syahrul, Syahrul. "DILEMA FEMINIS SEBAGAI REAKSI MASKULIN DALAM TRADISI PERNIKAHAN BUGIS MAKASSAR." Al-MAIYYAH : Media Transformasi Gender dalam Paradigma Sosial Keagamaan 10, no. 2 (December 31, 2017): 313–34. http://dx.doi.org/10.35905/almaiyyah.v10i2.510.
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This paper seeks to expose feminist existence in the tradition of Bugis Makassar marriage by revisiting the position of Siri 'culture as the emancipation of human values, especially with regard to feminist and masculine essence in marriage. The marriage system shows the unclear direction or unrelatedness between the Siri 'values tradition and the concrete reality of feminist existence. The marriage system of Bugis Makassar is characterized by a shift in tradition which then raises the value of materialism into Siri 'culture. The problem becomes more complicated when faced with “uang panaik” tradition that so neutralize myths as a measure of establishment and masculine responsibility, so that the masculine reaction to the tradition of marriage Bugis Makassar feels necessary. Because this is what will create the feminist dilemma in the tradition of marriage.
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Rudman, Laurie A. "Myths of Sexual Economics Theory." Psychology of Women Quarterly 41, no. 3 (June 23, 2017): 299–313. http://dx.doi.org/10.1177/0361684317714707.
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The authors of sexual economics theory (Baumeister & Twenge, 2002; Baumeister & Vohs, 2004) argue that sex is a female commodity that women exchange for men’s resources; therefore, women (not men) are responsible for the cultural suppression of sexuality, ostensibly to preserve the value of sex. In this article, I describe the central tenets of sexual economics theory and summarize a growing body of research contradicting them. I also explain the negative implications of the claims of sexual economics theory for gender equality and heterosexual relationships. Researchers, clinicians, and educators engaged in understanding human sexuality may use the arguments provided in this article to counteract gender myths. This article also serves as a case study of how feminist scholars can employ empirical evidence to weaken a popularized, patriarchal theory.
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Walker-Jones, Arthur. "Eden for Cyborgs: Ecocriticism and Genesis 2–3." Biblical Interpretation 16, no. 3 (2008): 263–93. http://dx.doi.org/10.1163/156851508x288977.
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AbstractThis article begins by introducing the work of a leading feminist theorist, Donna Haraway, especially her classic article, "A Manifesto for Cyborgs," and its relevance for ecocriticism of the Hebrew Bible. Building on the work of Hilary Klein, Haraway argues that Marxism, feminism and technoscience often work out of origin stories that reinscribe the dualisms that feminists seek to overcome. She refers to all contemporary origin stories as Eden stories. Her analysis of Jane Goodall's work at Gombe is an example. Haraway seeks myths or figures that blur the boundaries between the dualisms that structure oppression, and that may help imagine a more livable future. Much of her work is with "monsters" because they often define the limits of community in Western culture. For instance, although the cyborg has its origin in a horrible myth of patriarchal capitalism about destruction of Earth and escape into space, she suggests the cyborg has the potential to subvert its origin because it blurs the boundaries between humanity and nature and redefines both. The serpent in the Garden of Eden story is such a boundary transgressing monster. It blurs the boundaries between God and nature, and humanity and nature. With the help of the snake, the humans acquire the discernment to fulfill their preordained vocation to serve and protect Earth and choose reality and full humanity with all its ambiguities. An interpretation of the story that focuses on the serpent could decenter heterosexist and anthropocentric readings and serve as a subversive figure for the future of the Earth community.
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Garrido, Rocío, and Anna Zaptsi. "Archetypes, Me Too, Time’s Up and the representation of diverse women on TV." Comunicar 29, no. 68 (July 1, 2021): 21–33. http://dx.doi.org/10.3916/c68-2021-02.
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The feminist movements Me Too and Time’s Up have showcased the power of the audiovisual industry and social networks denouncing sexual harassment and promoting gender equality. Nevertheless, women in the media –and, specifically, on TV– continue to be underrepresented and stereotyped. Then, according to Time’s Up, it is urgent to increase the number of women in front of and behind the cameras, as well as to embed social movements’ influences on media productions in order to broaden the archetypal models used for characters' design/analysis. Despite the benefits of archetypes in storytelling, they are based on patriarchal and ethnocentric myths that undervalue female diversity. In response, this paper explores the transference of these feminist movements in terms of female presence and representation on TV series broadcast in the Peak TV era. From an intersectional approach, 25 feminist series were identified, and good practices in the portrayal of female characters are presented as useful role models for co-education which can contribute to egalitarian attitudes in youth. These female characters amplify typical archetypes (i.e., Knower, Carer, Striver, Conflictor, Everywomen) by defying stereotypes. This study concludes that there is a feminist trend in streaming platforms’ content, especially in series with a high female presence on-screen/off-screen (many of them linked to feminist movements), that sheds light on a more egalitarian and inclusive television landscape. Los movimientos feministas Me Too y Time’s Up han mostrado el poder de la industria audiovisual y las redes sociales para denunciar el acoso sexual y promover la equidad de género. No obstante, las mujeres en los medios –y, específicamente, en TV– siguen estando infrarrepresentadas y estereotipadas. Por ello, como señala Time's Up, es urgente aumentar la presencia femenina delante y detrás de las cámaras, así como integrar las influencias de los movimientos sociales en las producciones para ampliar los modelos arquetípicos utilizados en el diseño/análisis de personajes. A pesar de los beneficios narrativos de los arquetipos, estos se basan en mitos patriarcales y etnocéntricos que infravaloran la diversidad de las mujeres. En respuesta, este estudio explora la transferencia de los movimientos feministas a la presencia y representación femenina en las series emitidas en la era Peak TV. Desde una aproximación interseccional, se identifican 25 series feministas en Netflix y HBO y se presentan buenas prácticas de construcción de personajes femeninos útiles para la coeducación y el desarrollo de actitudes igualitarias en jóvenes. Estos amplían los arquetipos típicos (es decir, Conocedora, Cuidadora, Luchadora, Conflictiva, Cualquier mujer) y desafían los estereotipos. Se concluye una tendencia feminista en el contenido emitido en plataformas streaming, especialmente en series con alta presencia de mujeres delante/detrás de las cámaras (muchas vinculadas a movimientos feministas) que arroja luz sobre un panorama televisivo más igualitario e inclusivo.
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Ahmed, Arsto Nasir, and Rebwar Zainalddin Mohammed. "A Feminist Reading of Anderson's Speak." Journal of University of Raparin 7, no. 1 (December 10, 2019): 14–23. http://dx.doi.org/10.26750/vol(7).no(1).paper2.
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Laurie Halse Anderson’s Speak (1999) is her first landmark work addressing a social problem—rape—that is all too common to girls entering adolescence in the United States. This paper employs a feminist approach that presents the painful narrative of the rape victim and investigates the novel’s promotion of individual, resistant action within the oppressive social structure, achieved through what the postmodernist feminist Judith Butler calls “gender performativity”. It is this individual agency or subjectivity that enables the protagonist in Speak to overcome the adverse effects of rape, which is the product of a patriarchal system that regards females the second sex, to borrow the term by the French, feminist thinker Simone de Beauvoir. As such, Speak functions as a site of discursive resistance against such a patriarchal system by resisting some of the popularly held myths that discredit rape victims' narratives.
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Lončarević, Katarina. ""The Second Sex" in 1950s American Popular Journals." Issues in Ethnology and Anthropology 16, no. 4 (December 14, 2021): 1123–47. http://dx.doi.org/10.21301/eap.v16i4.6.
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The Second Sex has been considered one of the most important studies about the women’s question that preceded the so-called second feminist wave in the USA, and the paper deals with the inquiries about the urge to translate The Second Sex into English and for the American audience. Taking into account translation studies, the article approaches the process of translation as not neutral and as one that has far-reaching consequences for the reception of the translated work. In addition, the paper refers to feminist translation studies and the insight that translation invokes questions of power, exclusion, appropriation, and erasure. The rise of periodical studies, on the other hand, gives the opportunity to analyze digitalized journals from the period after the Second World War, and to question on a deeper level the norms and socially accepted ideals of femininity in plural, which, finally, could contribute to a more complex understanding of the position and role of women in postwar America. Having in mind specific the social, political and cultural context in which the first English translation of The Second Sex was published, the paper analyzes the reception of the book in popular journals during 1953, which was highly critical but simultaneously more positive than in France, despite all the problems with the translation that deform Beauvoir’s thought and its existentialist philosophy that underpins her deconstruction of various myths about women. The paper offers deep analysis of thirteen articles published in six American journals with different editorial policies and intended audiences. The analysis of these first published critiques of the book shows that some topics (the structure of the book, Beauvoir as ‘the French’ author, her alleged misunderstanding of the American context and positive stance towards the USSR, feminism, the ‘unscientific’ analysis that the book provides, existentialism, and Beauvoir's critique of the myth of motherhood), gained much more attention than for example the analysis of the quality of the book's translation, which deeply influences all of the above mentioned topics and problems and, in addition, there is no critical stance towards the role and position of women in the United States after the Second World War in any of the published critiques. The article argues that the reception of The Second Sex which was created in part by these critiques influenced both public opinion and feminists, who would quite soon remobilize the massive feminist movement in the 1960s.
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GRAHAM, SARAH. "Unfair Ground: Girlhood and Theme Parks in Contemporary Fiction." Journal of American Studies 47, no. 3 (February 21, 2013): 589–604. http://dx.doi.org/10.1017/s0021875812002083.
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This essay explores the representation of adolescence in three contemporary American novels set in theme parks. It argues that, as a microcosm of American society, the theme park reproduces the norms of gender and sexuality even as it reveals them to be constructed. In contrast to the way that theme parks foster coming of age for boys, Lorrie Moore's Who Will Run the Frog Hospital? (1995), Miriam Toews's A Complicated Kindness (2004), and Karen Russell's Swamplandia! (2011) demonstrate the limitations imposed on girls. Although female protagonists challenge gender norms, heteronormativity proves impossible to resist, despite being disempowering or disappointing. Thus, by demonstrating that coming of age in America takes place on unfair ground, the novels point to the continuing importance of feminism in the face of post-feminist myths of equality.
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R, Viswanathan. "Literary Criticism and the Preservation of Feminism in the Perspective of Periyar." International Research Journal of Tamil 4, S-5 (July 13, 2022): 114–18. http://dx.doi.org/10.34256/irjt22s517.
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Father Periyar was a world leader in building the power for social change. He emphasized the need for education to transform feminism into a barrier to social progress and to establish a society of social justice and equality. Participates in re-reading genetics and critically presenting examples or recording rational solutions. Father Periyar's rational theories also turned the literary scene into a furnace. Organizations organized as sharp tools in his rational furnace reacted as discussion, dialogue, critique, evaluation, re-reading, innovation. He put in front of his view what was recorded in them and made it a subject of emancipation, women's emancipation, social justice, self-respect and rationality. Thus, he wanted the female characters in the literature to be created as independent, economically entitled and self-determined. Periyar therefore emphasizes the need for feminism, which Periyar sometimes denounces traditional feminist myths. Father Periyar was a social scientist who created the Dravidian movement's creative lineage and caused a social revolution. News about feminism can be found in this article.
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ÇİMEN, Ünsal. "A Feminist Interpretation of A True Story of Lucian of Samosata." fe dergi feminist ele 14, no. 1 (June 10, 2022): 12–20. http://dx.doi.org/10.46655/federgi.1062414.
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Lucian of Samosata was a satirist and rhetorician who lived in the second century BC. He was the author of the earliest known science fiction novel, A True Story. In this story, Lucian travels to the Moon, joining the war between the moon people and the solar people. What makes this story interesting is that Lucian tells us there are no women among moon people, and men give birth to children. As stated rightly by Morena Deriu, this situation can be seen as a satirization of the exclusion of women from the public sphere. However, it should not be forgotten that giving a place to gods giving birth in myths was an attempt to legitimize that a child’s real parent is a man, not a woman. In this paper, in addition to Deriu’s claims, I will argue that when Lucian said Lunarian men could give birth to children, he was criticizing the order established by men, who saw themselves as the only and real parent of a child. The elements used by Lucian regarding the Eleusinian mysteries and his reference to Aristophanes’ comedy The Birds will be considered as supporting this claim.
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Gurnham, David. "Victim-blame as a symptom of rape myth acceptance? Another look at how young people in England understand sexual consent." Legal Studies 36, no. 2 (June 2016): 258–78. http://dx.doi.org/10.1111/lest.12107.
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There is no doubt that being ‘critical’ about victim-blame requires ensuring first that it is the perpetrator and not the victim who is held responsible for sexual offending. At the same time, engagement with this topic requires critical acuity as to how victim-blame is identified, and to the boundary between raising legitimate questions about the presence or absence of consent in less than ideal circumstances, and falling back on to myths and stereotypes that are unfair to complainants and damaging to victims. This paper identifies and critiques three purported intersections of rape myths and victim-blame that have gained widespread acknowledgement within feminist legal studies: first, that a woman is blamed for voluntarily putting herself into circumstances in which ‘rape happens’; secondly, that a woman is blamed for ‘miscommunicating’ her refusal; and, thirdly, that consent is wrongly understood to have been given in circumstances where a woman in fact lacked the freedom to do so. This critique of methodological and analytical approaches to identifying victim-blame as a symptom of rape myth acceptance focuses on research published recently by the Office of the Children's Commissioner,‘“Sex Without Consent, I Suppose That Is Rape”: How Young People in England Understand Sexual Consent’.
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Wiyatmi, Wiyatmi. "GIVING ROOM FOR THOSE WHO ARE FORGOTTEN: READING THE FIGURES OF QUEEN KALINYAMAT AND DEWI RENGGANIS IN INDONESIAN NOVELS." LITERA 20, no. 2 (July 27, 2021): 287–98. http://dx.doi.org/10.21831/ltr.v20i2.35894.
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The patriarchal system which is dominant in most ethnic groups in Indonesia has brought up narratives that favor men. As a result, men are the main characters and heroes in a number of Indonesian folk literature, whereas the position and role of women tend to be marginalized. This study tries to understand two female figures, Queen Kalinyamat and Dewi Rengganis, who were transformed in Indonesian novels. In folklore both tend to be marginalized because they accentuate male heroes. However, in Indonesian novels both tend to be highlighted on their position and role in society, as can be found in the novel Ratu Kalinyamat (Hadi, 2010) and Cantik Itu Luka (Kurniawan, 2004, first edition). By using a qualitative descriptive method that bases on the framework of postmodernist feminism analysis, this study tries to interpret its position and role in society. By using a qualitative descriptive method that bases on the framework of postmodernist feminism analysis, this study tries to interpret its position and role in society. The results showed that the novels Ratu Kalinyamat and Cantik Itu Luka were written to bring back female characters that had existences as subjects who not only had power over their autonomy but were also able to exercise their power. Ratu Kalinyamat (Hadi, 2010) which transformed Queen Kalinyamat and Cantik Itu Luka (2004, first edition) which transformed Dewi Rengganis, and Dayang Sumbi showed an effort to bring back female figures who historically and in myths were considered to exist in the past. This is in line with the mission of feminist literature and feminist studies aimed at identifying the elimination and elimination of information about women in general. Keywords: feminism, women, folklore, marginalization, patriarchy MEMBERI RUANG UNTUK MEREKA YANG TERLUPAKAN:MEMBACA SOSOK RATU KALINYAMAT DAN DEWI RENGGANIS DALAM NOVEL INDONESIA Abstrak Sistem patriarki yang dominan di sebagian besar suku bangsa di Indonesia telah memunculkan narasi-narasi yang berpihak pada laki-laki. Akibatnya, laki-laki menjadi tokoh utama dan pahlawan dalam sejumlah sastra rakyat Indonesia, sedangkan posisi dan peran perempuan cenderung terpinggirkan. Penelitian ini mencoba memahami dua sosok perempuan, Ratu Kalinyamat dan Dewi Rengganis, yang ditransformasikan dalam novel-novel Indonesia. Dalam cerita rakyat keduanya cenderung terpinggirkan karena menonjolkan pahlawan laki-laki. Namun, dalam novel-novel Indonesia keduanya cenderung menonjolkan kedudukan dan perannya dalam masyarakat, seperti yang terdapat dalam novel Ratu Kalinyamat (Hadi, 2010) dan Cantik Itu Luka (Kurniawan, 2004, edisi pertama). Dengan menggunakan metode deskriptif kualitatif yang berpijak pada kerangka analisis feminisme postmodernis, penelitian ini mencoba menginterpretasikan posisi dan perannya dalam masyarakat. Dengan menggunakan metode deskriptif kualitatif yang berpijak pada kerangka analisis feminisme postmodernis, penelitian ini mencoba menginterpretasikan posisi dan perannya dalam masyarakat. Hasil penelitian menunjukkan bahwa novel Ratu Kalinyamat dan Cantik Itu Luka ditulis untuk menghadirkan kembali tokoh-tokoh perempuan yang memiliki eksistensi sebagai subjek yang tidak hanya memiliki kekuasaan atas otonominya tetapi juga mampu menjalankan kekuasaannya. Ratu Kalinyamat (Hadi, 2010) yang mentransformasikan Ratu Kalinyamat dan Cantik Itu Luka (2004, edisi pertama) yang mentransformasikan Dewi Rengganis, dan Dayang Sumbi menunjukkan upaya untuk memunculkan kembali sosok-sosok perempuan yang secara historis dan mitos dianggap ada di masa lalu. Hal ini sejalan dengan misi sastra feminis dan studi feminis yang bertujuan untuk mengidentifikasi eliminasi dan eliminasi informasi tentang perempuan secara umum. Kata kunci: feminisme, perempuan, folklore, marginalisasi, patriarki
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DÜRÜKOĞLU, Okaycan. "Isabella Whitney’nin Şiirlerinde Öncü-feminist Düşüncenin İzini Sürmek." Selçuk Üniversitesi Edebiyat Fakültesi Dergisi, no. 47 (June 15, 2022): 99–112. http://dx.doi.org/10.21497/sefad.1128344.
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This paper examines the poems in Isabella Whitney’s two poetry collections, The Copy of a Letter (1567) and A Sweet Nosegay (1573) to trace a pro-woman argument in her works. In her poems, Whitney’s themes and subject matter point out that she is a marginal woman poet of sixteenth-century England since she assumes the role of a counsellor for the inexperienced women who might be manipulated by men. Instead of writing in a low-key manner as expected from the woman writers of the sixteenth century, she adopts an assertive and critical style in her poetry. By articulating this pro-woman argument in her poems, Whitney attacks Ovidian tradition and she re-reads and sometimes rewrites the stories of the traditionally silenced female figures in myths and male texts. Whitney seeks solutions for women who are culturally and socially trapped in the patriarchal texts.
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Mrovlje, Maša. "Virile Resistance and Servile Collaboration." Theoria 67, no. 165 (December 1, 2020): 37–64. http://dx.doi.org/10.3167/th.2020.6716503.
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The article aims to expose and contest the gendered representation of betrayal in resistance movements. For a theoretical framework, I draw on Simone de Beauvoir’s critique of masculinist myths of femininity in The Second Sex, combined with contemporary feminist scholarship on the oppressive constructions of female subjectivity in debates on war and violence. I trace how the hegemonic visions of virile resistance tend to subsume the grey zones of women’s resistance activity under two reductive myths of femininity – the self-sacrificial mother and the seductive femme fatale – while obscuring the complexities of betrayal arising from women’s embodied vulnerabilities. I demonstrate the political relevance of this theoretical exploration on the example of two representative French Resistance novels, Joseph Kessel’s Army of Shadows and Roger Vailland’s Playing with Fire.
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Obidič, Andrejka. "Margaret Atwood’s Postcolonial and Postmodern Feminist Novels with Psychological and Mythic Influences: The Archetypal Analysis of the Novel Surfacing." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 5–24. http://dx.doi.org/10.4312/an.50.1-2.5-24.
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The paper analyzes Margaret Atwood’s postcolonial and postmodern feminist novels from the psychological perspective of Carl Gustav Jung’s theory of archetypes and from the perspective of Robert Graves’s mythological figures of the triple goddess presented in his work The White Goddess: A Historical Grammar of Poetic Myth (1997). In this regard, the paper focuses on the mythic and psychological roles embodied and played by Atwood’s victimized female protagonists who actively seek their identity and professional self-realization on their path towards personal evolution in the North American patriarchal society of the twentieth century. Thus, they are no longer passive as female characters of the nineteenth-century colonial novels which are centered on the male hero and his colonial adventures. In her postcolonial and postmodern feminist novels, Atwood further introduces elements of folk tales, fairy tales, legends, myths and revives different literary genres, such as a detective story, a crime and historical novel, a gothic romance, a comedy, science fiction, etc. Moreover, she often abuses the conventions of the existing genre and mixes several genres in the same narrative. For instance, her narrative The Penelopiad (2005) is a genre-hybrid novella in which she parodies the Grecian myth of the adventurer Odysseus and his faithful wife Penelope by subverting Homer’s serious epic poem into a witty satire. In addition, the last part of the paper analyzes the author’s cult novel Surfacing (1972 (1984)) according to Joseph Campbell’s and Northrop Frye’s archetypal/myth criticism and it demonstrates that Atwood revises the biblical myth of the hero’s quest and the idealized world of medieval grail romances from the ironic prospective of the twentieth century, as it is typical of postmodernism.
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Keck, Michaela. "Paradise Retold: Revisionist Mythmaking in Margaret Atwood’s MaddAddam Trilogy // El paraíso contado de nuevo: La revisión del mito en la Trilogía MaddAddam de Margaret Atwood." Ecozon@: European Journal of Literature, Culture and Environment 9, no. 2 (October 24, 2018): 23–40. http://dx.doi.org/10.37536/ecozona.2018.9.2.2291.
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This paper focuses on the subversive potential of myths by exploring Margaret Atwood’s feminist revision of creation, more specifically the myth of paradise. According to Adrienne Rich’s definition, the “re-vision” of myths signifies the critical adaptation, appropriation, and invasion of traditional texts. As such, myths have not only legitimized exploitative power relationships, but they have also served as a powerful means to participate in and subvert hegemonic discourses. By drawing on the theories of Aby Warburg, Ernst Cassirer, and Hans Blumenberg, for whom myths constitute cultural-artistic mediations that involve the polarities of affect and intellect, terror and logos, Atwood’s revision of paradise in the MaddAddam trilogy may be approached in itself as – to use a term by Hans Blumenberg – a “work of logos.” I argue that Atwood revises paradise by duplicating the ancient human dreams of paradise into Crake’s techno pagan and Adam One’s eco-millennialist “gardens of delights,” both of which are refracted through evolutionary science and ecology.Characterized by human destructiveness, these posthuman paradises feature multiple Eves alongside the dominant male figures. Among Atwood’s Eves, there is the brazen Oryx as exploited racial “Other” of white society in the pathos formula of the Asian “digital virgin prostitute.” Atwood employs a self-reflexivity regarding myths that is characteristic of postmodern pastiche and thus highlights storytelling as the distinguishing characteristic of humankind, while her use of an evolutionary grotesque aesthetics erodes clear-cut distinctions between humans, animals, and post-humans. The myth of paradise, the trilogy suggests, is also always a myth of extinction. Resumen Este artículo se centra en el potencial subversivo de los mitos al explorar la revisión feminista de la creación de Margaret Atwood, más específicamente, el mito del paraíso. Según la definición de Adrienne Rich, la "re-visión" de los mitos significa la adaptación crítica, la apropiación y la invasión de los textos tradicionales. Como tal, los mitos no solo han legitimado las relaciones con poder de explotación, sino que también han servido como un poderoso medio para participar en los discursos hegemónicos y subvertirlos. Al basarse en las teorías de Aby Warburg, Ernst Cassirer y Hans Blumenberg, para quienes los mitos constituyen mediaciones artístico-culturales que involucran las polaridades del afecto y el intelecto, el terror y el logos, la revisión del paraíso de Atwood en la triología MaddAddam se puede abordar en sí misma como (por usar un término de Hans Blumenberg) una "obra de logos". Argumento que Atwood revisa el paraíso al duplicar los antiguos sueños humanos del paraíso en el tecno pagano de Crake y en los "jardines de las delicias" ecomilenialistas de Adam One, ambos refractados a través de la ciencia y la ecología evolutivas. Caracterizados por la destructividad humana, estos paraísos posthumanos presentan múltiples Evas junto a las figuras masculinas dominantes. Entre las Evas de Atwood está el descarado Oryx como el «Otro» racial explotado de la sociedad blanca en la pathos formula de la asiática «prostituta virgen digital». Atwood realiza una autorreflexión sobre los mitos característicos del pastiche posmoderno y destaca la narración de cuentos como la característica distintiva de la humanidad, mientras que su uso de una estética evolutiva grotesca erosiona distinciones muy claras entre humanos, animales y poshumanos. El mito del paraíso, sugiere la trilogía, es siempre un mito de la extinción.
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Matthews, John, Lisa Avery, and Johanna Nashandi. "Southern African Social Work Students’ Acceptance of Rape Myths." Social Sciences 7, no. 9 (September 7, 2018): 152. http://dx.doi.org/10.3390/socsci7090152.
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Despite numerous interventions to promote gender equality, sub-Saharan Africa has one of the highest prevalence rates of non-partner sexual assault in the world, thus constituting a major social and public health issue in the region. As social workers frequently provide services to this population, an exploratory cross-sectional study was conducted to explore rape myth acceptance among undergraduate social work students studying in Namibia. Findings revealed the positive influence of social work education in reducing rape myth acceptance, as well as highlighting the influence of age, gender, country of origin, self-identification as a feminist, and religiosity on rape myth acceptance among this population.
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Parmegiani, Sandra. "The Presence of Myth in Claudio Magris’s Postmillennial Narrative." Quaderni d'italianistica 32, no. 1 (December 6, 2011): 111–34. http://dx.doi.org/10.33137/q.i..v32i1.15937.
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This article addresses Magris’s appropriation of classical myth in his postmillennial narrative. Since his early works of literary criticism Magris explored the world of myth and the mythopoeic power of literature, but only in his postmillennial texts has he undertaken the writing of what John J. White defines as “mythological” narratives, in which he engages with the reuse and not the creation of myths. This article focuses on three works: La mostra (2001), Alla cieca (2005), and Lei dunque capirà (2006). It evaluates them as a cycle of closely connected mythological texts, built upon the intertextualization of: the myth of Alcestis, the myth of Jason and the Argonauts, and the myth of Orpheus and Eurydice. Magris’s postmodern investigation of individual and collective histories unveils their traumatic relationship to memory and the impossibility of their unequivocal and coherent representation. The monologue Lei dunque capirà is Magris’s most focused and comprehensive reworking of a classical myth in which a modern Eurydice retells from her standpoint the story of Orpheus’ descent to the underworld. The text is an investigation of myth from a feminist perspective and at the same time an exploration of the theme of love voiced with the mixture of judgment and understanding that only conjugal love allows.
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Osman, Sharifah Aishah. "Addressing Rape Culture through Folktale Adaptation in Malaysian Young Adult Literature." Girlhood Studies 14, no. 1 (March 1, 2021): 117–33. http://dx.doi.org/10.3167/ghs.2021.140110.
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Rape culture is a provocative topic in Malaysia; the public discourse on it is plagued by gender stereotyping, sexism, misogyny, and rape myths. Recent literary works aimed at Malaysian adolescent girls have interrogated rape culture more pointedly as a means of addressing gender-based violence through activism and education. In this article, I discuss two short stories, “The Girl on the Mountain” and “Gamble” as retellings of Malaysian legends and feminist responses to the normalization and perpetuation of rape culture in this society. Through the emphasis on female agency, consent, and gender equality, these two stories reflect the subversive power of Malaysian young adult literature in dismantling rape culture, while affirming the significance of the folktale as an empowering tool for community engagement and feminist activism.
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Monterrubio-Ibáñez, Lourdes. ""Penny Dreadful" (2014-2016). Postmodern mythology and ontology of otherness." Communication & Society 33, no. 1 (January 7, 2020): 15–28. http://dx.doi.org/10.15581/003.33.36492.
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The television series Penny Dreadful (2014-2016) is an appropriation, intertextuality and transfiction exercise of four modern myths from nineteenth-century literature –Frankenstein (Mary Shelley, 1818), The Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson, 1886), The Picture of Dorian Gray (Oscar Wilde, 1891) and Dracula (Bram Stoker, 1897)– to which the mythological figure of the lycanthrope is added. This myth syncretism is completed by linking these characters, located in the Victorian London of the late 19th century, with different mythologies: biblical, Egyptian, American West, Native American or witch mythology. The article aims to analyse, focusing on the final season of the series, how the narrative complexity of contemporary seriality and the different materialisations of postmodern image –multiplex-image, distance-image and excessimage– become perfect tools to both narrate the identity search of the different characters and subvert and resemantise these modern myths. Their identity searches emerge from an ontology of otherness that defines postmodernity –from otherness of conscience to otherness of other people–, using the mythical figure of the monster. It allows then the subversion and resemantisation of each mythical character, generating a kind of postmodern mythology that reflects on our contemporaneity: feminist emancipation and violent revolution, patriarchy and machismo, family institution, social marginalisation, individualism and lack of commitment, classism and racism.
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MacDonald, Shana. "“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 2 (September 1, 2022): 149–59. http://dx.doi.org/10.1215/02705346-9787056.
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Abstract This article looks at the work of the Drunk Feminist Film (DFF) collective from Toronto, Canada. DFF screenings offer interactive in-person and online events that combine watching popular Hollywood films with simultaneous live commentary, audience participation, and hashtag dialogs on Twitter. The article looks specifically at how the multiplatform hybridity of online and embodied participation allows feminist audiences to create collective spectatorial communities. DFF events emphasize paratextual conversation and reimagine how we can relate to movie narratives in the twenty-first century. By looking at a specific screening of The Craft (dir. Andrew Fleming, US, 1996), this article illustrates how DFF indexes the potential of engaging mainstream films while also engaging in feminist conversations about them. Problematic narrative aspects are discussed in real time by a community and are recorded via Twitter, resulting in digitally archived debates about how audiences collaboratively reinvent difficult but popular myths within their favorite films. As a result, the collective decenters mainstream films in favor of paratextual ephemera that negotiate the audience's pleasure in and critique of their favorite films.
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Sue Anderson, Pamela. "The Case for A Feminist Philosophy of Religion: Transforming Philosophy's Imagery and Myths." Ars Disputandi 1, no. 1 (January 2001): 1–17. http://dx.doi.org/10.1080/15665399.2001.10819707.
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