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Relevant bibliographies by topics / Myth of femininity

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Academic literature on the topic 'Myth of femininity'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Myth of femininity"

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Singh, Raj Kishor. "Olympian Myth and Gender Performitivity in Angela Carter’s The Passion of New Eve." Interdisciplinary Journal of Management and Social Sciences 2, no. 1 (April 29, 2021): 157–64. http://dx.doi.org/10.3126/ijmss.v2i1.36754.

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The Passion of New Eve is an Angela Carter’s critical response to the essentialism of the feminism of 1970s. People had assumption that female experience should be white, middle-class and heterosexual. This assumption has been distorted in the novel with the sense that, traditionally, gender is a social and cultural construct, and this has been illustrated in the story by showing how New Eve acquires womanhood through the socio-cultural situation in Zero’s harem and also while Eve is in love relationship with Tristessa. In her novel, Carter presents Evelyn as a model of gender transfer and acquisition. Greek myth and Carter’s myth have a good blending meta-narrative relationship, a mytho-grand-narrative. Mother is a good example of the Greek myth of Tiresias, a Hermaphrodite. Mother’s hermaphrodite body is used as a grotesque and Carnivalesque body similar to that of Tiresias. Evelyn feels horror at the grotesque and Carnivalesque, physical excesses of the body figure of Mother and expresses revulsion at the sight, but later he himself is turned into a mythic and monstrous being, like Greek god Androgynes, with both male and female physical and psychical features, and in case of Evelyn, with the body of a female but the mind of a man. Angela Carter presents a grotesque realism in the novel, and it is postmodernistic in characteristic because it subverts the patriarchal myths of femininity and masculinity and makes a strong debatable argument over essentializing and universalizing tendencies in the feminism of the 1970s, with the allusions to Greek myths and the biblical story of Adam and Eve. The novel confirms de Beauvoir’s theory that one is not born but rather becomes a woman. Through New Eve, we learn the postmodernistic fact raised by the feminists that biological sex and culturally determined gendered one are not the same, but two different things.

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Waraksa, Krzysztof, and Dominika Ziętek. "Seksmisja — mitologizacja ról płciowych w reklamach perfum. Analiza komparatystyczna." Dziennikarstwo i Media 10 (September 11, 2019): 75–91. http://dx.doi.org/10.19195/2082-8322.10.6.

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Sexmission — the mythologisation of gender roles in perfume advertising. A comparative analysisThe authors of perfume adverts put lot of emphasis on creating a consistent image of their addressees so that the addressees can identify with or aspire to them. The article is a presentation of the myth of femininity and masculinity extracted from 545 print adverts of fragrances offered by the online stores of the two biggest perfume retailers in Poland — Sephora and Douglas. The starting point of the analysis is a definition, proposed by Roland Barthes, of a new myth-like form — everyday mythology deriving from popular culture and influencing everyday choices and decisions. On this basis, drawing on a content analysis combined with a semiotic analysis, the author distinguishes patterns in the perception and creation of femininity and masculinity. The present study is an attempt to answer the question about the link between the mythologies in question as well as the questions of whether a woman can exist without a man in the reconstructed discursive space and whether she is essential to his existence.

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Huang, Yan. "The Construction of Femininity in Shopping." International Journal of English and Cultural Studies 2, no. 1 (May 27, 2019): 57. http://dx.doi.org/10.11114/ijecs.v2i1.4296.

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In different historical stages, the nature of women has been explained from the religious myth, the moral principles, the scientific rationality and the psychological analysis. In the consumer society, the widespread consumption not only changes people’s daily life but also their social relations, world views and values. Men and women with the effect of commodities show different characteristics. The consumption generalization is the basic fact in the consumer society. Women, as the important consuming power, become the key target group for enterprises and media. In order to correspond with the commercial operation, the mass media guides women and constructs a femininity to serve for the commercial profits.Generally speaking, consumption culture constructs femininity from the following two aspects: on the one side, it constructs a modern female beauty standard—young, beautiful and sexy. Women thus become a huge consuming group of hairdressing and fashion. On the other side, it still advocates the traditional image of good housewives. Female consumers are oriented as the agent purchasers for the whole family. It demonstrates in this paper that shopping is sexual consuming. Woman’s beautiful image and good housewives image presents on their “agent purchasers” role in shopping.

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Hansen, Kathryn Strong. "The Metamorphosis of Katniss Everdeen: The Hunger Games, Myth, and Femininity." Children's Literature Association Quarterly 40, no. 2 (2015): 161–78. http://dx.doi.org/10.1353/chq.2015.0020.

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Mohammadpour-Yazdi, Ahmad-Reza, Martin Jandl, and Abolghasem Esmailpour Motlagh. "Encapsulated Skin-Ego and Anti-Corporeal Manichaean Myth of Femininity in Transmission." Language and Psychoanalysis 9, no. 1 (April 6, 2020): 26–45. http://dx.doi.org/10.7565/landp.v9i1.1702.

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We propose, within the context of a Skin Model of Ego Development (SMED), that Didier Anzieu’s work of the skin-ego is a useful entry point into understanding the Manichaean mythic view of femininity as creating an encapsulated skin-ego, that tends to enclose the feminine object in a defensive-isolative capsule, through culturally transmitted ideals, shaped by misogyny. Utilizing this perspective, the unconscious and the myth are seen as being, in general terms, intertwined and expressed in epidermal psychoanalytic dialogue. As a result, the psyche and the body are radically split from one another through the dysfunctioning of the skin-ego that is an asexualized phantasmal-mythic dome of ‘womanhood’, which preserves misogynistic norms and ideals and blocks any possibility of femininity as a subjecthood. Moreover, a culturally transmitted myth-fueled psychic alienation is conveyed through a linguistic mythic time machine, which, in turn, results in transmitting a mythic mindset from one generation to another. In this sense, it is of utmost importance to mention that dysfunctional skin-ego leads to dysfunctional thinking ego therein the result is the isolated mind. Encapsulated thinking ego rejects embodiment, spontaneity, and connectedness with anything that has to do with emotional life. To enrich our discussion, the Matrix movies are used to discuss how the Manichaean system of thought is in motion and survives in transmission.

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Cedro, Carmel. "Just add nostalgia and stir: Mythmaking Australian femininity through Anzac Biscuits, collective commemoration and heteronormativity." Australasian Journal of Popular Culture 8, no. 2 (September 1, 2019): 229–43. http://dx.doi.org/10.1386/ajpc_00007_1.

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Many sweet foods featured in contemporary Australian cookbooks are indelibly connected to culinary tradition and use nostalgia to encourage a sense of collective identity and experience. Anzac Biscuits exemplify this through ubiquity and familiarity, and the annual baking ritual becomes a collective commemoration that shapes ideologies of identity and myth, which are somewhat central to understanding the Australian experience. Yet the mythology around the biscuits is flawed. The recipe recognizable today as Anzac Biscuits can be traced from the 1920s onwards in Australian cookbooks, which calls into question the veracity of the well-told story of women on the home front baking and sending the biscuits to the Anzac trenches during the First World War. This article will examine the parallels between Australian traditions of baking culture and the functional value of the Anzac myth, and the way both seem to reaffirm cultural standards, and attempt to secure gender ideals by presenting unattainable fantasies. While the Australian interpretation of the Anzac myth reinforces a certain unattainable ideal of heroic masculinity – with courage, determination and sacrifice for nation – contemporary cookbooks reflect a romanticized domestic fantasy that centres on family and feminine practice, both heavily reliant on proscriptive heterosexuality and heteronormativity, enhanced and polished via a nostalgia-tinged lens.

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Kobayashi, Saki. "‘Battleship Femininity’ deconstructed: Unmasking the myth of Eva Dahlbeck and Ingmar Bergman." Journal of Scandinavian Cinema 11, no. 2 (June 1, 2021): 217–34. http://dx.doi.org/10.1386/jsca_00049_1.

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The Swedish film star Eva Dahlbeck (1920–2008) is now remembered mainly for her contributions to Ingmar Bergman’s comedies in the 1950s. The epithet ‘Pansarskeppet kvinnligheten’ (‘Battleship Femininity’), allegedly given to her by the director, has integrated her stardom into the myth-making process driven by Bergman and the press. This can erroneously give him sole credit for Dahlbeck’s fame despite her already established star status. To reconsider such an auteurist misconception, this article examines Dahlbeck’s stardom from 1946 to 1956, drawing on Richard Dyer’s seminal theorization of a film star as a media construction. By analysing Dahlbeck’s star image and its relationship to three characters she plays in Bergman’s films, the article situates these films in the dynamics formed by diverse media texts and elucidates their historical and cultural context while also providing a case study of film stardom in post-war Sweden.

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Avarvarei, Simona Catrinel. "Shakespeare’s Weird Sisters – In Between Outlandish Womanhood and Prophesing Moirae." Linguaculture 2017, no. 2 (December 20, 2017): 107–17. http://dx.doi.org/10.1515/lincu-2017-0021.

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Abstract This study intends to map the meandering expression of otherness when womanhood constructs an epiphanic encounter with time and fortune. Hereinafter, hegemonic, oppressive masculinity meets peripheral, prophesying femininity in an intricate exercise of doing and becoming Shakespeare‘s Weird Sisters, forming a complex mythological construction, whose uniqueness arises from the duality of their personae, reflection of displaced femininity, somewhat grotesque, peripheral within the realm of marginality itself. They are not only weird expressions of the Other, they are the other self of themselves, as alter ego expressions. There is a constant, minutely woven border crossing that does not only (re)define the geometry of becoming, but it also permeates gender constructions, making femaleness look androgynous and ruthless. Foretelling dreams of glory, mightiness or summoning lost humanity, these three Parcae rewrite the myth of the androgynous and its story about the quest of the Other. It is this Other that will be explored from a variety of angles that speak of masculinity, femininity, sanity, irrationality, consciousness, unconsciousness, freewill and fate.

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PENNOCK, CAROLINE DODDS. "WOMEN OF DISCORD: FEMALE POWER IN AZTEC THOUGHT." Historical Journal 61, no. 2 (February 20, 2018): 275–99. http://dx.doi.org/10.1017/s0018246x17000474.

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AbstractThis article addresses the perennial debate over the origins and nature of female power by examining the significance of ‘Women of Discord’ in Aztec (more properly, Mexica) culture. Influential, but often troublesome, these formidable figures embody the complex significance of female power, rooted in women's privileged access to the awesome earth forces through childbirth. This chaotic energy lent cosmological and dynastic significance to the mytho-historical Women of Discord, but also led to a persistent female association with disorder which had tangible (and often overlooked) consequences for the lives of ‘real’ women in Aztec culture. This article explores the ways in which beliefs about the female capacity for disruption both reflected and shaped reality, ensnaring all women in a cycle of myth and history which made femininity a source of both authority and apprehension. Importantly, in Tenochtitlan ideas about ‘disorderly women’ did not lead inevitably to their practical subordination or suppression; women held practical markers of influence and esteem in Aztec culture. Thus, the Women of Discord challenge our assumptions about gender by offering a distinctive perspective on the ways in which femininity and fertility may be seen as disruptive, without necessarily debasing women or depriving them of individual agency.

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Barringer, Judith M. "Atalanta as Model: The Hunter and the Hunted." Classical Antiquity 15, no. 1 (April 1, 1996): 48–76. http://dx.doi.org/10.2307/25011031.

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Atalanta, devotee of Artemis and defiant of men and marriage, was a popular figure in ancient literature and art. Although scholars have thoroughly investigated the literary evidence concerning Atalanta, the material record has received less scrutiny. This article explores the written and visual evidence, primarily vase painting, of three Atalanta myths: the Calydonian boar hunt, her wrestling match with Peleus, and Atalanta's footrace, in the context of rites of passage in ancient Greece. The three myths can be read as male and female rites of passage: the hunt, athletics, and a combination of prenuptial footrace and initiatory hunt. Atalanta plays both male and female initiatory roles in each myth: Atalanta is not only a girl facing marriage, but she is also a female hunter and female ephebe. She is the embodiment of ambiguity and liminality. Atalanta's status as outsider and as paradoxical female is sometimes expressed visually by her appearance as Amazon or maenad or a combination of the two. Her blending of gender roles in myth offers insight into Greek ideas of social roles, gender constructs, and male perceptions of femininity. Erotic aspects of the myths of the Calydonian boar hunt and the footrace, and possibly also her wrestling match with Peleus, emphasize Atalanta as the object of male desire. Atalanta challenges men in a man's world and therefore presents a threat, but she is erotically charged and subject to male influence and dominance.

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Dissertations / Theses on the topic "Myth of femininity"

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Wiatrowski, Michael Jr. "A Man's Gotta Do: Myth, Misogyny and Otherness in Post-9/11 America." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1340022877.

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Jiang, Ru Lian. "Femininity, aesthetic labor, and the myth of transformation :engaging the post-feminist discourse of beauty vlogging in China." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3952611.

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Palder, Amy. "So, Who Feels Pretty: Negotiating the Meaning of Femininity in a Nonheterosexual Community." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-07162008-085113/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from file title page. Ralph LaRossa, committee chair; Elisabeth O. Burgess, Wendy Simonds, committee members. Electronic text (154 p.) : digital, PDF file. Description based on contents viewed Sept. 29, 2008. Includes bibliographical references (p. 143-149).

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Miras, Elisangela. "Representações do feminino no cinema: uma análise semiológico-psicanalítica de filmes De Lars Von Trier." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/4505.

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Made available in DSpace on 2016-04-26T18:12:53Z (GMT). No. of bitstreams: 1 Elisangela Miras.pdf: 1067219 bytes, checksum: ff7c863d0c3f1eaa6e98e8191bab9ed2 (MD5) Previous issue date: 2013-05-10
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This research has as main proposal to make an analysis of the representation of women in films by Lars Von Trier. After a more close glance on Dancer in the Dark, Dogville and Melancholy, a corpus that covers the period from 2000 to 2011, I sought to indicate the strategies of meaning construction that interact here. Theoretically, this work requires the support of Barthes semiology, notably his classical concept of myth , as well as the Freudian-Lacanian psychoanalysis around women and female questions. The first one is a base for film analysis. The second helps me to analyse female characters. I added to these supports contributions of excellent thinkers about Freud and Lacan works, and also contributions of film scholars and analysers of Lars Von Trier masterpieces. Consistent with these perspectives, I launched here the following hypothesis: in the figuration of the feminine, nothing is linked to the so-called nature , rather to a historical and discursive construction. The relevance of the work is related to the almost total absence of Barthesian readings in the cientific Brazilian literature, specifically on films, and also to the rarity of media semiological and psychoanalytic approaches related to Barthes studies
A presente pesquisa tem como objetivo principal examinar a representação do feminino no cinema de Lars Von Trier. Debruçando-se, mais detidamente, sobre Dançando no Escuro, Dogville e Melancolia, corpus que recobre o período de 2000 a 2011, buscamos indicar as estratégias de construção do sentido aí em jogo. Teoricamente, o trabalho requisita a semiologia barthesiana, notadamente o conceito clássico de mito , e a psicanálise freudianolacaniana em torno do feminino. A primeira embasa a análise fílmica. A segunda, a análise das personagens femininas. Acrescentam-se, a essas bases de apoio, outras, oferecidas por bons comentadores de Freud e de Lacan e, ainda, por estudiosos do cinema e da obra de Lars Von Trier. Em consonância com tais perspectivas, joga-se aqui com a hipótese de que, na figuração do feminino, nada se agarra à natureza, mas é sempre construção histórica e discursiva. A relevância do trabalho está ligada à quase total inexistência, entre nós, de leituras barthesianas sobre o cinema e, ainda, à raridade de enfoques semiótico-psicanalíticos da mídia que levem Barthes em consideração

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Sánchez, Sierra. "Woman Hollering/la Gritona: The Reinterpretation of Myth in Sandra Cisneros’ The House On Mango Street and Woman Hollering Creek." Wittenberg University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617712283824549.

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Jonsson, Adam. "Mannen och kvinnan i reklamen. : En studie av annonserna i tidskrifterna Café och Elle." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-68005.

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Men and women in advertising - a study of the ads in the magazines Café and Elle is an essay in media and communication studies covering 15hp. The author examines what is considered masculinity and femininity in a variety of advertisements, and which products are linked to masculinity and femininity. Besides this, the author also examines the production of happiness, and how this may differ between men and women. Although stereotypes, myths and metaphors are examined. The essay is examined on the basis of gender theory, and theories about stereotypes and myths. This is examined by using both a less extensive quantitative approach and a more detailed qualitative method. Semiotics is the qualitative method used, which include denotation and connotation that is used as some of the tools. The result of the study shows that masculinity and femininity is something that is separate from each other. Different stereotypes, myths and metaphors could also be found in the material. One of the conclusions is that while masculinity seems to be something that is associated with doing something, femininity seems to be something that is associated with being something. Also happiness is something that differs between men and women.

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Hill, Shonagh L. "Embodied mythmaking : reperforming myths of femininity in the work of twentieth and twenty first century Irish women playwrights." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534727.

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Garsten, Sofia, and Miriam Nilsson. "Deus Ex Machina : en kvalitativ studie i skildringen av feminin artificiell intelligens i filmen Ex. Machina." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125584.

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With this study, the authors wish to highlight the way artificial intelligence, as a new form of media technology, seems to be ascribed gender, both in fiction and reality. These, by humans artificially developed beings, would not need to be gendered, but still are. Given these beings are human made and new phenomenas, an opportunity of preventing boundaries considering gender, class and etnicity to be reproduced would be possible and in favour. By analysing the Alex Garland 2015 film Ex Machina, the authors wish to discuss how and why the artificial intelligence becomes gendered, particularly feminised, and what this means from a wider perspective concerning the way we look at this new technlology not yet fully introduced in real life. By using post- and transhuman theory mixed with feminist theories such as Judith Butlers theory of perfomativity, Donna Haraways posthuman feminist theory and Laura Mulveys theory of The Male Gaze, this study results in a qualitative text analysis. The methodic tools used in this study contains elements from visual text methods and therefor also semiotics. The authors reach to the conclusion that the depiction of artificial intelligence in the film Ex Machina (2015) reproduces stereotypic feminine gender acts and even intensifies these. When these ways of presenting new and futuristic technology seems to appear in ficiton, an assumption can be made that they origin from existing and deep gender acts in the western society. Researchers, such as Donna Haraway, wishes for these strong boundaries in gender, class and etnicity to not be reproduced in new technology, but in the fictional case of the film Ex Machina (2015), this wish has unfortunately not been fullfilled. If society would be able to rethink the sharp boundaries between nature and technology and succeed with this ontological change in the way we look at humanity, it would hopefully be easier to approach the new technology with an open mind. Perhaps then the reproduction of gender stereotypes in this new technology would cease in fiction, but also in reality.

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Österberg, Susanna. "Den qvinnliga konstnären: : representationer i tidskriften Palettskrap 1877 –1904." Thesis, Södertörns högskola, Konstvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32264.

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Jag har ägnat denna uppsats åt att undersöka Kungliga Konstakademiens elevtidning Palettskrap från och med att det grundades 1877 till och med 1904.Tidningen består av anteckningar, protokoll och en mängd med bilder såsom porträtt, illustrationer och skämtteckningar. Mitt syfte har varit att se hur konflikten kring kvinnorollen generellt och kvinnliga konstnärsrollen specifikt kommer till uttryck under det sena 1800-talet i en intern elevtidning som Palettskrap. Jag har huvudsakligen utfört bildanalyser men även lyft fram text ur Palettskrap som har varit relevant för mitt ämne. Jag har analyserat bildernas uttryck och bildbudskap utifrån Roland Barthes semiotiska metod. För en genusmedveten och kritisk blick på det konsthistoriska sammanhanget, har jag har tillämpat ett feministiskt perspektiv som varit verktyg för att dekonstruera den maskulina myten om modernismen och konstnären. Min undersökning visar att det finns två etablerade stereotyper/kategorier av den kvinnliga konstnären: den ”okvinnliga” konstnären och ”amatören”. Dessa två stereotyper återspeglar den borgerliga synen på kvinnlighet/femininitet som oförenlig med konstnärsrollen.
I have dedicated this essay in researching the journal Palettskrap founded by students at the Royal Swedish Academy of Arts in 1877. Palettskrap consists of notes, protocols and a variety of images such as portraits, illustrations and satirical cartoons. My purpose has specifically been to see how the conflict of the woman artist is articulated during the late 1800's in a student journal such as Palettskrap, and also more generally, how the woman's role in society is articulated. I have primarily analyzed images but I have also exposed text from Palettskrap which has been relevant to my subject matter. By using Roland Barthes' semiotics, I have analyzed the images' expression and message. For a gender-sensitive and critical eye on the art historical context, I have applied feminist theory which has been useful in deconstructing the masculine myth on modernism and ”the artist”. My research shows that there are two established stereotypes/categories of the woman artist: the ”unwomanly” artist and the ”amateur”. These two stereotypes reflect the bourgeois notions of womanhood/femininity as incompatible with the role of the artist.

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Hanzlíková, Terezie. "Kult povrchu: analýza časopisu Top dívky z perspektivy mýtu krásy." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-353217.

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The thesis deals with the beauty myth and its presentation in Top dívky girl magazine. It focuses on revealing mechanisms used by the magazine to attract girls' attention, and their gender consequences. Observing both analogical and contrasting traits of presenting the beauty myth to girls and women is an important part of the thesis. In its theoretical part, the author begins by presenting the ongoing discussion on the beauty myth led by Naomi Wolf (2000), the feminist theorist. The basic theoretical framework for this thesis is Wolf's proposition of the "female" beauty myth, which subsequently helps the author to examine the "girlish" beauty myth. In her research, the author uses open, axial and selective coding. By determining the central category of Cult of surface, the thesis unveils the essential message of the beauty myth in Top dívky. The surface is the main aspect not only of girls' appearance, but also of their relationships and interests. The functioning of the cult of surface is enabled by the discourse of easiness and the accessibility of beautification, which the thesis considers as a very important aspect of the beauty myth in the girl magazine. Basic propositions on the female beauty myth apply to girls as well, however, there are certain nuances to consider, which the author also...

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Books on the topic "Myth of femininity"

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Wolf, Naomi. The beauty myth. Toronto: Vintage Books, 1991.

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Wolf, Naomi. The Beauty Myth. New York: HarperCollins, 2008.

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Wolf, Naomi. The beauty myth. Toronto, On: Vintage Canada, 1990.

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Wolf, Naomi. The beauty myth. London: Chatto & Windus, 1990.

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Wolf, Naomi. The beauty myth : how images of beauty are used against women. New York: W. Morrow, 1991.

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Raffa, Jean Benedict. The bridge to wholeness: A feminine alternative to the hero myth. San Diego, Calif: LuraMedia, 1992.

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Wolf, Naomi. The beauty myth: How images of beauty are used against women. New York: W. Morrow, 1991.

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Wolf, Naomi. The beauty myth: How images of beauty are used against women. New York: Anchor Books, 1992.

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Wolf, Naomi. The beauty myth: How images of beauty are used against women. London: Vintage, 1991.

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Koivunen, Hannele. The woman who understood completely: A semiotic analysis of the Mary Magdalene myth in the Gnostic Gospel of Mary. Imatra: International Semiotics Institute, 1994.

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Book chapters on the topic "Myth of femininity"

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Mohammed, Patricia. "The Reconfiguration of Masculinity and Femininity: Negotiating with Myth and Symbols." In Gender Negotiations among Indians in Trinidad 1917–1947, 134–74. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403914163_5.

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"Re-Writing Myth, Femininity, and Violence in Margaret Atwood's The Penelopiad." In Myth and Violence in the Contemporary Female Text, 145–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315248455-17.

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Şahin Gülter, Işıl. "The Legacy of the Terrible Mother Archetype in Post-War British Drama." In Advances in Linguistics and Communication Studies, 174–92. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6458-5.ch009.

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The theatre provides the playwrights with a public platform through which they open up a more comprehensive framework to reinterpret the concept of the feminine. The chapter, in which translation remains a fundamental instrument that will be utilized to offer new interpretations to old ideas about the feminine, explores how the post-war British woman playwright Ann Jellicoe translates a women-related myth and reinterprets the concept of the feminine in The Sport of My Mad Mother (w.1958, r.1962). In this context, the chapter focuses on the concept of the Terrible Mother archetype which represents the female creative power as well as the potential for destruction in the play within a special reference to Jung's premises on the archetypal nature of the femininity and maternity. Thus, the chapter indicates that Ann Jellicoe, taking on board and challenging the perceived social, ideological, and psychological ideals of femininity, reclaims the legacy of the female strength.

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Gracey, James. "Seeing Red." In The Company of Wolves, 61–84. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.003.0005.

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This chapter looks into the heart of Neil Jordan's The Company of Wolves as a story of sexual awakening, literal and figurative formation, and the empowerment of women. It discusses how The Company of Wolves carries a strong feminist message that is more than a singular concept, like the short stories from Angela Carter's The Bloody Chamber. It also explains Carter's brand of feminism that represents one strand that was often at odds with those of other feminists at the time and even considered highly controversial. The chapter analyses how Carter sought to expose how women's sexuality is perceived as a myth instigated and perpetuated by moral and social conditioning. It discloses Carter's frequent visit to the world of fairy tales to critique culturally constructed notions relating to women, gender roles and femininity.

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Brogaard, Berit. "Baby, It’s in Your Nature." In Hatred, 199–238. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190084448.003.0006.

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In its new guidelines to help psychologists address male violence, sexism, and misogyny, the American Psychological Association suggests that misogyny stems from the masculinity ideology our culture adheres to. While the masculinity dogma is part of what inspires men to hate women, two other ideologies are needed to explain the misogyny incarnate in contemporary culture: doctrines here called “the feminine ideal” and “the myth of female filth.” It’s imprinted into the minds of little girls that they need to live up to society’s standards of femininity. Women who deviate from traditional gender norms become the targets of misogynistic hatred. The flipside of the feminine ideal is that women’s implicit association with bodily “stuff,” manipulation, and irrationality makes all women prone to misogynistic contempt. Along the way, this chapter shows how sexism differs from hateful and contemptuous misogyny, and why women who belong to multiple marginalized or stigmatized groups are particularly prone to misogynistic attacks.

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"Constructing and Deconstructing Myths of British Colonial Identity and Femininity in Mutiny Fiction: Meadows Taylor’s Seeta (1872) and Flora Annie Steel’s On the Face of the Waters (1897)." In Literary Location and Dislocation of Myth in the Post/Colonial Anglophone World, 121–36. Brill | Rodopi, 2017. http://dx.doi.org/10.1163/9789004361409_010.

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Dowler, Lorraine. "Amazonian Landscapes : Gender, War, and Historical Repetition." In The Geography of War and Peace. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195162080.003.0013.

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It has been speculated that legends and myths are usually born out of everyday life. Surprisingly, it could be argued that the legend of the Amazons mirrors contemporary life in that women who actively participate in warfare are considered “out of place” with the normative landscape. As Enloe argues, the Amazonian world is a place apart, where gender roles are inverted, or worse, “what is wrong about the Amazons is not only that they are women who fight using military equipment and tactics, but that they live without men.” However, unlike the Amazons, Western societies are comforted by men being the soldiers, warriors, and heroes of war, while women are either victims or seraphic icons of war. As a society, we are consoled by nurturing images of women in the role of nurses on the battlefield or, most important, as champions of the home front. Cock contends that when people go to war, they do so specifically as men and women, rather than in nationalist solidarity. She argues that the military, as a masculine power structure, actually magnifies how masculinity and femininity are defined within society. This seems to hold constant even in the exceptional case of the Amazons. Many feminists argue that throughout history representations of these female warriors have been dichotomous in nature. On the one hand, Amazonian images mark women’s emotional and physical strength while simultaneously rendering them erotic, thereby reinforcing men’s virility. As Kleinbaum argued, “As surely as no spider’s web was built for the glorification of flies, the Amazon idea was not designed to enhance women.” In his book War and Gender Goldstein details some popular representations of the myth to illustrate this point. In the 1931 play The Warrior’s Husband, Katharine Hepburn’s portrayal of the warrior queen Antiope radically challenged contemporary understandings of gender roles of her time. However, the play’s reviews overlooked these questions of identity in favor of essentializing Hepburn’s body with such statements as the play where “she first bared her lovely legs.”

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Lamm, Kimberly. "Rewriting maternal femininity in Mary Kelly’s Post-Partum Document." In Addressing the other woman, 186–231. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526121264.003.0006.

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The subject of chapter 5 is the installation Post-Partum Document (1973–79). The chapter traces how Mary Kelly’s engagement with the visual appearance of language became a tool to deconstruct idealised myths of maternal femininity. By taking material desires – so often pathologised – as her aesthetic subject, Kelly challenged white ideals of maternal femininity as an identity women naturally assume. Crucial to this challenge was the psychoanalytic argument that through pregnancy and the first months of infant care, women re-experience their psychic lives before their negative entry into the Oedipus Complex. Kelly shows that mining the feminine pre-Oedipal for its affective and aesthetic plenitude opens up the feminist possibility that women can do more than serve as the ground for patriarchal losses; they can actually compose their own forms of fetishisation, a ‘language’ capable of writing women’s desires into cultural visibility. Kelly draws upon the visual language of the hieroglyph to represent this fetishisation. And with elegant hieroglyphic forms, Post-Partum Document touches upon the legacies of British colonial history and its manifestations as metropolitan racism in the London of the 1970s. As Kelly demonstrates, this structural racism was consolidated through the naturalisation of maternal femininity that Post-Partum Document puts into question.

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Ulusal, Dilek. "Presentation of Female Character Subjectification in Iranian Cinema." In Advances in Media, Entertainment, and the Arts, 248–59. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0128-3.ch014.

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Cinema is a social practice where myths about femininity and masculinity are produced, reproduced, and represented. Within this context, in cinema which produces feminine myths and forms female representations by reproducing them, feminist narratives are incontrovertible. In this study, female characters in political woman theme film Ten, directed in 2002 by Abbas Kiarostami who is recognized as one of the most successful directors of Modern Iranian Cinema, are examined in terms of feminist film theory. As a result of the study, it was observed that the director Kiarostami uplifted the identity of women by the narrative of the female characters he placed in the subject position of the film and tried to overthrow the established perception towards the women who were qualified as “the other” in Iranian society, through cinema.

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