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Journal articles on the topic 'Gender subversion'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Akram, Zainab, Uzma Imtiaz, and Sumaira Shafiq. "Gender Subversion: A Cultural Reconsideration through a Fairy Tale." Volume V Issue I V, no. I (March 30, 2020): 428–37. http://dx.doi.org/10.31703/gssr.2020(v-i).44.

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The following paper tries to socially understand gender norms and the possibility of subversion of the recommended roles. Judith Butlers (1990) Performative theory of gender acts, discussed probability of gender subversion in various societal conceptualizations of gender. The undertaken study, through thematic analysis, investigated particular characters in a fairy tale, The land of stories: Beyond the kingdom (2015). It was found that gender was a social construct, and it existed due to repeated and accepted socially ascribed practices. The characters reconsidered gender through subversion by breaching the expected traditional societal gender norms. Though, for the intelligibility, these reconsidered gender roles needed recurrence. The findings also seemed to assert that the subversive acts could be shocking and unacceptable, but, they do not possess the potential to terminate the established gender norms, rather, just assist the characters to meet their ends, towards fresh identities and roles in the extensive societal dominion.

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2

Stein, Arlene. "Professionalization and Subversion." Sexualities 21, no. 8 (October 18, 2018): 1243–45. http://dx.doi.org/10.1177/1363460718779215.

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3

D'Cruze, Shani. "En travesti, women, gender subversion, opera." Women's History Review 6, no. 3 (September 1, 1997): 427–54. http://dx.doi.org/10.1080/09612029700200305.

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4

Porter, Brian. "Ethnicity, gender and the subversion of nationalism." International Affairs 72, no. 1 (January 1996): 173–74. http://dx.doi.org/10.2307/2624779.

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5

Wilson, Fiona, and Bodil Folke Frederiksen. "Ethnicity, Gender and the Subversion of Nationalism." European Journal of Development Research 6, no. 2 (December 1994): 1–6. http://dx.doi.org/10.1080/09578819408426607.

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6

Drucker-Brown, Susan. "Mamprusi witchcraft, subversion and changing gender relations." Africa 63, no. 4 (October 1993): 531–49. http://dx.doi.org/10.2307/1161005.

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AbstractIn the pre-colonial Mamprusi kingdom female witches were either executed after sentencing in the king's court, or segregated in a special section of a major market town where they received medicine to neutralise their witchcraft. This treatment of witches is a manifestation of the centralising process at work in the kingdom, and also exemplifies the division of ritual labour characteristic of the polity. Recent changes in the constitution of the witches' village have been accompanied by new Mamprusi conceptions of witchcraft, drawing on a long-standing belief in the power of women to subvert the social order. Radical changes in national political and economic conditions, and local changes in the division of labour, are threatening the idealised norms of Mamprusi gender relations. Mamprusi witch-hunting emerges as an attempt to control women, who are perceived as a source of these wider disorders.

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Ward, Eilís. "Control and subversion: Gender relations in Tajikistan." Community Development Journal 40, no. 4 (October 1, 2005): 469–71. http://dx.doi.org/10.1093/cdj/bsi077.

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8

Connell, Raewyn. "Supremacy and subversion – gender struggles in sport." Asia-Pacific Journal of Health, Sport and Physical Education 3, no. 3 (November 2012): 177–79. http://dx.doi.org/10.1080/18377122.2012.721876.

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9

Amsler, Sarah. "Control and Subversion: Gender Relations in Tajikistan." British Journal of Sociology 55, no. 4 (December 2004): 593–94. http://dx.doi.org/10.1111/j.1468-4446.2004.00040_6.x.

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10

Khan, Faria Saeed, Zainab Mazhar, and Fouzia Rehman Khan. "Assimilating Gender Subversion into Counter Hegemony: A Journey from Personal to Societal Disruption in a Fairy Tale." Global Language Review IV, no. I (June 30, 2019): 88–94. http://dx.doi.org/10.31703/glr.2019(iv-i).12.

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The fairy tales depict dissatisfied characters, whose individual potential and capabilities are limited under specific gender categories and societal hegemony. Thus, the characters, thus, rebel against the conventions, through gender subversion, and countering the hegemony forces. Thus, the paper is built on the theoretical frameworks of gender subversion, by Judith Butler (1990) and counter-hegemony by Antonio Gramsci (1971). The qualitative research thematically analyzed the character of Alex Bailey from, The Enchantress Returns by Chris Colfer (2013). The findings revealed that subverting gender gives confidence at the personal level, to counter-hegemonic forms at the social level. The findings also revealed that Alex was criticized, tormented, and discouraged for the subversion of the gender rules and norms, but, she encountered the prevailing hegemony and transformed at the societal level. The transformations are not necessarily massive, but, are sufficient enough to affect Alex and her actions.

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11

Aragón Varo, Asunción. "This Is a Man's World: Drag Kings and the Female Embodiment of Masculinity." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 129. http://dx.doi.org/10.14198/raei.2013.26.10.

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Portrayals of non-heteronormative characters have been more and more present in the mass media since the last decades of the 20th century. Gay and lesbian characters are now part of mainstream media in films, sitcoms, drama series, talk shows, etc. Apparently, this could mean that non-heteronormative identities and desires are tolerated by the general audience but this might be just so as long as these characters behave according to heteronormative standards of normality or their bodies are easily readable. The presence of trans, drags or genderqueer characters is minimal and with it the potential subversion of the heteronormative matrix. However, not all drag is subversive and therefore an inappropriate reading or decoding could end up reinforcing the same normative gender identities they intend to subvert. To understand the potential subversion of non-heteronormative characters this paper aims to analyze briefly the re/conceptualization of performativity in the work of Judith Butler, the representation of drag as a parody of gender performance, the female embodiment of masculinity and its representation in popular culture.

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12

McIntosh, Mary, and Judith Butler. "Gender Trouble: Feminism and the Subversion of Identity." Feminist Review, no. 38 (1991): 113. http://dx.doi.org/10.2307/1395391.

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13

Hardman, Malcolm, Sharon Aronofsky Weltman, and Dinah Birch. "Ruskin's Mythic Queen: Gender Subversion in Victorian Culture." Yearbook of English Studies 31 (2001): 282. http://dx.doi.org/10.2307/3509428.

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14

McIntosh, Mary. "Gender Trouble: Feminism and the Subversion of Identity." Feminist Review 38, no. 1 (July 1991): 113–14. http://dx.doi.org/10.1057/fr.1991.33.

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15

Dias, Alfrancio Ferreira, Helma de Melo Cardoso, Adriana Lohanna dos Santos, Carlos André Araújo Menezes, and Pedro Paulo Souza Rios. "Schooling and subversions of gender." Revista Tempos e Espaços em Educação 10, no. 22 (May 4, 2017): 83–92. http://dx.doi.org/10.20952/revtee.v10i22.6433.

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The aim of this essay is to discuss bodies and discourses that question and confront gender norms and all possibilities of control of bodies in formative institutions. In order to do so, we analyzed three field research scenes, performed in different times and spaces. We show that they take place in the formative practices and spaces, there are several areas of subversion to norms and we face the control of bodies, as well as to show that these are dispute places, that in our research we do not generally privilege the discourses which subvert.

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16

Véliz, Marivi. "Entre o arquivo de Aruanda e o repertório do amor, a passagem queer até uma outra Brasilidade: Uma análise dos videoclipes das canções “Cavaleiro de Aruanda”, interpretada por Ney Matogrosso, e “Carta de Amor” de Maria Bethânia." Arteriais - Revista do Programa de Pós-Gradução em Artes 4, no. 6 (July 31, 2018): 95. http://dx.doi.org/10.18542/arteriais.v4i6.5964.

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ResumoA palavra queer é importada dos estudos acadêmicos americanos, e pelo mesmo pode ser problemática para a análise de contextos culturais onde a sexualidade e o gênero são constantemente negociados nos processos de sobrevivência. Este parece ser o caso do Brasil, onde as influências da cultura indígena e africana fazem parte de tradições populares. Em certo sentido, estas expressam uma subversão dos binários associados ao sexo ou o gênero. Esta subversão é reproduzida e estetizada pela mídia convencional e independente num diálogo íntimo. Faz parte do que pode ser visto nos videoclipes e nas canções “Cavaleiro de Aruanda”, interpretada por Ney Matogrosso, e “Carta de Amor” de Maria Bethânia. AbstractQueer is a concept imported from American academia, and for that reason it might be problematic to analyze cultural contexts where sexuality and gender are constantly negotiated in the survival process. This seems to be the case in Brazil where the influences of indigenous and African cultures form a fundamental component of the popular traditions. In some way, they can express a subversion of the binaries associated with sexuality and gender. This subversion is reproduced and aestheticized either by independent or mass media as part of an intimate dialogue. This could be seen in the video clips and the lyrics of “Cavaleiro de Aruanda” performed by Ney Matogrosso and “Carta de Amor” written and performed by Maria Bethânia.

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17

Kurke, Leslie. "Gender, politics and subversion in the Chreiai of Machon." Proceedings of the Cambridge Philological Society 48 (2002): 20–65. http://dx.doi.org/10.1017/s0068673500000821.

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I would like to consider the Greek poet Machon, whose extant fragments pose a problem of genre that opens out to a historical problem. At issue is the historical – or at least historicising – reading of literary texts. Machon, who hailed from Corinth or Sicyon, wrote comic dramas and Chreiai, anecdotes and witty sayings of Athenian musicians, parasites, and courtesans. All that we have of Machon, and almost all that we know about him, comes from Athenaeus in his discursive, encyclopaedic Deipnosophistai (written in the 2nd or 3rd c. CE). Athenaeus quotes nearly 500 lines of Machon's verses – almost all of it from the Chreiai, as well as two very brief fragments from his comedies. As a writer entirely preserved in another author's work, Machon has languished in almost complete obscurity, although his fragments have been scrupulously edited and annotated by A. S. F. Gow.

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18

Hall, Kira. "A Third-Sex Subversion of a Two-Gender System." Annual Meeting of the Berkeley Linguistics Society 20, no. 1 (October 25, 1994): 220. http://dx.doi.org/10.3765/bls.v20i1.1435.

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19

Spindola Cardenas, Jorge. "RITUALES DE MACHI Y SUBVERSIONES DE GÉNERO EN LA POESÍA MAPUCHE ACTUAL." Revista Internacional de Culturas y Literaturas, no. 17 (2015): 54–68. http://dx.doi.org/10.12795/ricl.2015.i17.05.

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Este artículo indaga desde la diferencia cultural otras ontologías de sexo y género que cuestionan las dicotomías binarias excluyentes de la modernidad eurocentrada, para ello se analizan poemas de Adriana Paredes Pinda (2005), poeta y machi (chamán) del pueblo mapuche-williche, en el sur de Chile. La autora pone en juego prácticas corporales y cognitivas basadas en principios duales y complementarios, propias de un ethos mapuche, que resisten el sistema heteronormativo de género binario excluyente (Judith Butler, 1998; Beatriz Preciado, 2011), liberando producciones de subjetividad (Felix Guattari, 1996) in-validadas históricamente por diversos dispositivos de saber-poder (Foucault, 1998) de la modernidad colonial.

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20

Niles, Richard. "Wigs, Laughter, and Subversion." Journal of Homosexuality 46, no. 3-4 (April 20, 2004): 35–53. http://dx.doi.org/10.1300/j082v46n03_03.

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21

Amin, Ammara, Ali Usman Saleem, and Asma Haseeb Qazi. "Subversion and Exclusive Identity in Palestinian Fiction by Women." Global Regional Review V, no. II (June 30, 2020): 147–54. http://dx.doi.org/10.31703/grr.2020(v-ii).16.

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Palestinian fiction by women subverts and challenges the existing gender paradigms and traditional patriarchal norms in the Arab culture. This paper explores Huzama Habayeb's novel Velvet with the theoretical backing of Julia Kristeva's concept of abjection, thus maintaining that a critical focus on the nexus between distinctive performativity and exclusive identities offers an alternative stance to the oppressive patriarchy in the Arab world. With the recent refugee crisis in the Muslim world, these narratives become extremely important and relevant, offering a space where issues of gender, identity, patriarchy, and religion erupt and coincide. Unveiling the construct of the female gender as only a set of performative norms instead of being an existentialist reality offers distinctive gender configurations and a site of exclusive identity for women. The paper establishes that Palestinian fiction by women has become a site for women's actualization where they defy and resist male hegemony.

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22

Thomas, Dania. "Book Review: Recovering Subversion: Feminist Politics Beyond the Law." Feminist Theory 7, no. 3 (December 2006): 372–73. http://dx.doi.org/10.1177/1464700106069052.

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23

Engler, Robert. "Subversion and Scholarship." Monthly Review 51, no. 9 (February 5, 2000): 49. http://dx.doi.org/10.14452/mr-051-09-2000-02_5.

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24

Brickell, Chris. "Masculinities, Performativity, and Subversion." Men and Masculinities 8, no. 1 (July 2005): 24–43. http://dx.doi.org/10.1177/1097184x03257515.

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25

Aljadaani, Mashael H., and Laila M. Al-Sharqi. "The Subversion of Gender Stereotypes in Donald Barthelme’s Snow White." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 155. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.155.

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Donald Barthelme’s Snow White redefines gender roles in the 20th century. Barthelme retells the original fairy tale, subverting its presentation of stereotypical gender roles to depict postmodern ideologies, particularly feminism. The male voice and its controlling power, embodied within the original narrative, becomes the lost, weak, and subordinate side of his story. The female voice, repressed by social and cultural principles, is reshaped to represent the free, powerful, and dominant figure in his narrative. This novel’s presentation of Snow White’s characters reflects feminist battles, such as the fight for gender equality and women’s freedom from patriarchal restrictions or sexual objectification. Adopting a feminist perspective, this study investigates Barthelme’s demythologizing approach in Snow White to present his new identification of gender roles. Specifically, this study examines the novel as a subversive reworking of Grimm’s Snow White [the original fairy tale] by analyzing Barthelme’s reframing of Snow White, the seven dwarfs, and Prince Paul. The findings of the study will show how Barthelme’s text offers a feminist critique of patriarchal dominance to the original Grimm’s fairy tale Snow White and the Seven Dwarfs. Through a close reading of the text, this study also seeks to highlight the novel’s subversive representation of socially constructed stereotypical male and female roles in the fairy tale to challenge the long-standing gender ideologies conceived by the patriarchal society.

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26

Crawford, Mary. "5. Identity, `Passing' and Subversion." Feminism & Psychology 2, no. 3 (October 1992): 429–31. http://dx.doi.org/10.1177/0959353592023013.

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27

Park, Heebon. "Gender Subversion, Acceptance, and American Myths in William Inge’s Picnic." British and American Language and Literature Association of Korea 137 (June 30, 2020): 317–35. http://dx.doi.org/10.21297/ballak.2020.137.317.

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28

Kerkhove, Miranda. "Charlotte’s Web: Reproduction and Subversion of American 1950s Gender Ideology." Korean Society for Teaching English Literature 22, no. 3 (December 31, 2018): 203–23. http://dx.doi.org/10.19068/jtel.2018.22.3.09.

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29

Weltman, Sharon Aronofsky. "Mythic Language and Gender Subversion: The Case of Ruskin's Athena." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 350–71. http://dx.doi.org/10.2307/2933999.

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Ruskin's complex attitude toward women has long been important to feminist and Victorian studies; over a quarter-century ago Kate Millett published Sexual Politics and its famous attack on Ruskin's essay "Of Queens' Gardens." She charged Ruskin with promoting a sugar-coated but perfidious system of separate spheres for men and women. Yet shortly after Ruskin produced that idealized vision of housewife-queens in 1865, he created a new ideal queen in his mythological study The Queen of the Air (1869), this time elaborated from Athena. Through his mythopoesis, Ruskin disrupts both conventional gender categories and his own implication in them. Ruskin presents a series of binary oppositions that he immediately conflates: Athena and Medusa, air and earth, bird and snake, formation and destruction, science and myth, male and female. Ruskin documents the instability of his oppositions through a bizarre "natural language" where real-life creatures such as birds and snakes serve as eternal hieroglyphs, signifying universally recognizable abstractions. That seemingly fixed signs in Athena's hieroglyphic code inevitably change is clear from Ruskin's acknowledgment of Darwin's evolutionary theory. But evolution slips into a wild image of degenerative metamorphosis, where all the divisions that Ruskin has so laboriously noted dissolve. Since Ruskin identifies Athena with each seemingly opposed animal signifier in his language of living hieroglyphs, he subverts all linguistic difference and ultimately feminizes signification itself. Through myth Ruskin creates a mutable language, one where genders as well as signs become mobile rather than fixed.

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30

Rim, Hye-Song. "Imitation and Subversion of Gender : Claude Cahun’s Self-Portrait Photography." Journal of the Association of Western Art History 50 (February 28, 2019): 175–98. http://dx.doi.org/10.16901/jawah.2019.02.50.175.

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31

TEMKINA, ANNA. "Control and Subversion: Gender Relations in Tajikistan by Colette Harris." Gender & History 20, no. 1 (April 2008): 198–200. http://dx.doi.org/10.1111/j.1468-0424.2007.00503_17.x.

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32

Weltman, Sharon Aronofsky. "Mythic Language and Gender Subversion: The Case of Ruskin's Athena." Nineteenth-Century Literature 52, no. 3 (December 1997): 350–71. http://dx.doi.org/10.1525/ncl.1997.52.3.99p0305w.

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33

Proshanta Sarkar, Proshanta Sarkar. "Female Gothic: Sexual Politics and the Subversion of Gender Hierarchy." IOSR Journal of Humanities and Social Science 9, no. 1 (2013): 42–45. http://dx.doi.org/10.9790/0837-0914245.

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34

Arora, Neha, and Stephan Resch. "“Undoing” Gender." Screen Bodies 3, no. 1 (June 1, 2018): 1–22. http://dx.doi.org/10.3167/screen.2018.030102.

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Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.

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35

González Treviño, Eridania. "Parodia e ironía como subversión de la tradición en el “Viaje a la oscura ciudad de Cacodelphia”." Acta Poética 42, no. 2 (June 22, 2021): 147–67. http://dx.doi.org/10.19130/iifl.ap.2021.2.18127.

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This research presents an analysis of the dialog between parody and irony, as a gender and a literary modality respectively, through its subversion function in the “Seventh book (Journey the dark city of Cacodelphia)” of the novel Adán Buenosayres by the argentinean writer Leopoldo Marechal. This study starts with an introductory approach to the general context of the novel, where narrative structure, the positioning of the modern man as the hero of the 20th century are discussed, along with the implicit parody in the “Journey to the dark city of Cacodelphia” and its predominant irony, both as subversive elements of transgression of the represented literary canon, in this case by the “Hell” of the Divine comedy by Dante Alighieri.

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36

Schleiner, Anne-Marie. "Does Lara Croft Wear Fake Polygons? Gender and Gender-Role Subversion in Computer Adventure Games." Leonardo 34, no. 3 (June 2001): 221–26. http://dx.doi.org/10.1162/002409401750286976.

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The subject matter of this article emerged in part out of research for the author's thesis project and first game patch, Madame Polly, a “first-person shooter gender hack.” Since the time it was written, there has been an upsurge of interest and research in computer games among artists and media theoreticians. Considerable shifts in gaming culture at large have taken place, most notably a shift toward on-line games, as well as an increase in the number of female players. The multidirectional information space of the network offers increasing possibilities for interventions and gender reconfigurations such as those discussed at the end of the article.

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37

Garbett, Claire. "Recovering subversion: feminist politics beyond the law." Feminist Review 85, no. 1 (March 2007): 147–49. http://dx.doi.org/10.1057/palgrave.fr.9400335.

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Martin, Jarred H. "Exploring gender subversion and recuperation in anal fisting among gay men." South African Journal of Psychology 50, no. 3 (December 9, 2019): 336–46. http://dx.doi.org/10.1177/0081246319888975.

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Anal fisting among gay men, that is, the sexual(ised) and erotic (single or partnered) practice of inserting the hand(s) and/or forearm(s) into the anus and rectum, has historically been framed in medical and medico-forensic case studies as a violent and dangerous sexual practice associated with the contraction of disease, heightened risk of sexual injury, and the possibility of death. In contrast to this, pro-Queer scholars of gender and sexuality have conceptually reframed the act of anal fisting among gay men as a subversive sexual practice which in its discursive and material performances radically transgresses the heteronormative tropes which typically underwrite human sex/uality, especially in ways that render the preferred representations of (gay) sex as ‘vanilla’. By drawing from unstructured individual interviews with a sample of eight (self-identifying) South African gay men who regularly incorporate anal fisting into their sexual relations, this study explores the gendered contradictions which rhetorically circumscribe how these men discursively construct and experience the corpo-erotic practice of anal fisting. In doing so, the findings highlight that while anal fisting among gay men may in fact engender shades of a sexually subversive practice by the way it radically (re)makes the material and erotic possibilities and connections of gay men’s bodies in exceptionally non-normative and perhaps Queer ways; it is, at the same time, also invested with, and reiterative of, discursive repertoires which actively recuperate heteronormative as well as heteromasculinist tropes and gendered power relations that, in some instances, appear femiphobic.

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Hüner Cora, N. İpek. "Mihrî Hatun: Performance, Gender Bending, and Subversion in Ottoman Intellectual History." Journal of Middle East Women's Studies 15, no. 3 (November 1, 2019): 395–97. http://dx.doi.org/10.1215/15525864-7720795.

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40

Sisulu, Elinor. "‘Mrs Sisulu's Husband’: Subversion of Gender Roles in an African Marriage." Social Dynamics 30, no. 1 (June 2004): 95–104. http://dx.doi.org/10.1080/02533950408628664.

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41

Hurley, Nat. "Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (1990)." ESC: English Studies in Canada 41, no. 4 (2015): 15. http://dx.doi.org/10.1353/esc.2015.0070.

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42

Wyile, Herb. "Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (1990)." ESC: English Studies in Canada 41, no. 4 (2015): 16. http://dx.doi.org/10.1353/esc.2015.0078.

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43

Daughton, Suzanne M. "“Cursed with Self-Awareness”: Gender-Bending, Subversion, and Irony inBull Durham." Women's Studies in Communication 33, no. 2 (September 13, 2010): 96–118. http://dx.doi.org/10.1080/07491409.2010.507567.

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44

Marcus-Mendoza, Susan. "Feminist Therapy with Incarcerated Women: Practicing Subversion in Prison." Women & Therapy 34, no. 1-2 (December 30, 2010): 77–92. http://dx.doi.org/10.1080/02703149.2011.532692.

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45

RODGER, GILLIAN. "Drag, camp and gender subversion in the music and videos of Annie Lennox." Popular Music 23, no. 1 (January 2004): 17–29. http://dx.doi.org/10.1017/s0261143004000066.

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In this article I examine Lennox's earliest performance strategies, and her reasons for employing them, as well as some of the reactions to her adoption of transvestism as a sartorial style. I discuss three videos from Lennox's 1988 LP Savage, which, in my view, marked a radical shift in her approach to depicting gender through performance. I argue that Lennox may be more productively viewed by keeping in mind performance ideals of music hall and other popular musical theatre styles of the late nineteenth and early twentieth centuries. Finally I discuss Lennox's challenge to late twentieth-century gender construction using Judith Butler's theories of the performative nature of gender and of the subversive reiteration of gender, outlined in her books Gender Trouble and Bodies that Matter, and suggesting ways in which Lennox's performance embodies these theories, while extending them to include a broader range of sexualities.

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46

De Oliveira, João Manuel. "Tumultos de género: os efeitos de Gender trouble em Portugal." Revista Periódicus 1, no. 3 (September 3, 2015): 6. http://dx.doi.org/10.9771/peri.v1i3.12844.

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A publicação da obra Gender trouble – feminism and the subversion of identity, por Judith Butler, constitui um tumulto nas teorias do género existentes e futuras. Este texto visa traçar o rastro dessa passagem no quadro dos estudos de género em Portugal, analisando a recepção da obra. Este artigo debruça-se também no rastro de Gender trouble na criação contemporânea, mostrando o encontro estranhamente familiar do coreógrafo Francisco Camacho com esse tumulto de género.

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Choi, Tat-Heung. "Power and the Subversion of Stories." Power and Education 1, no. 3 (January 1, 2009): 282–94. http://dx.doi.org/10.2304/power.2009.1.3.282.

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Language is a multiplicity of meaning-making systems, which are connected with social, cultural and psychological networks. Focusing on issues of power, this article is concerned to explore how the readings of a European folktale triggered attempts among teenage girls in Hong Kong to make their own feminist and subversive interpretations in English. The reconstructed stories are more than a partial reproduction of the conventional text, they are also a useful reflection of the teenage girls' literacy and gender experience, as well as of their generic and social knowledge. With a resistance to textual conventions, the teenage girls demonstrate their written competence to create alternative subject and reading positions, which are textually motivated by their sense of difference. The material realisation of the stories is also characterised by splits and instabilities, in the negotiation of a new boundary for femininity. This negotiation demonstrates how the teenage girls are on the move, facing and settling contradictory possibilities in acquiring literacy and social roles. Along these lines of observation, the synchronic view of language, characterised by regularity and internal consistency, needs to be challenged in second-language writing instruction.

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Mishra, Kaustubh. "Subverting Gender in Laxmi Raj Sharma’s ‘Intriguing Women’." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 28, 2021): 136–45. http://dx.doi.org/10.24113/ijellh.v9i1.10886.

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This paper close reads the short story collection Intriguing Women by Laxmi Raj Sharma to explicate upon the theme of ideological subversion within it. Sharma deploys his female characters as agents of destabilisation that assert their own identity and thus question the dominant social constructs. In doing this, these characters raise questions about the ruling ideology and its established norms of behavior, selfhood and performance. While Sharma’s usage of motifs and structural forms makes the stories works of art, the actions of his characters make them didactic and pushes the readers towards questioning some of their fundamental assumptions.

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Houllemare, Marie. "Marie Kingué et la subversion de l’ordre colonial (Saint-Domingue, 1785)." Clio, no. 50 (December 1, 2019): 155–64. http://dx.doi.org/10.4000/clio.17234.

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Marston, Peter J., and Bambi Rockwell. "Charlotte Perkins Gilman's “The Yellow Wallpaper”: Rhetorical Subversion in Feminist Literature." Women's Studies in Communication 14, no. 2 (October 1991): 58–72. http://dx.doi.org/10.1080/07491409.1991.11089755.

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