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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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Gromkowska-Melosik, Agnieszka. "Kopciuszek: zagubiony szklany pantofelek i metamorfozy kobiecości." Studia Edukacyjne, no. 46 (January 19, 2020): 63–72. http://dx.doi.org/10.14746/se.2017.46.5.
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The article is devoted to the reconstruction of Cinderella myth in contemporary culture in the relation to the changing concepts of femininity. The Author takes into account several contexts of this issue. First, it can be understood in the terms of life as a lottery thanks to which in one moment a person is famous or rich (e.g. thanks to television success). Also, the author analyses the Cinderella in a light of sociological theory of competitive mobility. Besides sociotherapeutic Cinderella complex is analysed as well as feminist interpretation of Cinderella are reconstructed. The different versions of Cinderella fable are confronted with the various kinds of relations between women and men in contemporary. The Author shows also the examples of using the Cinderella myth in commercial advertising as well as politics and economy (Cinderella industry).
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Weinstein, Laura. "Unlawful Carnal Knowledge of Teenage Girls: Performing Femininity and the Myth of Absolute Liability." Éire-Ireland 49, no. 1-2 (2014): 69–91. http://dx.doi.org/10.1353/eir.2014.0005.
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Barnett, Michael D., Taylor M. Hale, and Kylie B. Sligar. "Masculinity, Femininity, Sexual Dysfunctional Beliefs, and Rape Myth Acceptance Among Heterosexual College Men and Women." Sexuality & Culture 21, no. 3 (February 14, 2017): 741–53. http://dx.doi.org/10.1007/s12119-017-9420-3.
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Dampc-Jarosz, Renata. "Uta von Naumburg – eine „deutsche Ikone“ aus dem Mittelalter? Figurationen des Weiblichen im deutschen postmodernen Roman am Beispiel von Claudia und Nadja Beinerts "Die Herrin der Kathedrale"." Germanica Wratislaviensia 143 (December 17, 2018): 75–88. http://dx.doi.org/10.19195/0435-5865.143.5.
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Uta von Naumburg, die Gattin des Markgrafen Ekkehard II. von Meißen, lebte wahrscheinlich zwischen 1000 und 1043. In der deutschen Kulturtradition erfreut sie sich einer gewissen Popularität, jedoch nicht als eine historische Gestalt, sondern als Steinfigur im Westchor des Naumburger Domes. In den 30er Jahren des 20. Jahrhunderts wurde sie zum Symbol der deutschen Weiblichkeit erhoben und im nationalsozialistischen Sinne mythisiert. Von der Rezeption der Stifterin des Naumburger Domes ausgehend, strebt der vorliegende Beitrag an, am Beispiel des postmodernen historischen Romans von Claudia und Nadja Beinerts Die Herrin der Kathedrale 2013 die De-Mythisierungsstrategie von Utas Figur zu präsentieren. Eine wichtige Rolle wird dabei den mittelalterlichen Weiblichkeits- und Machtvorstellungen zugemessen, die in die postmoderne Narrativik des Vergangenen eingebettet sind. Uta von Naumburg – a “German Icon” from the Middle Ages? Figurations of femininity in the postmodern novel Die Herrin der Kathedrale by Claudia and Nadja Beinert Uta von Naumburg, wife of margrave Ekkehard II from Meissen, probably lived from 1000 to 1043 AD. In the German cultural tradition she is not known as a historical figure, but as a stone statue from the Naumburg Cathedral. In the 1930s she became a symbol of German femininity and was made a heroine of the National Socialist myth. Beginning with the historical figure of Uta, this article will show the strategies used to demythologize the founder of the cathedral, based on the postmodern novel Die Herrin der Kathedrale 2013, written by Claudia and Nadja Beinert. The authors present the ways of the deconstruction of the medieval paradigm of femininity with the help of narrative strategies.
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Antonioli, Kathleen. "Colette française (et fille de zouave)." French Politics, Culture & Society 38, no. 1 (March 1, 2020): 113–28. http://dx.doi.org/10.3167/fpcs.2020.380106.
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This article argues that French novelist Sidonie-Gabrielle Colette occupies a central position in the canon of French women’s writing, and that from this position her reception was deeply influential in the development of the myth of French singularity. After World War I, a style of femininity associated with Colette (natural, instinctive, antirational) became more largely synonymous with good French women’s writing, and writers who did not correspond to the “genre Colette” were excluded from narratives of the history of French women’s writing. Characteristics associated with Colette’s writing did not shift drastically before and after the war, but, in the wake of the Great War, these characteristics were nationalized and became French.
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Gadpaille, Michelle. "Psyche’s Daughter of Today: Sara Jeannette Duncan and the New Woman." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 59–68. http://dx.doi.org/10.4312/elope.4.1-2.59-68.
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The Canadian novelist Sara Jeannette Duncan (1861-1922) constructed a New Woman heroine in the fin-de- siecle novel; A Daughter of Today (1894). Written in the popular mode of the transatlantic novel; the work engages in debate on the appropriate construction of femininity in art and public life. The heroine; Elfrida Bell; descends from artist; to muse; to model; to painted image—a descent framed by a rival male artist and a hostile London art scene. Represented as Psyche; the heroine undergoes a quest and failure similar to the mythical one. Adaptation of the Psyche myth clarifies the position of Duncan in the spectrum of gender ideologies of the fin-de- siecle.
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Hale, Sadie E., and Tomás Ojeda. "Acceptable femininity? Gay male misogyny and the policing of queer femininities." European Journal of Women's Studies 25, no. 3 (March 28, 2018): 310–24. http://dx.doi.org/10.1177/1350506818764762.
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While it represents a common form of gender-based violence, misogyny is an often-overlooked concept within academia and the queer community. Drawing on queer and feminist scholarship on gay male misogyny, this article presents a theoretical challenge to the myth that the oppressed cannot oppress, arguing that specific forms of gay male subjectivities can be proponents of misogyny in ways that are unrecognised because of their sexually marginalised status. The authors’ interest in the doing of misogyny, and its effects on specific bodies and subjectivities, leads them to discuss the extent to which white gay male misogyny can function to reinforce a particular gender and racial hierarchy that continually confines queer femininities to the status of the abject other, for failing to exhibit their feminine credentials and for making gender trouble. The study also addresses how specific markers of femininity are depoliticised through the workings of this misogyny, exploring what femininity does when it is conceptualised outside a heteronormative framework. To address these ideas, the authors firstly propose a theoretical account of misogyny in order to understand its analytical status as a cultural mechanism within the psychic economy of patriarchy. Secondly, they use queer approaches to effeminacy and subject formation for making the case for gay male misogyny and its connections to femininity within white gay cultures, asking how misogyny might become an essential component of the performance of hegemonic masculinity. The article concludes with a discussion of the ways in which gay male misogyny reinforces white male dominance over women and queer femininities specifically, advocating for resistance to the reproduction of such patriarchal arrangements.
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Kompalic, Veronica Gonzalez. "The Disruption of Femininity Against the Tyrant: Reality and Myth of Sexual Discovery in Breillat's Fat Girl." Film Matters 8, no. 1 (March 1, 2017): 22–25. http://dx.doi.org/10.1386/fm.8.1.22_1.
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Ancuta, Katarzyna. "The Waiting Woman as the Most Enduring Asian Ghost Heroine." Gothic Studies 22, no. 1 (March 2020): 81–97. http://dx.doi.org/10.3366/gothic.2020.0039.
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The waiting woman is a ghost who appears to be endlessly waiting – for recognition, for her lover, for a chance to reincarnate, or to exact revenge. In Asia, her roots can be found in early medieval Chinese records of the strange, arguably the oldest written ghost stories in the region. The romanticized version of this ghost, introduced in Tang Xianzu's drama Peony Pavillion ( Mudan ting, 1598), influenced many writers of Japanese kaidan (strange) stories and merged with East and Southeast Asian ghostlore that continues to inspire contemporary local fiction and films. The article proposes to read the figure of the waiting woman as a representation of the enduring myth of the submissive Asian femininity and a warning against the threat of possible female emancipation brought about by the socio-economic changes caused by modernisation.
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Saglia, Diego. "The Moor's Last Sight : Spanish-Moorish exoticism and the gender of history in British Romantic poetry." Journal of English Studies 3 (May 29, 2002): 193. http://dx.doi.org/10.18172/jes.77.
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Legends and tales of Islamic Granada were among the most frequently re-elaborated exotic subjects in British Romantic literature. A popular theme in the early decades of the nineteenth century, Spanish Orientalism attracted both famous writers such as Lord Byron, Joanna Baillie, Washington Irving, Felicia Hemans or Letitia Landon, and less familiar ones such as Lord Porchester, George Moir and Lady Dacre. This essay concentrates on one component of the myth of Granada which enjoyed great diffusion in Romantic-period literature, the tale of the Moor's Last Sigh and the tears shed by the last Muslim monarch on leaving his capital forever after the Christian conquest in 1492. The aim is to illustrate how, in migrating from its original context, this tale comes to signify and emblematize issues of gender and notions of history as progress specific to British culture. The poetic texts examined here employ the Spanish-Orientalist myth to elaborate ideas of masculinity and femininity, as well as reflections on power and its extinction, the fall of empires and the emergence of new states. Thus King Boabdil's tears were exotically popular also because they were removed from their original meaning and import, and refashioned into vehicles for ideological concerns proper to British Romantic-period culture
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Tsai, Eva, and Hyunjoon Shin. "Strumming a place of one's own: gender, independence and the East Asian pop-rock screen." Popular Music 32, no. 1 (January 2013): 7–22. http://dx.doi.org/10.1017/s0261143012000517.
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AbstractThe first decade of the 21st century has seen a concurrent rise of pop-rock screen productions in Japan, South Korea and Taiwan, particularly feature films, documentaries and TV series informed by the guitar and/or band culture. This paper probes the popularisation of pop-rock in the region and asks what gender and sexual expressions have been mobilised in such productions and representations. The paper juxtaposes dominant gender tropes, such as the failing male rocker in search of rebirth (Korea), romantic youth pursuing authenticity (Japan), dazzling but also bedazzled rocker-girl on stage (Japan), indie music goddess in control of subdued femininity (Korea) and peripheral girl-with-acoustic-guitar who chronicles boys' sorrow (Taiwan). Responding to the familiar myth of rebellion in pop-rock discourses, our inter-referential analysis suggests that East Asian pop-rock screen is about the making of heterotopias rather than utopias.
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Ibatullina, G. M., and M. V. Alekseenko. "THE SOPHIAN MYTH IN THE NOVEL BY V.P. ASTAFYEV “THE SHEPHERD AND THE COWGIRL”." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (October 25, 2019): 839–47. http://dx.doi.org/10.35634/2412-9534-2019-29-5-839-847.
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The article discusses the figurative and semantic paradigms of the sophiological myth in the story by V.P. Astafyev “The Shepherd and the Cowgirl”. The image of the main character of the story Lucy is endowed with a number of symbolic connotations and has a complex archetypal structure. The Sophian archetype is represented here in its two invariants: the Christian and the Gnostic; the keys to understand the heroine are also the Theotokos archetype, the archetypes of the Virgin, the Beloved, the Mistress, Psyche, and the Kabbalistic archetype Shekhinah, which is closely related to the original image of Sophia. The Sophian model of a feminine principle is reflected both in the personality-psychological, spiritual and moral characteristics of the heroine, and in the logic of the image of her fate. The study leads to the conclusion that the mythologeme of Sophia in its different modes (Sophia the Wisdom of God, Sophia the Gnostic, Eternal Femininity) in the paradigm of Lucy's image is one of the semantic dominants; in addition, in the mythopoetic sign system of the work, the Sophian archetype, along with the archetypes of Theotokos and Shekhinah, can be considered the cultural representative of the “feminine” archetype - the archetype of a Woman in its specific gender-existential aspect.
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Mandal. "“Eyes a man could drown in”: Phallic Myth and Femininity in John Fowles's The French Lieutenant's Woman." Interdisciplinary Literary Studies 19, no. 3 (2017): 274. http://dx.doi.org/10.5325/intelitestud.19.3.0274.
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Coughlan, Patricia. "‘So am I detached / From the fabric which claims me’ Women, Fabric, and Poetry." Review of Irish Studies in Europe 2, no. 1 (March 19, 2018): 241–61. http://dx.doi.org/10.32803/rise.v2i1.1732.
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Women are immemorially associated with fabric, an association both metaphorical and metonymic, and one widespread in myth, legend and folklore. Spinning and weaving are bound up with women and femininity in fundamental ways, entwining socio-economic histories with deep and persistent trans-cultural symbolic and ideological systems. Women spinning or weaving are figures for both death and birth, and ancient equivalences represent gestation itself as a process of weaving. Drawing on Bracha Ettinger’s revisionary theorizing of maternal subjectivity as both seamless and a paradigm for human creativity, this article teases out significant strands in the representation by contemporary poets Boland, McGuckian, and Ní Chuilleanáin of the women-fabric association and its meanings. If there is a powerful cultural given that women in some sense are fabric, that which has been woven, these three poets have fabricated powerful and various accounts of the different proposition that women are agents of their own weaving, in McGuckian’s words both ‘detached’ and constituting ‘the fabric which claims’ them.
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Filipczak, Dorota. "Made to Connive: Revisioning Cinderella in a Music Video. From Disney to Arthur Pirozkhov: A Case Study." Text Matters, no. 10 (November 24, 2020): 67–78. http://dx.doi.org/10.18778/2083-2931.10.04.
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The article focuses on the way in which music videos can subvert and refigure the message of literature and film. The author sets out to demonstrate how a music video entitled “Зацепила” by Arthur Pirozkhov (Aleksandr Revva) enters a dialogue with the recent Disney version of Cinderella by Kenneth Branagh (2015), which, in turn, is an attempt to do justice to Perrault’s famous fairy tale. Starting out with Michèle Le Dœuff’s comment on the limitations imposed upon women’s intellectual freedom throughout the centuries, Filipczak applies the French philosopher’s concept of “regulatory myth” to illustrate the impact of fairy tales and their Disney versions on the contemporary construction of femininity. In her analysis of Branagh’s film Filipczak contends that its female protagonist is haunted by the spectre of the Victorian angel in the house which has come back with a vengeance in contemporary times despite Virginia Woolf’s and her followers’ attempts to annihilate it. Paradoxically, the music video, which is still marginalized in academia on account of its popular status, often offers a liberating deconstruction of regulatory myths. In the case in question, it allows the viewers to realize how their intellectual horizon is limited by the very stereotypes that inform the structure of Perrault’s Cinderella. This makes viewers see popular culture in a different light and appreciate the explosive power of music videos which can combine an artistic message with a perceptive commentary on stereotypes masked by seductive glamour.
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Brown, A. S. "Aphrodite and the Pandora complex." Classical Quarterly 47, no. 1 (May 1997): 26–47. http://dx.doi.org/10.1093/cq/47.1.26.
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What have the following in common: Epimetheus, Paris, Anchises, and the suitors of Penelope? The ready answer might be that it must have something to do with women, for it requires no great thought to see that the attractions of femininity proved the undoing of three of them, while for Anchises life was never to be the same again after his encounter with Aphrodite. But suppose we add to our first group such figures as Zeus, Priam, Polynices, and Eumaeus? The fates of all these characters as they, appear at certain points in the poetry of Homer, Hesiod, and others give expression i to a network of interrelated sexual and economic anxieties that seem to underlie a { great deal of what the Archaic poets say about the female sex. In this article I 1 propose to explore a particular part of that network, which I have called the ? ‘Pandora complex’, since it is Hesiod′s version of the Pandora myth which provides the classic statement of the male dilemma over women, poised between the conflicting desires for sexual gratification and domestic stability.1
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Jackson, Susan A., and Herbert W. Marsh. "Athletic or Antisocial? The Female Sport Experience." Journal of Sport Psychology 8, no. 3 (September 1986): 198–211. http://dx.doi.org/10.1123/jsp.8.3.198.
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The purpose of this study was to examine relations between women's involvment in sports and three psychological constructs: role conflict, sex-role identification, and multidimensional self-concepts. The three groups comprised female powerlifters competing in a national championship (n = 30), high school female athletes (n = 46), and high school female nonathletes (n = 46). Role conflict was not substantial except for a few specific areas related to conflicting expectations of appropriate female and athlete behavior. Both athletic groups scored substantially higher on masculinity (M) and on self-concept of physical ability than the nonathletic group, but there were no group differences on femininity (F) and few substantial differences in other areas of self-concept. Hence the results provide further support for the construct validity of androgyny and for the multidimensionality of self-concept. The major findings, that female athletes can be more M without being less F, and that female athletic involvement has positive benefits without producing any loss in F or in self-concept, dispels a popular myth about women's involvement in sports.
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Zuseva-Özkan, Veronika B. "“Female Rebellion” in Anna Barkova’s Play Nastasya Kostyor (1923)." Studia Litterarum 6, no. 1 (2021): 228–49. http://dx.doi.org/10.22455/2500-4247-2021-6-1-228-249.
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The article examines the figure of the woman warrior and the theme of the “female rebellion” in the hitherto understudied play by Anna Barkova Nastasya Kostyor (1923) in the context of gender studies. Characters, motifs, and the play’s plot are placed against the background of the Barkova’s early work that heavily focused on the “woman question” and invented “new” femininity drawing from the archetypal image of the female warrior in literature and art. The author argues that in this play, Barkova for the first time relates the figure of female warrior to eschatological ideas and utopianism of the Silver Age, namely to Sophia myth. The problem of the ambivalent nature of the female character is in the focus of discussion. The essay explores the sources of this character — from the mystical snake woman of Russian Symbolists to Joan of Arc and the “female ataman” Alena Arzamasskaya (the character of the so-called “Stepan Razin legend”). It describes radical gender inversions in Barkova’s play and explores its original response to the topoi of female warrior that are abundant in this work.
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Bychkov, Victor. "Certain aesthetic aspects of art of the Symbolists." Философия и культура, no. 2 (February 2020): 50–65. http://dx.doi.org/10.7256/2454-0757.2020.2.32137.
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This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace of the metaphysical bases of the depicted. Such approach allowed determining the exquisite harmony of landscape and female images (Denis); initiation of the mystical and unknown in lilac-purple twilight demonic spirituality of the night landscape and artistic expression of the demonic itself (Vrubel); demonstration that being charmed by the mystical, embrace of the abstract origin of landscape lead the work with a religious theme to the expression of mystical elements of being (Redon); while combination of classicist clarity of the image with symbolist mystery and abstract picturesqueness creates a myth itself as an increment of the profound sacral nonverbal knowledge (Moreau).
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Faustino, Maria João. "Digital Pygmalion: the symbolic and visual construction of the feminine in CoverDoll online magazine." Comunicação e Sociedade 32 (December 29, 2017): 251–68. http://dx.doi.org/10.17231/comsoc.32(2017).2760.
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This study aims to question and problematize the construction of gendered meanings and visual codes in the digital context. Rooted in the theoretical framework of cyberfemism, it analyzes the visual and linguistic content of CoverDoll, a monthly e-zine thematically devoted to sex dolls. The Pygmalion myth is proposed as the symbolic framework of CoverDoll, since the linguistic and pictorial devices that support a simulated subjectivity seem to reproduce its main backdrop: the feminine is constructed as alterity and a product of male desire. The analysis of CoverDoll’s portfolio and fictional discourses suggests the persistence of symbolic and aesthetical conventions despite technological ruptures. The operating mechanisms in the tradition of painting described by John Berger seem resiliently translated into the visual construction of the feminine in CoverDoll: the portrayed feminine figure addresses a masculine voyeur which is absent from the picture. The camera replaces the mirror as a symbolic device of the projected female’s narcissism, as the multiple references to the camera in the fictional discourses forge the idea of female vanity. The images displayed overall eroticize and objectify the artificial female bodies. The fictional narratives mobilize and intertwine a set of stereotypes that associate femininity with futility, seduction and caring.
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Mishra, Indira Acharya. "Feminist Voice in Abhi Subedi's Agniko Katha." Researcher: A Research Journal of Culture and Society 4, no. 2 (December 31, 2020): 12–22. http://dx.doi.org/10.3126/researcher.v4i2.34619.
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This article analyzes Abhi Subedi's play, Agniko Katha, from a feminist perspective. Feminist critics blame that the classics of literature are partly responsible for creating and perpetuating the myth about 'eternal feminine.' They claim that there are only two images available for women in patriarchal literature. One is the image of a virtuous passive woman and the other is the promiscuous selfish woman. The author of such literary texts rewards the virtuous woman whereas they punish the promiscuous one. Feminists argue that the underlying message of this method is: if a woman wants to survive in patriarchy she must act feminine. This effects women in their real life situation for they tend to perform feminine gender roles though they are disadvantageous to them. Thus, they protest the stereotype depiction of female characters in literary and other cultural texts. The article argues that Subedi defies the traditional notion of femininity and creates new roles for his female characters. The protagonist of the play denies to play her assigned feminine role and searches for a new role for her. She questions and protests the patriarchal gender roles which are bias against women. Thus, it is relevant to explore the feminist voice in the text. The finding of the article suggests that women, too, have the potentiality to create new roles for themselves and bring change into society.
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Summers, Jane, Rumman Hassan, Derek Ong, and Munir Hossain. "Australian Muslim women and fitness choices – myths debunked." Journal of Services Marketing 32, no. 5 (August 13, 2018): 605–15. http://dx.doi.org/10.1108/jsm-07-2017-0261.
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Purpose The purpose of this paper was to better understand the underrepresentation of Muslim women living in Australia in physical activity and in group-fitness classes in particular. The authors contend that the Australian fitness industry has ignored the needs of this group through stereotypical islamophobic views focusing on religious dictates as the prime barrier for participation of this group. This study debunks this myth showing that motivations for exercise are complex and multi-faceted. Design/methodology/approach The authors conducted interviews and a focus group with 27 Muslim women living in Australia. Through this method, the authors explored the role of religiosity and national culture in attitudes towards participation in exercise, gym attendance and group fitness classes. Findings The authors confirmed that while religion impacted the form and place of exercise options, it did not impact the overall motivation to engage in exercise. This study found that group-fitness classes offered by gyms did not particularly appeal to this group of women, partially due to their religion (this form of exercise being too aggressive and immodest) and partially due to their ethnic background. Exercise options that were more social were favoured. The authors found that notions of femininity and culturally embedded expectations for the role of women were more powerful predictors of exercise engagement and choice of exercise type. Research limitations/implications This research is exploratory in nature and as such its findings are restricted to the small sample. To extend this study’s implications, a larger empirical study should be conducted and needs to also consider the intersection between national culture and religiosity on decision-making. Practical implications This study has practical implications for the fitness industry attempting to attractive new markets in a multi-cultural population. To attract Muslim women, gyms and fitness centres need to consider providing appropriate areas for women to exercise that allow them to maintain their modesty. To attract this segment, fitness products that are focused on a holistic approach to wellness and highlight opportunities for social interaction should be developed. Focusing on this group as a market segment needs to include a broader contextualisation of their lifestyles and individual situations and should not just focus on their religion. Social implications The requirements of the Muslim religion for women to adopt conservative dress and to avoid contact with men do hinder their ability and also their desire to exercise to maintain a healthy mind and body. Many of these women would like to exercise but find it difficult to find the right settings and form of exercise that suits their needs. Engaging in exercise with others is also an important way for these women to integrate into their communities and to assimilate with the national culture. Originality/value This research is original in that it is one of the first to explore attitudes of Muslim women towards exercise and group-fitness classes in Australia. In particular, it includes an examination of the impact of religiosity on motivations and attitudes towards fitness and is the first to consider the relationship between religion, ethnic background and notions of femininity in the context of fitness. The influence of religiosity is an area heavily impacted by cultural bias and stereotyping, and it is therefore important for a deeper understanding of this issue in the services domain.
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Muhsen., Assist Instr Alaa Sadoon. "Search for Identity and Self-Realization in Toni Morrison'sBeloved." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 2 (November 11, 2018): 143–52. http://dx.doi.org/10.36473/ujhss.v214i2.638.
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This paper aims at exploring the search for identity and the ways in which Toni Morrison has systematically recast the image and reconstructed the identity of African American women in her novel Beloved. She employs different means such as pure black writing, love and myth by which she re-opens new doors for the African American women to achieve and reconstruct their identities in the community of slavery. Drawing upon womanist and postmodern theories of identity construction, and incommensurability, this paper argues that African American femininity is relationally constructed. In essence, black women's relationships with their children (especially their daughters), their men, and the White community of brutal slavery define who they are, determine how they perceive themselves, and, largely, dictate their capacity for success and survival.Though many scholars contend that Morrison's Beloved situates individual and collective memory as the vehicle by which such self-identification is achieved. It maintains that it is not until African American women and African American men are able to put their stories together and to identify new ways of seeing and relating to the other can they create any real sense of self-worth. Many scholars support this assessment as Morrison offers it through a reconstruction of personal and community histories and ancestral reclamation whereby the entire characters move on a continuum from a repressive slave perspective to an open, accepting, free perspective of self and environment. Therefore, (re)memory alone is not sufficient. There must be collaboration to weave the pieces, the fragments of the past into a tapestry that might provide warmth and security for the future.
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Chevtayev, Arkadiy. "Symbolics of the Soul in the «Black and Blue» Book of Poems by A. Ladinsky (On the Question of the Artistic World Specifics)." Izvestia of Smolensk State University, no. 2 (54) (September 4, 2021): 31–51. http://dx.doi.org/10.35785/2072-9464-2021-54-2-31-51.
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The article considers a representation of the soul and its symbolism in the
«Black and Blue» (1930), the first book of poems by A. Ladinsky in the aspect of
poetic anthropology. As a representative of the Parisian poetic branch of the first
emigration wave, A. Ladinsky constructs a unique artistic universe based on the
opposition of the earthly and heavenly aspects of human existence. The poet’s
work reflects the conceptual understanding of the dichotomy, expressed by the
physical-material «bottom» and the divine-spiritual «top», produces the actual-
ization of the «soul» microcosm as a value-semantic center of the depicted world.
The analysis of A. Ladinsky’s poems, based on the combination of anthro-
pological, semiotic, and mythopoetic approaches to the artistic text, shows that in
the poetics of the «Black and Blue» the idea of the soul is revealed in a system of
interrelated, but not identical to each other personifications and symbolic signs.
The article indicates four key parameters of the soul representation: 1) its objec-
tification in the mythological images of the Muse and Psyche; 2) actualization of
«flight» and «lamentation» motifs symbolizing and universalizing the views of the
exiled human fate and the experience of death; 3) the contact of the earthly and heavenly existence dimensions realized through such symbols of the soul as a
«butterfly», «breath», «smoke», a «heart»; 4) the endowment of the soul with the
status of «eternal femininity» embodying the beloved who is ideal and therefore
inaccessible to the male lyric «self».
It is concluded that in A. Ladinsky’s mythopoetic universe the soul embod-
ies the indelibility of the vital movement of the opposed microcosm and macro-
cosm. Therefore, in the conception of the «Black and Blue» the myth of the im-
mortal human soul becomes the main line assisting to understand the deep
antinomies of the universe.
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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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Davis, Aimee. "Adapting Elaine: Tennyson’s “The Lady of Shalott” and Feminist Young Adult Novels." ALAN Review 44, no. 3 (June 21, 2017): 36–46. http://dx.doi.org/10.21061/alan.v44i3.a.4.
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One of the hallmarks of young adult literature is its focus on adolescent protagonists who struggle to reconcile what they want with what they are supposed to want. Indeed, some of the most enduring works of young adult literature, from L. M. Montgomery’s Anne of Green Gables (2006) to Judy Blume’s Forever (1975), place their young characters at a crossroads between cultural convention and individual desire. Foundational scholarship in the field of young adult fiction has suggested a recurring conflict in novels for young readers in which a protagonist finds himself or herself directly at odds with social expectations (McCallum, 1999; Trites, 2004). Furthermore, critics such as Trites (1997), Wilkie-Stibbs (2003), and Mallan (2009) have noted that many of these works concern an adolescent search for identity that is complicated by issues of gender politics, in which a protagonist’s grappling with conventional notions of masculinity and/or femininity is fundamental to a completed coming of age. In Waking Sleeping Beauty: Feminist Voices in Children’s Literature, Roberta Seelinger Trites (1997) argues that this kind of novel “demonstrate[s] characters ‘turning inward’ in ‘a search for identity’ because some form of environmental pressure has made them aware that they are not upholding socially sanctioned gender roles” (p. 2). In turn, these novels can become cathartic for adolescent readers, who may be facing similar struggles in the throes of real-life adolescence. Relying on the definition of a feminist novel established by Elaine Showalter (1977), Trites (1997) defines a “feminist children’s novel” as one “in which the main character is empowered regardless of gender,” or a novel in which “the child’s sex does not provide a permanent obstacle to her/his development. Although s/he will likely experience some gender-related conflicts, s/he ultimately triumphs over them” (p. 4). Though many novels fit this description, two bestselling young adult novels distinguish their adolescent female protagonists’ search for identity as inspired by the legends of Arthurian literature. Meg Cabot’s Avalon High (2006) and Libba Bray’s A Great and Terrible Beauty (2003) each reference the Arthurian legend of the Lady of Shalott—specifically the version that was retold and adapted by Alfred, Lord Tennyson in his 1842 poem “The Lady of Shalott.” Both novels use the characters, language, and symbolism from Tennyson’s poem to provide their heroines—and by extension, their adolescent readers—with a template through which they can understand, examine, and potentially reject the social codes that attempt to determine their behavior. In capitalizing on the ways in which Tennyson’s “The Lady of Shalott” enhanced and adapted the traditional Arthurian legend for a Victorian audience, Cabot and Bray access what Ann Howey (2007) calls the “constellation of association and meanings” (pp. 89–92) connected to the Lady of Shalott in the medieval and Victorian texts, many of which are distinctly feminist by Trites’s definition. In this article, I will argue that in drawing inspiration specifically from Tennyson’s “The Lady of Shalott,” Cabot’s and Bray’s novels develop their feminism through the framework of a Victorian narrative that is more thematically complex and more politically charged than any earlier, medieval version of the Lady of Shalott legend. Specifically, Cabot’s and Bray’s novels reflect the impact of feminist criticism of Tennyson’s poem found in the works of Victorian scholars Nina Auerbach (e.g., The Woman and the Demon: The Life of a Victorian Myth, 1982) and the team of Sandra Gilbert and Susan Gubar (e.g., Madwoman in the Attic, 1984). This foundational work identifies in Tennyson’s adaptation of the Lady of Shalott a dualistic and subversive set of alternatives that is not present in the medieval sources: her status as both a docile, passive figure who is “powerless in the face of the male” (Gilbert & Gubar, 1984, p. 618) and, simultaneously, as an icon of deviant and potentially powerful feminine desire. To identify the ways in which Cabot’s and Bray’s novels revise the Lady of Shalott narrative and embrace this subversion of traditional gender roles, I will first examine the Lady of Shalott narrative in medieval Arthurian literature and in Tennyson’s poem, focusing on how Tennyson’s enhancements to the tale transformed the Lady of Shalott into an iconic image of Victorian femininity. I will then demonstrate how Cabot and Bray employ revisionist strategies to adapt the gender politics of Tennyson’s poem for a 21st-century young adult readership, creating heroines who reject the passive qualities of the Lady of Shalott in favor of a more autonomous alternative and who, in doing so, model for adolescent readers a search for identity that results in self-identification and empowerment.
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Vachhani, Sheena J., and Alison Pullen. "Home is where the heart is? Organizing women’s work and domesticity at Christmas." Organization 18, no. 6 (November 2011): 807–21. http://dx.doi.org/10.1177/1350508411416404.
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This article critically discusses domestication and women’s work in household organization at Christmas, a case of meta-organizing which fuels commercialization. Located in the growing body of work on contesting femininity that challenges traditional notions of femininity, we problematize the binary divide between women’s work at home and commercial organizations. By considering Christmas as a set of ritualistic activities replete with myths of femininity, we explore how the home—a major site of festival activity—constructs gender through the public/private divide. This division has been central to critical interpretations of women’s subordination in work and leisure spaces where the concept of home has attracted feminist attention through its association with exile or retreat into domesticity. Home is, however, a culturally and politically contested space, and this article argues that home-work is a productive retreat from commercial-work. Home relates to domesticity and rituals in paradoxical ways and attesting to the ambivalence of Christmas provides opportunities for the subversion of traditional discourses of women in the household, especially those associated with older ideas of femininity understood through ritualistic practice. We demonstrate this by analysing cultural representations of rituals located and practised in and around the home that are central to the enactment of Christmas and discern how these both subjugate and offer subversive possibilities for feminine subjectivity. Using contemporary representations of Christmas and home from media culture, we conclude that home is a feminist space with Christmas acting as a gift for women’s return to that space.
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Jayamanne, L. "Hunger For Images, Myths of Femininity in Sri Lankan Cinema 1947-1989." Comparative Studies of South Asia, Africa and the Middle East 12, no. 1 (January 1, 1992): 57–75. http://dx.doi.org/10.1215/07323867-12-1-57.
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Novokshonova, Nataliia. "Mythologization of the woman and her image in the discourses of postmodern mass culture." Grani 23, no. 5 (August 10, 2020): 28–38. http://dx.doi.org/10.15421/172050.
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The intellectual context of the early 21st century, defining new topics and subjects of research, is de facto blurring the boundaries between high and low culture, emphasizing mass culture as a phenomenon that appears to be a means of seeking distractions in the real world. In the problematic field of postmodernism, mass culture represents how an ordinary person describes himself/herself as an individual in temporal and local dimensions. When contemporary culture represents a woman in the mainstream media, a woman is by definition the primary object of creating mythologemes, usually related to the goals of consumerism. Of great importance is that the illusory world created in the imagination deforms the existing world view in which femininity is still more often represented as a biological quality. The goal of the paper is an interdisciplinary analysis of the issues of gender mythologization in postmodern philosophy and culture. The above-mentioned demonstrates the need for applying the principles of systematic analysis with a focus on hermeneutical interpretation of texts of mass culture. It should be stressed that femininity and embodiment in their combination hold a specific place in the postmodern culture; the latter is vividly represented in all genres of mass culture: both in television shows and series (Netflix, HBO, NBC, MTV) and on the wide screen. This goes to prove the phenomenon of unprecedented visualization used in different genres of mass culture. On the presumption that the heroine of mass culture in the early 21st century is an artifact, the authors of feminine artifacts are continuing to use the dominant myths of patriarchal culture, with certain changes. Therefore for the emergence of new dynamics in the mythologization of femininity, it is important to disburden women of the fear of patriarchal masculinity. Today this problem is solved in the artistic field of mass culture in its highest echelon of gender myths and mythologemes (C. Buckley, A. Monro, M. Atwood, L. Moriarty et al.).
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Kuczek, Magdalena. "Czas wyboru. O „Morfinie” Szczepana Twardocha." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 165–73. http://dx.doi.org/10.24917/3932.
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Days of Choice. About Morfina (Morphine) by Szczepan Twardoch The purpose of this article is to show the way of presenting the national identity issues, which are present in the Morphine by Szczepan Twardoch. The unclear situation of main character is a starting point of my reflections. He is situated between Polishness and Germanness, femininity and masculinity, being active and being passive. In my analysis I concentrate on patterns into which the main character cannot (or perhaps does not want to) be written, and which have theirs roots in Polish national myths and stereotypes.Key words: Morphine; identity; collective memory; narrative identity; romanticism;
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Boyle, Ellexis, Brad Millington, and Patricia Vertinsky. "Representing the Female Pugilist: Narratives of Race, Gender, and Disability in Million Dollar Baby." Sociology of Sport Journal 23, no. 2 (June 2006): 99–116. http://dx.doi.org/10.1123/ssj.23.2.99.
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Clint Eastwood’s Million Dollar Baby won five Academy Awards but also came under attack from female boxers and disability activists. Ostensibly a drama about a tenacious woman’s quest to become a professional fighter and the male coach who assists her, Million Dollar Baby appears to insert a radical portrayal of femininity, female athleticism, and power into the male-dominated genre of boxing films and, more generally, a media that has been largely hostile to female boxing. We explore the extent to which the female lead can be viewed as a transgressive figure along with the discourses of containment that reduce her threat to longstanding cultural myths about boxing as a male preserve. Our analyses of the film’s racial, gender, class, and disability politics contend that its focus is not women’s boxing, disability, or the right to die; rather, like boxing, this film is about the male struggle to protect masculinity in a sporting world deeply shaken by the increasing presence of women.
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Kudaibergenova, Diana T. "Between the state and the artist: Representations of femininity and masculinity in the formation of ideas of the nation in Central Asia." Nationalities Papers 44, no. 2 (March 2016): 225–46. http://dx.doi.org/10.1080/00905992.2015.1057559.
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After the Soviet collapse, the newly independent states of Central Asia found themselves in the process of forming their own national “imagined communities.” This was done to legitimize their existing territorial integrity, their rights to their titular ethnicities, and the position of political elites. This process expressed itself through the creation of particular symbols, myths, and rituals which distinguished the nation but were also used to legitimize the nation's right to exist. The symbolic and ideological construction was influenced by the former Soviet era. For example, symbolically the country was still called Rodina (motherland), but most of the symbols of power were represented by male images, for example, Amir Timur in Uzbekistan or Ablay Khan in Kazakhstan. The tradition of representing power through a male connotation had a long history in Soviet Central Asia. Interestingly, however, some contemporary artists took an alternative view and used feminine images as strong, central symbols of their interpretation of national identity, contesting the official view of nation-building. This paper seeks to trace the development of the feminine and masculine dichotomy of representation by comparing official iconography with works of famous female artists such as Umida Akhmedova from Uzbekistan and Saule Suleimenova and Almagul Menlibayeva from Kazakhstan.
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Cwynar-Horta, Jessica. "The Commodification of the Body Positive Movement on Instagram." Stream: Interdisciplinary Journal of Communication 8, no. 2 (December 31, 2016): 36–56. http://dx.doi.org/10.21810/strm.v8i2.203.
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Since 2012 there has been a heightened presence of the body positive movement on Instagram. Women who occupy non-normative bodies use the platform to post selfies to challenge dominant ideals of feminine beauty, including the demands to produce smooth skin, adhere to body size norms, and avoid bodily fluids. This has been accompanied by a barrage of media outlets advising their readers on the top body positive accounts they need in their life to boost their body confidence, and how to be body positive on Instagram for more self-love (Irish Examiner, 2016; Burke 2015; Vino, 2015; O'Reilly, 2016). News media circulated articles across social media platforms with stories heralding women who, through the use of selfies, open up about their experiences with eating disorders, shut body shamers down, challenge "bikini body" myths, and confront expectations directed at women's post-pregnancy bodies. Women who share the same experiences of and frustration with dominant ideals of femininity have identified with and participated in this movement through the use of body-positive hash tags, captions, and subject matter. However, as the popularity of the body positive movement and the influence of advocates grew, corporations began commoditizing the body positive advocates and using their influence to push products, capitalizing off of the movement. During the commodification process, the body positive advocates lose sight of their purpose and reproduce dominant capitalist ideologies, objectify their own bodies, and accept beauty modification practices.
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Belova, Darya Nikolaevna. "Light symbolism of female mythological images as a spiritual foundation of Japanese and Chinese cultures." Культура и искусство, no. 11 (November 2020): 75–92. http://dx.doi.org/10.7256/2454-0625.2020.11.34358.
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This article analyzes female principle reflected in the images of goddesses of Japanese and Chinese mythology associated with the solar cult and light symbolism. An attempt is made to trace the role of female principle in the mythological phenomenon of Sky and its connection with Earth. The subject of this research is the Japanese and Chinese myths and legends, iconographic images of goddesses and their resemblance in foxes (Kitsune) in the religious painting of the XIII – early XX centuries. In the course of this work, the author applies comparative-historical and iconographic methods of research that lean on scientific materials dedicated to philosophy, culturology and art history. The relevance of the selected topic is substantiated by the fact that in globalizing world, the countries of the Far East are more capable of retaining ideological paradigms and preserving their national cultural identity due to traditionalism and spiritual consciousness. The novelty of this work consists in examination based on the iconographic material and mythological themes of solar manifestations of goddesses as demonstration of the energy of female principle and its reflection in the phenomenon of Sky – Earth connection. The conclusion is made that for assessing Japanese and Chinese art, it is essential to consider multicultural interaction of these countries founded on the the harmony of existence of human nature. The goddesses of Sun, Moon and Earth seek to communicate with the Sky, as in particular the autochthonous deity Inari through their intermediaries, the foxes. The sun and moon goddesses and Earth goddesses seek communication with the Sky, as the autochthonous deity Inari through their mediators – foxes. The female principle, resembled in femininity of divine foxes, is described as the endless struggle for immortality and opportunity to be in Heaven surrounded by the steam light and reason. The light saturation of female images contributes to their spirituality.
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DOY, G. "Looking into Degas: Uneasy Images of Women and Modern Life * Myths of Sexuality: Representations of Women in Victorian Britain * Vision and Difference: Femininity, Feminism and the Histories of Art." Journal of Design History 3, no. 2-3 (January 1, 1990): 191–94. http://dx.doi.org/10.1093/jdh/3.2-3.191.
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Vlasova, Olha. "GENDER MARKERS OF THE SOCIAL TEMPORALITY AS THE DE-CONFLICTICTING FACTORS IN THE UKRAINIAN SOCIETY." Almanac of Ukrainian Studies, no. 27 (2020): 37–41. http://dx.doi.org/10.17721/2520-2626/2020.27.6.
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The analysis of the gender temporality as some measurement of the social time is presented in the article with the accent on the transformation processes which nowadays determine the life of the Ukrainian society. The peculiarities of the philosophical interpretation of the social time phenomenon are under research concerning also the archaic meanings, which are present in the contemporary Ukrainian culture, and are supported by the patriarchal gender stereotypes. The latter is of great significance because those factors have a great impact on the processes of modelling the contemporary gender temporality in the context of conflictology of the Ukrainian society, which is stressed due to the masculine understanding of the “human” life, ideas and experience. Moreover, there are some actors in this problematic field, whose aim is to renovate anti-gender myths and mythologemes, thus creating the grounds for aggravating such kind of conflicts. It is maintained that quite on the contrary, – constructing the relations of gender parity is a true way to the social justice on the whole; and in this way, gender ideologies are factors of deconflictization of the Ukrainian social life. At present gender temporality is a marker of the extention of the egilitarian tendencies in the Ukrainian society. The examples given in the article, show that the gender measurements make determining the types of the conflict-making factors more valid and stipulated. The recent dramatic events in Ukraine connected with the hybrid war in the East of the country and women’s role in that war actions, which is immensely supportive (volunteers etc.), show that the content of the femininity and the masculinity has changed de facto. The situation of the currents 2020 year with the pandemic Covid-19 consequences (economic, social, cultural, etc.) has stricken women greatly. All mentioned above makes it possible to prove that gender temporality as a component of the social time has a direct impact on the development and the consequent solution of the significant conflicts in the social life of Ukraine.
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Intezar, Hannah. "Speaking Pictures, Silent Voices: Female Athletes and the Negotiation of Selfhood." Integrative Psychological and Behavioral Science, October 7, 2020. http://dx.doi.org/10.1007/s12124-020-09577-6.
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Abstract Combining Mikhail Bakhtin’s (1990) theoretical position on Architectonics and Erving Goffman’s (1979) writings on visual content analysis, the aim of this paper is to explore how female athletes are caught in a complex matrix of power, post – feminist neoliberalism, and self – presentation. The visual images they choose to portray are, therefore, perfect for determining how this cohort of women negotiates social discourses around identity and femininity. Appropriating the Bakhtinian notion of architectonic unity, not only provides an alternative theoretical lens for enquiries concerning the body, identity, and selfhood, but also initiates some thought provoking questions around neoliberal feminism and ‘new femininity.’ This paper advances on previous research by exemplifying how Serena Williams (considered the greatest female tennis player of all time) combines both her femininity and strong physicality to self – shape a myth – like persona, setting her apart from traditional stereotypes of femininity and ‘femaleness.’
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Ostrowska, Elżbieta. "Representations of Female Sexuality in Polish cinema after 1989." Kinema: A Journal for Film and Audiovisual Media, April 10, 2005. http://dx.doi.org/10.15353/kinema.vi.1109.
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REPRESENTATIONS OF FEMALE SEXUALITY IN POLISH CINEMA AFTER 1989: LIBERATION OR COMMODIFICATION? IN CONSIDERING the issue of female sexuality in Polish cinema after 1989 it is necessary to locate it within the broader context of the Polish ideological discourse on femininity and the representation of sexuality in Polish cinema. First, it can be claimed that specific historical circumstances resulted in the domination of national issues over that of gender, and that gender roles were predominantly defined according to the demands of the national ideology of Polishness. The origins of the Polish dominant discourse on femininity can be found in the 19th century, particularly when the myth of the Polish Mother was created. (1) The analysis of representations of this myth in Polish art demonstrates strongly that they were based on the tradition of the representation of the Virgin Mary. Using this representative model inevitably led to a de-sexualization...
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Andersen, Grethe Schmidt. "Kvinder og andre dæmoner - Singhalesiske kvindebilleder i myter og ritualer." Religionsvidenskabeligt Tidsskrift, no. 8 (May 19, 1986). http://dx.doi.org/10.7146/rt.v0i8.5433.
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Singhalese Buddhism in it popular form associates female identity and the life-threatening forces symbolized as demons. Demons (yakku) are low and polluted beings, persecuting humans, and placed beneath the gods and Buddha in the lower part of the hierarchical pantheon of the Sinhalese. This article is concerned with the aspects of the demonic in its relationship to female identity, whose core in cultural definition is the female reproduction potentials connected with the concept of ritual pollution. On the basis of a myth on the constitution and development of the demon Gara Yaka it is shown that femininity in the myth is a metaphor of the excessive desire, which gives birth to suffering in the form of demons. In the ritual context, exemplified in this article by girl’s puberty ceremonials, femininity is defined by the pollution of menstruation. This enables the isolation of the dangers of fertility and its condition (desire) as specifically female. The concept pollution is found to be connected with the dialectic nature/culture relationship. Woman and her domain – the house – symbolizes this dialectic and are both foci of intense ritual activity. Sinhalese popular religion acknowledges that suffering connected with existence and its conditions is unavoidable, but it asserts the possibility of limiting and isolation suffering by making the symbol of suffering, desire and pollution (i.e. the women) ritually controllable.
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"VI. Gender." New Surveys in the Classics 24 (1999): 69–83. http://dx.doi.org/10.1017/s0533245100030133.
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Historians and anthropologists use the term ‘gender’ to denote the social meanings and cultural constructions of femininity and masculinity instead of the physical connotations of sex. Although anthropologists have also done some work on concepts of masculinity, recent studies of Greek religion have mainly analysed positions and representations of women, in so far as they have focused on gender differences at all. We will therefore first look at some elements of the female life cycle and daily life (§ 1), then look at representations of women in art and myth and at goddesses as possible role models (§ 2), and conclude with a discussion of the most important women’s festivals (§ 3).