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1
Hare, Sara, and Mariah Benham. "Life According to Popular Children's Films." Advances in Social Sciences Research Journal 8, no. 6 (June 12, 2021): 10–21. http://dx.doi.org/10.14738/assrj.86.10228.
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This content analysis uses data gathered from the 150 top-grossing children’s animated films from 1990 to 2020 (based on North American theater sales) to examine the gender disparities and stereotypes in children’s media. The study shows that female characters are underrepresented in lead roles (14%), main gangs (28.1%), and speaking roles (27.2%). The central female characters are portrayed stereotypically. When female characters appear, they are more likely to be portrayed in a romantic and family relationship than male characters. However, films with a greater percentage of women writers are correlated with more speaking roles for female characters. The impact of media on children’s development is indisputable due to the way technology has become ingrained in day-to-day life. The lack of representation of female characters reinforces the stereotypical portrayals that negatively affect the self-esteem of girls and train boys to expect an androcentric world. The skewed and stereotypical portrayal of female characters fails to accurately represent the diversity of other parts of the world. While many of these films are produced in the West, they are widely distributed and consumed all over the world.
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Susilowati, Rini. "Female character's Struggle Upon Patriarchy Portrayed in Mary E. Wilkins's The Revolt of Mother." Edukasi Lingua Sastra 19, no. 1 (April 28, 2021): 1–14. http://dx.doi.org/10.47637/elsa.v19i1.314.
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Abstract: Short story as one of literary works can be the reflection of human life and also historical background in which human live in certain time and period. The portrayal of the characters in the short story can describe vividly the life of people in the real life in certain period. This article tries to portray how women in America living under the pressure of patriarchy during 1920s and it is described though female character in Mary E Wilkins’s The Revolt of Mother. The struggle of female character in this short story to survive upon the oppression of patriarchy is so touching and inspiring. The author creates such a delicate but tough female character who finally can conquer her husband’s absolute privilege which made her to live with suffering for forty years. The female character’s suffering in this short story is hoped to be our inspiration to give more appreciation for women, and giving them protection from the violence comes from patriarchy.
Key words: female character, short story, patriarchy
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Roper, Emily A., and José A. Santiago. "Representation of Athletic Girls on Young Adult Sport Fiction Cover Art." Women in Sport and Physical Activity Journal 29, no. 1 (April 1, 2021): 12–19. http://dx.doi.org/10.1123/wspaj.2020-0027.
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The purpose of this study was to examine how and how often athletic girls were represented on the cover art of young adult (YA) sport fiction. In this research, 154 YA sport fiction books were analyzed using quantitative content analysis. Using existing sport research and theory focused on women’s representation in sport media, the researchers developed a coding scheme to assess cover art for each of the following categories: (a) presence and racial representation of female character/s on cover; (b) portrayal of female body on cover (whole body, partial body/with head, or partial body/without head); (c) portrayal of female character as active or passive; (d) portrayal of female character in or out of athletic uniform; (e) portrayal of female character in or out of the sport setting; (f) presence of sport equipment; and (g) type of cover. Findings revealed that 81% of the book covers had a female character in which 29% of the covers displayed the whole body, 47% displayed partial body/with head, and 23% displayed partial body/with no head of the female character. Only 0.06% of the book covers had a female character of color. Approximately 31% of the female characters were displayed in active positioning, 58% in athletic attire, and 44% in the sport setting. Of the books reviewed, 55% displayed equipment on the cover. The findings indicate that athletic girls have few images on YA sport fiction cover art that accurately represent their athleticism, and there is a clear absence of diverse representation. It is critical that those responsible for the design and layout of book covers clearly represent active females in action, in uniform, and in the sport context.
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Ramadhani, Putri. "THE PORTRAYAL OF FEMALE CHARACTER IN “LADY ELEANORE’S MANTLE” BY NATHANIEL HAWTHORNE." Wacana: Jurnal Penelitian Bahasa, Sastra dan Pengajaran 19, no. 1 (June 15, 2021): 6–10. http://dx.doi.org/10.33369/jwacana.v19i1.6577.
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This research concern with the analysis of female character in Lady Eleanore’s Mantle by Nathaniel Hawthorne. The purpose of the research is to describe the female character of Lady Eleanore’s Mantle by Nathaniel Hawthorne short stories by analyzing the main female characters to the development of the plot. This research using two methods, which are qualitative and descriptive. The problem of research is want to desribe the portrayal of female character in Lady Eleanore’s Mantle. The woman is a beautiful, rich, and has high position in her community. Always get more attention and special treatment from other people and make her became to an arrogant girl. At the end, the woman get punishment and died tragically
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Izzuddin, Reza Pahlevi Dalimunthe, and Sulistiyono Susilo. "The Portrayal of Women in Arabic Textbooks for Non-Arabic Speakers." SAGE Open 11, no. 2 (April 2021): 215824402110141. http://dx.doi.org/10.1177/21582440211014184.
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The portrayal of gender in a textbook is able to influence students’ understanding of the concept of gender equality (GE). The unfair portrayal of women in textbooks will have a negative effect on students’ conceptions of gender. Although some previous studies have found that textbooks portray a fair and constructive picture of women by positioning them on a par with men, other studies have shown that gender inequality still exists in the contents of Arabic textbooks, presenting stereotypical and gender bias. To fill this void, this article uses critical discourse analysis to analyze the content of Arabic textbooks for non-Arabic speakers. It aims at portraying women in Arabic textbooks to non-Arabic speakers. The study findings revealed the tendencies to male firstness by positioning the characters of women being more likely portrayed as subordinates in the Arabic textbooks. In addition, there are imbalances in women portrayal in the visibility, order of mention, and male-to-female ratios in the Arabic textbooks. The results also showed that women in some parts of the Arabic textbooks are also portrayed in a constructive portrayal of having equal rights as men in terms of profession and access to education. This study highlights the importance of the concept of GE in Arabic textbooks to increase social awareness.
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Chin, Ng Bee, and Kate Burridge. "The female radical." Language and Gender in the Australian Context 10 (January 1, 1993): 54–85. http://dx.doi.org/10.1075/aralss.10.04chi.
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Abstract The paper discusses the sexist portrayal of women in Mandarin Chinese. It begins with a study of asymmetries in the lexicon; e.g. naming conventions, address terms, abuse terms, etc. which exemplify the marginalisation of Chinese women. The focus of the paper is on the stereotyped depiction of women in the written script through an analysis of characters with the female radical. Our analyses indicate that 90% of words which co-occur with the female radical are either semantically negative or convey images of women steeped in damaging stereotypes. These sexist portrayals are further reinforced by the pervasive Yin-Yang cosmology, an ideology which has enormous impact on the Chinese way of life. We argue that despite popular belief, the Yin-Yang cosmology actively serves to maintain and fortify the gender imbalance. We also discuss the omission of language and gender issues from the agenda of past and current discourses on language reforms. Finally we advocate that language reform is a crucial impetus to ideological change.
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Jain, Parul. "Deliberative versus nondeliberative evaluation of a minority group after viewing an entertainment portrayal." Group Processes & Intergroup Relations 20, no. 6 (January 27, 2016): 770–88. http://dx.doi.org/10.1177/1368430215619492.
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This study tests whether entertainment portrayals of international medical graduate physicians may influence attitudes toward such physicians among television viewers. Given the growing importance of international physicians in U.S. health care delivery, such effects would have the potential to impact significant numbers of patient–physician interactions. From a theoretical and methodological standpoint, this examination extends existing work on entertainment portrayals of often-stigmatized minorities and its impact on minorities for whom stereotypes may be in some respects favorable. An experiment manipulating positive versus negative portrayals of the communicative and professional competence of an Asian Indian female physician on the program ER found that exposure had no effect on conventional, deliberative measures of attitude toward such physicians. However, use of attitude-accessibility measurement suggested that viewers (to the extent that they identified with the narrative character, an Asian Indian physician) who saw the negative portrayal were slower to respond that they liked other Asian Indian female physicians who were presented in photos in a judgment task afterwards—in other words, the negative portrayal inhibited an approach response to other similar physicians. An implication of this finding is that such television portrayals may have the potential to influence affective responses to medical providers from the same demographic as the character portrayed, in ways viewers are likely to be unaware of. Such responses may well influence patient expectations and interactions with such physicians.
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Mishra, Indira Acharya. "Representation of Ethnic Women in Upendra Subba's Lāto Pahāda [Dumb Hill]." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (March 1, 2021): 47–63. http://dx.doi.org/10.3126/sjah.v3i1.35374.
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The article aims to examine the images of ethnic women in Upendra Subba's Lāto Pahāda [Dumb Hill], a collection of short stories. The focus of the article is to analyze the portrayal of female characters in the selected five stories from the collection and to explain how they subvert the image of the ideal woman promoted by mainstream Nepali literature. These stories deal with the issues of Limbu people, an ethnic community residing in the eastern hilly region of Nepal. Through them, Subba raises the issues of ethnicity and representation of marginalized people. He explores the pain, suffering and hardship of these people who have been at the margin of the society. The stories, mostly, focus on men who play the primary roles in them; nonetheless, female characters play an important role to make sense of the lifestyle of the Limbu people. Portrayed in the secondary roles as wife, daughter, and mother to the male characters, they maintain equal relation with their male counterparts. They work with self-determination and do not experience male domination in thei lives. To analyze the issues stated above, this paper draws theoretical ideas from third wave feminism which rejects the universalist claim that all women share a set of common experiences. The third wave feminists deny the concept of universal femininity; they clarify that the forms of oppression can be as varied just as resistance to them can have specific local color. The finding of the article suggests that Subba's female characters are depicted in the ethnic background which is nonhierarchical and believes in gender equality. Their portrayal subverts the image of ideal womanhood created and circulated by mainstream Nepali literature.
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Krisdathanont, Duantem. "Searching for Female Identity in Okamoto Kanoko’s Boshijyojyō." MANUSYA 13, no. 1 (2010): 16–23. http://dx.doi.org/10.1163/26659077-01301002.
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According to feminist critics, the “Images of Women” in literature created by most female writers lack “authenticity” and “real experience.” Susan Koppelman Cornillon, for example, states in “Images of Women in Fiction” (1972) that both male and female authors come in for harsh criticism for their creation of unreal female characters , and female writers are accused of being worse in this respect since they are betraying their own sex (Moi 2002: 42). However, Okamoto Kanoko2 was a feminist writer who shared her real experiences and provided a role model for a positive female identity in the form of main characters who are independent of men. In this study, I analyze , Boshijyojyō 『母子叙情』 (‘The Relationship between Mother and Son’)by Okamoto Kanoko(1937) to find out how her portrayal of the main character incorporates her own experiences describing the melancholy of a mother longing for her son. I also examine the question of whether “authenticity” and a “positive sense of female identity” truly exist in her work or not.
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Dukut, Ekawati Marhaenny, and Nuki Dhamayanti. "CELIE: A PORTRAYAL OF AN AFRO-AMERICAN WOMAN'S REJECTION OF TRADITIONAL VALUES." Celt: A Journal of Culture, English Language Teaching & Literature 2, no. 2 (August 21, 2017): 129. http://dx.doi.org/10.24167/celt.v2i2.760.
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The world of literature can be a medium of expressing the writer's expressions and ideas. Universal topics such as, love, death, and war often become subject mailers in the world of literature. In the novel, of The Color Purple. Alice Walker describes the oppression experienced by Afro American women in the female characters of Celie, Nellie, Shug Avery, Sofia, and Mary Agnes who faced sexual discrimina!ions in a patriarchal society. Womanhood, education, and lesbianism are factors that help the Afro American women to free themselves from traditional values. The Color Purple puts into words the process of its main character, Celie, who tries to reject and escape from the male domination of her world. The other Afro American women characters that help Celie to find her selfidentity represent the manifestation of the rejection of the traditional values. This article. which uses the socio-historical alld feminism approach. is intended to analyse the Afro-American women's rejection of traditional values by focusing on the major character of' Walker's The Color Purple. Celie. as she develops from being a victim of traditional values to the rejoiceful discovery of her selfidentity.
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Dettleff, James. "Andean Female Representation in Peruvian Films from the Internal Armed Conflict." MEDIACIONES 14, no. 21 (October 29, 2018): 1–16. http://dx.doi.org/10.26620/uniminuto.mediaciones.14.21.2018.1-16.
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This paper focuses on the representation of Andean female characters (indigenous) in Peruvian films set in the Internal Armed Conflict (IAC 1980–1999) and their relationship with male characters from the coast and from the Peruvian Andes. Using the discourse analysismethod, the paper shows how this is an uneven power representation, where the female indigenous character is portrayed as the lowest step of the social-economic scale, with no agency or any self-powerto free herself from her own situation. This work analyzes La boca del lobo (1988), the first Peruvian film set during the iac, in which Andean women have a secondary role, stripping away from them any possibility of being empowered subjects. This way of portraying the Andean women answers to a patriarchal and racist structure, which not only shows Andean females as powerless, as subaltern subjects, victims of psychological and sexual violence, but also makes invisible the role that they had during the iac. Women’s role mainly consisted in confronting both the abuses performed by the terrorist groups and by the Peruvian armed forces. This powerless portrayal was maintained in other audiovisual Peruvian productions—as analyzed in my ongoing PhD research—and has established a vision of the Andean female as a diminished subject and also contributed to build the Andean people—mainly women—as the “other” in the iac. To understand how non-indigenous people of Lima have built an image of the main victims of the IAC may help rebuild this war-torn nation, since race and gender differences are still problems Peru must resolve.
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Bisbo, Laura. "Breathy Voice and Fundamental Frequency: Portraying Gender in The Danish Girl." Leviathan: Interdisciplinary Journal in English, no. 2 (March 15, 2018): 71–91. http://dx.doi.org/10.7146/lev.v0i2.104694.
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This paper investigated how breathy voice and fundamental frequency relate to perceptions of gender and femininity, and how this is portrayed in the movie The Danish Girl. The aim of analysing The Danish Girl was to investigate whether Eddy Redmayne, who plays the main character, a male-to-female transgender person, uses breathy voice and F0 to portray a transition in gender and femininity in the character. While results were not clear-cut, they indicate that Eddy Redmayne has made alterations to his F0 and amount of breathiness. The investigation of how these phenomena are used in The Danish Girl may provide further evidence of how the investigated phenomena are used in real-life, however, it should be acknowledged that The Danish Girl shows merely a portrayal of how these phenomena are used by a character and thus does not necessarily represent how females and male-to-female individuals actually use F0 and breathy voice.
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Narmadha, S. "Chitra Banrjee Divakaruini’s “The Forest of Enchantments: Revisiting the Epic from Sita’s Prespective”." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 114–20. http://dx.doi.org/10.24113/ijellh.v8i6.10634.
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Chitra Banerjee Divakaruni’s The Forest OF Enchantments is about the retelling of our ancient prestigious epic of Ramayan from Sita’s perspective. As an Indian diasporic writer Divakaruni has nostalgia about Indian culture and tradition. The word culture comprises of behaviours and institutions, for its attempts at retelling an ancient epic through the female’s perspective. This novel focuses on the self discovery of Sita who is a celebrated female character of ancient India. So, Divakaruni has changed her way of thinking from traditional portrayal of simple and selfless women into modern female characters who is searching for their identity in the patriarchal world.
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Nalewajk–Turecka, Żaneta. "Leśmian’s dziwożonas and their Slavic contexts (literary and not only)." Tekstualia 1, no. 52 (July 19, 2018): 89–100. http://dx.doi.org/10.5604/01.3001.0013.3112.
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Among the literary female characters to be found in Bolesław Leśmian’s writing, there are dzwiożonas – swamp or forest demons from the Slavic mythology, known as malicious and dangerous creatures that kidnapped babies just after they were born and replaced them with her own children. They were often portrayed as wild women with long, straight hair and breasts so huge that they could use them to wash their clothes. A survey of selected literary texts from the 19th and the beginning of the 20th century by Polish (Seweryn Goszczyński, Michał Bałucki, Miron [Aleksander Michaux], Maria Konopnicka, Kazimierz Przerwa-Tetmajer, Wiktor Gomulicki), Czech (Karel Jaromír Erben) and Russian (Konstantin Balmont) writers, shows how the representation of such female demons evolved and provides a frame of reference for Bolesław Leśmian’s portrayal of analogous characters in his poem Dziwożona and in prose work Podlasiak from the volume entitled Klechdy polskie.
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Walsh, Abigail S. "Representations of Gender-Diverse Characters in Adventure Time and Steven Universe." Studies in Media and Communication 8, no. 2 (November 16, 2020): 61. http://dx.doi.org/10.11114/smc.v8i2.5048.
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Television is a strong educational and socializing agent for children. Watching television can teach children appropriate language and vocabulary to use, as well as the social norms about gender behaviors or activities. Previous research on gender representations in children’s television has been limited to studying male and female characters because children’s programming has historically presented audiences with cisgender characters (e.g., boy and girls). Recently, television shows aimed at children have provided audiences with nonbinary and gender-diverse characters. This study is the first exploratory content analysis, to my knowledge, to examine the portrayal and representation of nonbinary and gender-diverse characters in children’s television. The current study examined the gender-neutral pronoun and gendered language use toward nonbinary and gender-diverse characters, as well as the portrayal of these characters as leaders, and with special skills in Adventure Time and Steven Universe. Overall, nonbinary and gender-diverse characters were portrayed as strong, positive, characters, and were represented similarly to their cisgender counterparts. This represents a promising shift toward more inclusive and equitable television representation, which may lead to the acceptance and appropriate use of gender-neutral pronouns toward peers by cisgender children, and the feeling of visibility and validation by nonbinary children. Future research should examine the impacts of these characters on viewers.
RELEVANCE STATEMENT: As children’s television becomes more diverse it has the potential to positively impact the lives of cisgender (e.g., boys and girls) and nonbinary children. Because television has the potential to influence young children, gender-diverse representations in children’s television may lead to children developing more accepting attitudes and behaviors toward nonbinary peers.
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Habib, Fazl Ahmad, Bambang Arya Wija Putra, and Budi Setyono. "Gender Stereotypes Portrayed in a Senior High School English Textbook Published by Indonesia Ministry of Education and Culture." Jurnal Edukasi 7, no. 3 (November 30, 2020): 22. http://dx.doi.org/10.19184/jukasi.v7i3.21602.
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The study was conducted to elaborate the gender stereotypes in a national senior high school English textbook in Indonesia. The qualitative study is applied and Critical Discourse Analysis is used as the preferable approach. This research provides the development of Mullet’s (2018) CDA generic framework analysis which based on Fairclough’s (2001) model. The result of the study divulged various gender stereotypes portrayed such as gender firstness, equality, dominance and bias. Many biased stereotypes are found on how the female character being portrayed in leadership matter, social relation, and family. In contrast, in the matter of physical traits, male characters are portrayed to have more and various interests in sports. The gender stereotypes portrayed in both textual and visual contents within the textbook. Many illustrations portrayed women stereotypically biased so do the textual materials such as narrative text, recount text/biography, transactional text, and descriptive text. Somehow, it is suggested that the authors should consider the position and the portrayal of gender stereotypes as problematic as proven by many previous studies.
Keywords: Critical Discourse Analysis, Fairclough Model, Gender Stereotypes, Textbook.
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D’Arcangeli, Luciana, and Laura Lori. "Il giallo in colonia: Italian Post-Imperial Crime Novels." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 73–88. http://dx.doi.org/10.33137/q.i..v37i1.28279.
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This article analyzes several crime stories set during Italian imperial history, in particular Andrea Camilleri’s La presa di Macallè (2003) and Il nipote del Negus (2010); Carlo Lucarelli’s L’ottava vibrazione (2008) and Albergo Italia (2014); and Giorgio Ballario’s Morire è un attimo (2008) and Una donna di troppo (2009). It focuses on the representation of Italian and local characters, placing particular attention on the portrayal of the detective and his sidekick, as well as female characters. It also analyzes how the relationship between Italy and its colonies is generally portrayed in these crime novels. It shows how crime fiction can be an effective instrument with which to explore a controversial topic such as the colonial era, also by linking it to present practices.
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Köseoglu, Berna. "The Portrayal of Women in Milton's Works. Milton's Misogyny." Futhark. Revista de Investigación y Cultura, no. 6 (2011): 93–112. http://dx.doi.org/10.12795/futhark.2011.i06.05.
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Analyzing John Milton’s works, one can observe the influence of his personal life, his biography upon his poetry and prose. Milton, in his works, not only demonstrates the social and political issues of his own society, but he also deals with the gender issue by creating female characters who have some weaknesses or faults, which cause destruction and disaster. Therefore, his own experiences not only related to social issues but also about women and marriage play a considerable role in his depiction of the relationship between female and male. In this article, the general condition of women in the 17th century English society and Milton’s portrayal of women will be analyzed by highlighting the influence of Milton’s own experiences upon his representation of gender roles.
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Cutcan, Simona. "Text as Palimpsest: Gender in the Work of Agota Kristof." Hungarian Cultural Studies 6 (January 12, 2014): 6–17. http://dx.doi.org/10.5195/ahea.2013.109.
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This paper investigates the portrayal of gender in the work of Swiss-Hungarian writer Agota Kristof. Texts from her oeuvre that belong to different literary genres and creative periods are analyzed through a framework of materialist feminism, masculinity studies and narratology. Based on an analysis of the incidence of the female voice, two aesthetic strategies can be observed: on the one hand, Kristof’s early texts show a certain interest in women’s subjectivity, on the other, her later writings foreground male characters and their perspective. Overall, women are portrayed as homebound wives and mothers and men are dominant as narrators, writers and protagonists. While this seems to reflect the patriarchal dichotomy, other elements undermine this reading: male characters are weak and marginal, and in a few significant texts, women’s life in the family is represented as a prison from which they wish to escape. In these texts, the female character’s voice reveals the internal conflict between her aspirations and the pressures to conform to prescribed roles, which, in some instances, leads to subversion in the form of violence against her husband. Thus, though on the surface Kristof’s work seems to reinforce or merely reflect patriarchy, the deeper layers of meaning bring into succeeding focus a fundamental interrogation of gender roles.
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Baines Alarcos, M. Pilar. "She lures, she guides, she quits : Femile characters in Tim Winton's "The Riders"." Journal of English Studies 8 (May 29, 2010): 7. http://dx.doi.org/10.18172/jes.146.
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Tim Winton is an Australian writer whose male characters often defy the traditional concept of masculinity. As for the notion of femininity, however, this kind of defiance is not displayed. In this essay, I study the presentation of the female protagonists in The Riders in order to illustrate this point, bearing in mind the Australian social and cultural context that surrounds them. Winton’s fictional women, no matter whether they are strong or weak, are normally depicted according to female archetypes. This leads to their negative portrayal as ambivalent beings, thus making them unreliable and even dangerous, as is the case of Jennifer and Irma. In contrast, Billie is a positive female character. She, who is also significantly a child, combines both feminine and masculine qualities. It is precisely this characteristic that enables her to be her father’s protector.
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Suhendra, Suhendra, Tri Mahajani, Aam Nurjaman, Stella Talitha, Ruyatul Hilal M, and Tania Lestari. "IMAGE OF WOMEN IN GADIS KRETEK NOVEL BY RATIH KUMALA BASED ON FEMINISM PERSPECTIVE." JHSS (JOURNAL OF HUMANITIES AND SOCIAL STUDIES) 5, no. 1 (March 29, 2021): 77–79. http://dx.doi.org/10.33751/jhss.v5i1.3384.
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Novel is part of a literary work that contains a series of life stories of characters and people around them. The portrayal of character is described by an arranged series of events, setting, and furrows. It aims to examine a women’s image in the feminism perspective of a Gadis Kretek novel. The feminism perspective in the writing is focused on the image of women embracing the physical image of a woman’s physical transformation. Psychic image, linked to the ability of women to think, to aspire, and to feel. Image in the family, concerning the roles of women in the family. Image in society can be demonstrated by the female role in society embodied in behavior. This research used a qualitative descriptive method with library study techniques. The conclusion of this study shows that the image of female physis is more characterized by the physical depiction of the main character from aspects of age, maturity, and behavior like adults. Psychic imagery is depicted through the permmature of thinking in a mature figure. The image in the family appears to be attached to the main character who plays a child. The image in society is characterized by the role of the main character portrayed as an intelligent, independent, responsible, and cheerful woman.
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Garuma, Desalegn, Bonsa Shume, and Dereje Mekonnin. "Representation and The Portrayal of Older Characters in 1st and 2nd cycle Student’s Text Books: Policy Implication." International Journal of Multicultural and Multireligious Understanding 7, no. 8 (September 23, 2020): 630. http://dx.doi.org/10.18415/ijmmu.v7i8.2006.
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Students often see pictures before reading a text. Hence, pictures in the textbooks influence the attitude of students toward a group that were represented with the pictures. The main objective of this research was to investigate the representation and portrayal of old people in 1st and 2nd cycle students’ textbooks of Ethiopia with its policy implication. A total of 32 primary school textbooks were analyzed within the scope of this study. Document analysis were used as a major data collection method. It was found out that old people were portrayed with positive character that describe their activity in the society, have normal physical appearance, have minimum wrinkles, and socially cooperative. Parent role and grandparent role was used in the portrayal of old people while describing old people in the text books. All these show that variables associated with parental role like love and care were used as unique character of parents and grandparents indicate positive meaning given for the elderly in these text books. Finally, was recommended that curriculum planners should give due attention to pictures in text books since they have hidden agenda that they message to students. Moreover, since male and female were not equally represented in these text books it was recommended to consider it during textbook preparation.
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Millsap-Spears, Carey. "‘Does he know you like I know you?’: Barbara Kean’s bisexual appeal, the Male Gothic and Gotham’s woman problem." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 19–33. http://dx.doi.org/10.1386/qsmpc_00042_1.
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This article discusses how the FOX television series Gotham (2014–19) fits the overall definition of a traditional Male (Horror) Gothic text and how disruptive female characters, like Barbara Kean, push against these seemingly strict Gothic boundaries. Through the development of the bisexual character Barbara Kean, the conservative, Male Gothic foundation is ultimately questioned in the US television series. Gotham’s portrayal of Barbara not only propagates bisexual stereotypes, but it also speaks to the larger discussion of bisexual aversion and eventual erasure present in many media texts. Additionally, Gotham employs the depraved bisexual trope, in which bisexual characters, like Barbara, are shown to be duplicitous. Barbara Kean, however, transgresses the boundaries of the Male Gothic tradition and thrives within the narrative structure of Gotham.
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Ingridsdotter, Jenny, and Kim Silow Kallenberg. "I magen på en häst." Budkavlen 99 (November 10, 2020): 34–62. http://dx.doi.org/10.37447/bk.99521.
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In a horse’s belly: Interspecies relations as a critique of civilization
Jenny Ingridsdotter & Kim Silow Kallenberg
Keywords: natureculture, animals, popular culture, masculinity
In this article, we analyse how the relationship between humans and other species is portrayed in contemporary films and series that have the rise and fall of civilization as their theme: Into the Wild (2007), The Revenant (2015), Into the Forest (2015) and The Walking Dead (2010-). The purpose is to understand how relationships between humans, animals and non-humans are portrayed. The films/series have been chosen on the basis of their portrayal of social downfall or social dissatisfaction and on the grounds that they are also widely recognised and popular portrayals. The analysis focuses on two male characters (The Revenant, Into the Wild) and two female characters (Into the Forest and The Walking Dead) to investigate relationships between humans and other species (animals and zombies) when it comes to survival, and how these relationships are possibly conditioned by gender. Methodologically, we approach these popular cultural depictions as ethnographers, with human meaning-making as the primary point of departure. Theoretically, we use concepts developed in the field of human-animal studies.
The analysis shows that there are differences between the representations of different species and that these representations are also conditioned by gender in the human characters. Where men are alone in their struggle against nature, women are part of social relationships where they, together with others (human and non-human), struggle to survive. The analysis further shows how animals and other species constantly condition and enable human existence. However, lacking human language, the animals – who are absolutely vital for the actions and survival of the human characters – are rendered unimportant.
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Taljaard, G. H. "Die dialoog tussen die voorblad, die manneplot en die verhale in Dulle Griet van Riana Scheepers." Literator 22, no. 2 (August 7, 2001): 113–32. http://dx.doi.org/10.4102/lit.v22i2.365.
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The dialogue between image and text in Riana Scheepers's Dulle Griet This article examines the way in which the content and theme of Riana Scheepers’s Dulle Griet (1991) interact with the “manneplot” (traditional and/or stereotypical portrayal of female characters within novels) and with the cover illustration of the book – a detail of “Mad Meg” (as she is often referred to) from Pieter Brueghel’s Dulle Griet (1562). It explores how the women in Scheepers’s short stories are portrayed – not only as vulnerable, but also as evil and corrupt. They are abused victims; but they are also tyrannical abusers. They are innocent maidens and mothers, but also lovers, prostitutes, lesbians and murderers. The way in which the gradual degeneration of the anonymous central female character relates to Brueghel’s image of “Mad Meg” on her way to the jaws of hell is discussed in this article. But the article also demontrates Scheepers’s concern with feminist issues by using the cover as an ironic “frame”, and shows that the moral decline of the women portrayed in the text seems to be as a result of the actions of chauvinistic men, who appear in different forms throughout the text. Female degeneracy can thus be seen as a survival mechanism, in a world – and a text – dominated by the masculine paradigm, the “manneplot” of traditional male attitudes to women.
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Craig, R. Stephen. "Women as Home Caregivers: Gender Portrayal in OTC Drug Commercials." Journal of Drug Education 22, no. 4 (December 1992): 303–12. http://dx.doi.org/10.2190/2nhn-nuy7-q88u-cdjh.
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Concern has long been expressed over possible adverse effects of television advertising of over-the-counter (OTC) medicines. This study investigated a sample of prime time network television ads to determine how gender portrayals differed in drug and non-drug commercials. Findings indicated that women were significantly more likely than men to appear as characters in drug ads than in ads for other products, and that they are frequently portrayed in these commercials as experts on home medical care, often as mothers caring for ill children. This supports the hypothesis that drug advertisers take advantage of stereotypical images of women as home medical caregivers. It also raises the question of whether female consumers are being encouraged by these ads to overuse OTC medications as a way of gaining the family's love and respect.
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Fitri, Nurliana, and Erni Suparti. "ANALYZING THE PORTRAYAL OF PATRIARCHAL OPPRESSION TOWARDS THE FEMALE CHARACTERS IN J.K. ROWLING’S THE CASUAL VACANCY: A REFLECTIVE POST-FEMINIST CRITICS." Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 2, no. 1 (February 24, 2017): 43. http://dx.doi.org/10.30872/calls.v2i1.703.
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The oppression and subordination towards woman mostly happened because of the patriarchal system which exists in the society. The purposes of this study are to analyze the portrayal of patriarchal symbols in the society of Pagford Town in J.K. Rowling’s The Casual Vacancy and the patriarchal system abuse or oppression towards the female characters in J.K. Rowling’s The Casual Vacancy. The results of the study show six symbols of patriarchy which is found in the novel. They are female as sex objects in public patriarchy, male as villain in public patriarchy, male as villain in private patriarchy, female as the faulty in private patriarchy, female as mother or angel in the house in private patriarchy and female as damsel in distress in private patriarchy. The study also shows the indication of abuse occurred to several female characters. The patriarchy system generated from the participation of the male and female is the main cause of the sustainability of female oppression and subordination in the society.Keywords: patriarchy, symbol, oppression, abuse, victimization, The Casual Vacancy
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Burgess, Melinda C. R., Steven Paul Stermer, and Stephen R. Burgess. "Sex, Lies, and Video Games: The Portrayal of Male and Female Characters on Video Game Covers." Sex Roles 57, no. 5-6 (June 30, 2007): 419–33. http://dx.doi.org/10.1007/s11199-007-9250-0.
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D, Jayavelu, and Mamta Pillai. "Women Empowerment in Amish’s The Ramchandra Series: A Dharmic Narrative." International Journal of Language and Literary Studies 3, no. 1 (March 30, 2021): 122–30. http://dx.doi.org/10.36892/ijlls.v3i1.507.
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The portrayal of women in literary texts over the centuries has been stuck in the conviction that women are enormously subjugated, but now repetition of the same is considered unjustified. The canon of reformers in the literary world has started to interpret feminism from various perspectives. Women characters are reformulated and rethought by the new emerging authors and those authors reinforce a new dimension to the status and moral experience of women which was largely criticized in the domain of traditional literature. The present research, therefore, intends to elicit the narrative technique of Amish’s writings and his treatment of women characters in his novels. Amish’s women characters falsify the claims of traditional portrayal. The female protagonists of his novels highlight the punctuated identities of Indian women. They are strong, challenge traditional norms. In this regard Amish’s the Ram Chandra Series is a mythical fiction based on mythology of Ramayana with a multilinear narrative. This paper is intended to provide a brief and authentic exposition of status of women in India during the Vedic times with reference to the women characters in Amish’s the Ram Chandra Series in every aspect of social order like education, philosophy, religion, administration and warfare.
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Rehman, Fasih ur, Rao Aisha Sadiq, and Atta-ul-Mustafa. "Reservations Chronicle: The Interplay of Real and Imaginary Places in Louise Erdrich's Tracks." Global Language Review VI, no. III (September 30, 2021): 1–9. http://dx.doi.org/10.31703/glr.2021(vi-iii).01.
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Spatiality occupies pivotal status in the thematic orientation of Native American literature. Native American male writers in general and female writers, in particular consider the issues of space and place with reference to issues of identity, separation and conflict with Euro-Americans. The present paper aims to study the portrayal of real and imaginary places in Louise Erdrich's Tracks. The study maintains that Erdrich infuses energy into the places portrayed in the novel. Hence, places do not remain static or flat rather; they assume dynamic characteristics that not only trigger action but also become a character in the development of the plot. The present study concludes that textual and imagined places should not be taken as mere portrayals of topographic structures; rather, they explain the socio-cultural paradigm of a given social order.
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Tembo, Kwasu D. "The curse and the chora." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 104–18. http://dx.doi.org/10.33178/alpha.20.08.
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Referring to the work of Julia Kristeva, this article seeks to perform a comparative analysis between Cordelia Chase (Charisma Carpenter), as she appears within the remit of Joss Whedon and David Greenwalts’s Angel (1999–2004), and Vanessa Ives (Eva Green) in John Logan’s Penny Dreadful (2014–2016). Taking each character as a case study, this article seeks to elucidate the precarious subject positions of central female leads in a team/ensemble horror television series in order to assess whether or not and how the portrayal and characterisation thereof has changed over two decades. To do so, this article employs a theoretical framing that examines the question of agency and power by assessing both characters as what I will call “Choraic conduits”. As such, both characters’ relation, manipulation of/by, and mediation of the supernatural as envisaged and presented in their respective diegetic worlds are analysed in themselves and comparatively against one another. Key concerns here are the questions and problems surrounding each character’s agency over her powers and the supernatural/spiritual realm(s) from which they emerge, as well as the psycho-physical and symbolic consequences of not only the possession of their respective powers, but the micro and macroscopic consequences of how they are used in their respective diegetic worlds.
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MORRISON, A. D. "SEXUAL AMBIGUITY AND THE IDENTITY OF THE NARRATOR IN CALLIMACHUS‘HYMN TO ATHENA." Bulletin of the Institute of Classical Studies 48, no. 1 (December 1, 2005): 27–46. http://dx.doi.org/10.1111/j.2041-5370.2005.tb00253.x.
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Abstract This paper re-examines the narratorial voice in Callimachus' ‘mimetic’ Hymn to Athena and argues that we should see it as complex and experimental (cf. the voices of his hymns to Zeus and Apollo). The portrayal of a narrator whose sex is ambiguous (with some elements pointing to a female celebrant as the narrator, others to a male scholar-poet) is in fact closely connected to the subject-matter of the myth which the narrator tells — the blinding of Teiresias for seeing Athena bathing naked, characters who are themselves sexually ambiguous. The nature and function of this myth, and its portrayal of Athena, raise important questions about the representation of the gods, for example in poetry, and about Hellenistic attitudes to the divine.
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Vuković, Vesi. "Of bees, birds, trees, and women: iconography, superstition and victimization of female characters in Yugoslav New Film." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 285–307. http://dx.doi.org/10.14746/i.2020.37.16.
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This study investigates how the directors of two selected case study films criticise the real-life remnants of patriarchy in the family sphere, in nominally gender-equal Yugoslavia. I argue that they do this by transposing their stories from socialist Yugoslavia to the pre-socialist times: during Ottoman rule and monarchist Yugoslavia. The selected period films Breza/The Birch Tree (Ante Babaja, 1967, Yugoslavia) and Roj/The Beehive aka The Swarm (Miodrag ‘Mića’ Popović, 1966, Yugoslavia), both belonging to the Yugoslav novi film (New Film) movement (1961-1972), refract the workings of the vestiges of patriarchy in a family domain of Yugoslav socialist society. In these two costume dramas, patriarchy is portrayed to its fullest extent, due to their stories being set in the past, ostensibly unrelated to contemporary Yugoslav society and thus uninhibited by the drive to cater to the official discourse of female emancipation.
Applying a critical film feminist perspective, by formal analysis via close readings of these two selected films, this article examines the iconography linked to fictional depictions of heroines and delves into the representation of victimisation of women. I investigate whether the depiction of the female sorceress(es) embody the primitiveness, ignorance, and/or poverty of economically disadvantaged and historically oppressed pre-socialist village. In order to peruse not only the individual portrayal of female protagonists but the dynamics of their interaction, the Bechdel test is applied and complemented with concepts such as the ‘reversed masquerade’ and ‘cryptomatriarchy’, which sheds light on the relationship between women and the presence or absence of female solidarity.
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Steinke, Jocelyn, Brooks Applegate, Maria Lapinski, Lisa Ryan, and Marilee Long. "Gender Differences in Adolescents’ Wishful Identification With Scientist Characters on Television." Science Communication 34, no. 2 (June 28, 2011): 163–99. http://dx.doi.org/10.1177/1075547011410250.
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Adolescents’ wishful identification with televised scientist characters was examined as related to interactions among the following variables: gender of participant, gender of scientist character, program genre, and selected character attributes. Findings indicated some gender differences in adolescents’ wishful identification with scientist characters they viewed on television. Boys showed more wishful identification with male scientist than with female scientist characters for all character attributes, and girls showed more wishful identification with female scientist than with male scientist characters portrayed dominant or as working alone. Both girls and boys showed more wishful identification with scientist characters in drama programs than for those in cartoon and educational programs across all character attributes. Both girls and boys showed more wishful identification for some character attributes depending on the program genre viewed. Implications of these findings for producers of television programs and other media are discussed related to efforts to encourage adolescent girls’ interest in science careers.
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Jiang, Qin. "The image of Oksana in the opera by N. Rimsky Korsakov “Christmas Eve”: a composer plan and a performing embodiment." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 57–72. http://dx.doi.org/10.34064/khnum2-18.04.
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Background. The modern science reconsiders various conceptions, which were influencing the theory and practice of musical art over the centuries. Particularly, there is much talk today about the fact that marking of female opera roles as “coloratura” according to the principle of their technical complexity and diapason wideness is quite nominal and not connected directly with singing voices’ gradation. Gradually entrenched tendency of denial of the female voice’s definition as “coloratura” has developed, and it is based on the argument that this characteristic reflects parameters of composer’s objectives rather than the voice’s nature. Probably, that’s why there are works in repertoire of certain female vocalists (for instance, Maria Callas and contemporary Canadian singer Natalie Choquette), which are usually performed by owners of “different” voices. However one cannot deny the fact that certain opera roles are composed specifically for coloratura soprano, despite the fact that indications of it are missing in manuscripts. N. Rimsky-Korsakov’s opera heritage is exponential in this connection; the destination of particular female roles for coloratura soprano is unquestionable – Snow Maiden, Marfa, Volkhova, Tsaritsa of Shemakha, etc. And though this roles are performed by female vocalists of various voices in today’s theatrical practice, it seems to us that voice’s characteristics have principal significant for appropriate implementation of author’s conception. Objectives. Thus, the purpose of the study is to identify the significance of the voice’s particularity factor as a carrier of a certain imagery in the composer’s conception and in the performer embodiments of opera parts (separated opera arias). Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The Gogol’s plot became the basis of several operas, the most famous of which are “Cherevichki” (“The Little Shoes”) by P. Tchaikovsky and “Noch’ pered Rozhdestvom” (“Christmas Eve”) by N. Rimsky Korsakov. The comparison of this two works clearly shows the fundamental difference in composers’ conceptions. In P. Tchaikovsky’s interpretation the lyrical line is extracted from the literary primary source. But for N. Rimsky Korsakov the comparison of the real and fantastic world becomes the main thing in this opera. Therefore the role of Vakula is written quite schematically, but Oksana’s image is interesting developed, it is presented in progress – from carefree girl to loving woman. This progress is obvious when comparing Oksana’s Arias from Act I and Act IV. The Aria from Act I is a peculiar synthesis of national and Italian singing traditions, a prime example of entrance aria (di sortita), which presents the character’s portrayal and comprises such basic components as slow introduction and episodes demonstrating technical possibilities of the voice. Oriental intonations, which are specific for composer’s vocal works, coupled with coloraturas, give the impression that Oksana is “not from this world”. According to lots of researchers, the whole N. Rimsky Korsakov’s opera “metacycle” is an artistic integrity united by a generic idea that defined the unity of approach to implementing of “type” (including female) characters. The intonational canvas of every particular role (the choice of so-called intonational complexes – “a cold” or “a warm”) is determined by character’s affiliation with natural or fairy-tale locus. Oksana’s portrayal for N. Rimsky Korsakov has been ambivalent. On the one hand, she doesn’t relate to “another world” like Snow Maiden or Volkhova; on the other hand – Oksana is a fairy-tale character. Therefore composer uses partly the same strokes in the development of the portrayal as for female fairy-tale characters. However, the formation of this character’s personality is revealed through the transformation of “cold” (fairy-tail) intonational complex to “warm” (“alive”). Two performances of the first Oksana’s Aria are briefly reviewed as an example: the concert performance by Gohar Gasparyan, an Armenian lyrical coloratura soprano (1924–2007), and a recording from the Inessa Prosalovskaya’s CD “Arias from operas”, the Russian lyrical dramatic soprano (born in 1947). G. Gasparyan’s idea was to present the portrayal of a young girl of the people. Therefore the singer levels virtuosic components of music material as much as possible, and a coloring of her voice, for which it was easy to sing the second A sharp above middle C, emphasizes lyrical hints of Oksana’s Aria. Also the significant textual cuts becomes one of important parameters of creation of a “gentle” young girl’s portrayal; they not only transform the expanded aria into the form, which is close to a song in scale, but also significantly reduce specifically those snippets, in which technical difficulties are concentrated. Version by I. Prosalovskaya presents another interpretation, original sound of which is largely due to the singer’s timbre of voice. Its deepness, expressivity and completion absolutely modify personal characteristics of the N. Rimsky-Korsakov’s character. Therefore we observe not a young girl already, but a woman – passionate and confident. Thus, it could be concluded that timbre color’s specificity of the voice of female opera singer has a significant impact on features of the character that she embodies. It is obvious that this specificity determines all the parameters of the performer’s version of the composer’s work (both a separate aria and the opera as a whole). A more detailed study of the relationship between the voice timbre and the semantic and compositional decisions characterizing an individual performer style seems to us a promising direction for further research.
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Rožman Ivančič, Nejc. "The The Image of a Woman of Colour and Native American Woman in Two Kerouac Novels: A Double Otherness." ELOPE: English Language Overseas Perspectives and Enquiries 16, no. 2 (November 30, 2019): 117–33. http://dx.doi.org/10.4312/elope.16.2.117-133.
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The article examines the portrayal of a woman of colour in the novel The Subterraneans (1958), and the portrayal of a Native American woman in the novel Tristessa (1960). The two works are representative examples within the opus of the American writer Jack Kerouac (1922–1969), and offer suitable starting points for the reinterpretation of his attitude towards women and non-white ethnicities. The novels reveal the ethnocentric, even colonizing attitude of the dominating male narrator in relation to the dominated and subjugated social groups. Although the treated works are considered Kerouac’s “female-centred novels” (Phelan Lyke 1991, v), this syntagm is problematized here by showing that the male narrator remains the true protagonist, focused essentially on his own perceptions of the non-white romantic subject, whereas the two female characters are (mere) objects for the protagonists’ self-discovery, life experience and psychological projection. In this sense, Kerouac’s consistent presentation of women as representatives of an identity of the exotic/Other reveals his nested gender and racial prejudice.
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S, Banurekaa. "PSYCHO-SOCIAL IMPACT OF NATURE IN MARGARET ATWOOD’S SELECT NOVELS." Kongunadu Research Journal 4, no. 1 (June 30, 2017): 1–4. http://dx.doi.org/10.26524/krj161.
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Margaret Atwood is one of the most talented, powerful and intelligent writers in the west today. She articulates the dilemmas, contradictions and ambiguities of the late twentieth century with all its complexities and extremities. Casting her vision of life in myriad forms her techniques and themes know no limit. Known widely as a poet and a novelist, Atwood is also a critic, a short story writer, an essayist, a caricaturist and a writer of children’s books. A versatile genius, Atwood through her novel explores the various inter-related social, physical and psychological anxieties of the people. Portrayal of women characters in literature are as varied as the authors who create them. Female protagonists have represented an interminable array of roles throughout literature. Whether women are represented as angels or metaphorical monsters, it is obvious that female characters have been pigeonholed and stereo typed for centuries.
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ISLAM, MD MOHIUL, and Nilufa Akter. "Disney’s Aladdin (2019), the Old Rum in the New Bottle." Ultimacomm: Jurnal Ilmu Komunikasi 12, no. 1 (June 17, 2020): 72–87. http://dx.doi.org/10.31937/ultimacomm.v12i1.1466.
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Disney Corporation has recently released Aladdin (2019) as their official remake of their own animated Film Aladdin (1992). By making some significant changes in the storyline, Guy Ritchie, the director of the film, tried to create some newness through the actions of the film. But the gender role of the princess Jasmine and the casting of Genie have brought back the same old tendency of the corporation that is the stereotypical representation of the females and racial ethnicity. The princess becomes the victim, and the male rescues the female, and the black becomes the slave. This very study shows how Disney has been doing the stereotyped portrayal of the women and showing the racist attitude towards the dark-skinned people. Since this study is conducted through a textual analysis approach, initially, the dialogues and actions related to the objective of the study have been coded. Then by analyzing the two characters and their dialogues, contexts and related actions, this study explains how Guy Ritchie’s Aladdin (2019) contains the old philosophy of Disney, that is keeping the women inside the house and neglecting the dark-skinned people, which at the end made the film nothing but the old rum in the new bottle.
Keywords: Females, Genie, patriarchy, portrayal, slavery.
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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.
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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.
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Gaidash, A. "REPRESENTATION OF THE ELDERLY PROTAGONIST IN TRACY LETTS’ AUGUST: OSAGE COUNTY." Studia Philologica, no. 10 (2018): 120–25. http://dx.doi.org/10.28925/2311-2425.2018.10.18.
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This article examines the literary portrayal of the female sexagenarian in the Pulitzer-Prize winning play. The gerontological portrait of the elderly is analyzed in the context of “the young old” adults. The theoretical background of the article is formed from an array of humanities-related disciplines: in particular, sociology, literary gerontology, medical humanities. The author of the article studies how the notion of normativity in late adulthood is represented in August: Osage County. The playwright subverts the concepts of successful and healthy aging in the images of Violet and Beverly Westons: Violet is a heavy smoker; Beverly is a heavy drinker. The issue of ableism allows us to detect the element of a new genre of pathography, a battle, which is indicative of the gerontological portrayal of the elderly protagonist. In his drama, Tracy Letts develops active and passive strategies of aging, which his elderly characters choose to cope with their disabilities in late adulthood.
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Cahyo, Pujo Sakti Nur, and Riyan Evrilia Suryaningtyas. "WOMAN AND TECHNOLOGY: A STUDY ON GENDER PORTRAYAL OF A FEMALE CYBORG IN GHOST IN THE SHELL (2017) MOVIE." Lire Journal (Journal of Linguistics and Literature) 4, no. 1 (March 16, 2020): 26–39. http://dx.doi.org/10.33019/lire.v4i1.65.
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This study aims to analyze gender portrayal in Ghost in the Shell (2017) movie by applying Donna Haraway’s concept of cyborgs as in her Cyborg Manifesto. Focusing on the analysis of narrative and non-narrative elements, this research seeks to reveal how the main character is portrayed as a female cyborg. As a result, the writers found that her shifting existence as a female cyborg in the movie is the representation of how women can be the subject by affiliating with technology. The assumption of women as the "object" of technology is no longer exist, and they are competent to have a career in technology. As a conclusion, this movie promotes the idea of women empowerment in technology by the affiliation of women and technology.
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Bisht, Yashika, and Shweta Saxena. "Sub-version of Myth: Portrayal of Karna’s two wives in Kavita Kane’s Karna’s Wife." History Research Journal 5, no. 4 (September 12, 2019): 277–92. http://dx.doi.org/10.26643/hrj.v5i4.7748.
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Karna’s Wife is the first work of the writer, Kavita Kane who is “trying to portray a small chunk, a small aspect which has not been dealt with yet” in the Mahabharata. In Karna’s Wife, Kavita Kane portrays female characters like Uruvi and Vrushali who are victims at the hands of men and fate and how they still balance their lives and endure it all. Vrushali is the first wife of Karna and her husband married Uruvi and was deeply in love with her. Her rights, his attention, his love, everything is distributed. Uruvi who is Karna’s second wife is constantly seen striving throughout the novel to keep her husband away from Duryodhana’s evil camaraderie because she fears that this alliance will certainly lead to her husband’s catastrophe. It would be very interesting to see how these two women have come out of these gritty situations, faced the veracity and still lived mightily.
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Dr. Shahid Abbas, Dr. Ijaz Asghar, and Qamar Hussain. "Analyzing George Bernard Shaw’s Portrayal of Women in the Light of Postfeminist Theory." sjesr 4, no. 2 (July 3, 2021): 438–43. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(438-443).
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The paper aims at investigating the critical opinions about Bernard Shaw’s ambivalent relation to feminism. In this regard, the researchers highlight the emerging role of postfeminism and its overlapping elements with the Islamic portrayal of womanhood. Shaw differs from his predecessors drastically – he portrays independent female characters as compared to the invisible and submissive females of the past. Thus, one of the striking features of Shaw’s drama is the depiction of liberated women. The Shavian women do not consider men folk as their rivals. There is a shift from powerless to empowered women in academia. The researchers find out that there is an ideological conflict between feminism and Islam but as far as postfeminism is concerned, there is none. Rather, postfeminism propagates and supports the Islamic concept of womanhood thoroughly. It is also worth noting that feminist ideas and ideology have greatly dented the social and political fabric of mankind and human civilization in general. Whereas, postfeminism propagates in favor of maintaining a balanced position for womanhood in life which is a balance between social and individual life, and a balance between professional and family life. The purpose of this article is to promote a better understanding of the status of women in Islam and its overlapping and common areas with postfeminism, that is, God has equated female folk at par with their male folk. The research is significant as it challenges the western notion of women in Islam and dispels the erroneous notions of suppression of women in Islam. The prime finding of this research is that postfeminism proclaims equal footing for men and women in life, as enshrined in the Holy Quran. Further, the researchers lament that just because of myopic-minded people, the world is not making any progress intellectually. The researchers recommend that there is a dire need to promote liberal intellectuals like Shaw who harbor no bias against Islam and Muslims to maintain peace and order in the world.
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Altrows, Aiyana. "Rape Scripts and Rape Spaces: Constructions of Female Bodies in Adolescent Fiction." International Research in Children's Literature 9, no. 1 (July 2016): 50–64. http://dx.doi.org/10.3366/ircl.2016.0182.
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This article offers an analysis of the construction of female bodies in adolescent fiction about rape, arguing that the absence of a developed rapist character results in a focus on and pathologising of female characters. This positions female bodies as the cause of rape, rather than societal problems or rapists themselves, creating ‘rape spaces’. The positioning of female bodies as the cause of rape sanctions public and state control of those bodies, removing a female's subjective agency and right to manage her own body. I demonstrate how the depiction of psychological relationships to bodies as they develop sexually during puberty and attract unwanted male attention can function within the narrative to undermine a girl's ability to manage her own body, and how female sexual desire can either undermine or reinforce a girl's ability to manage her own body. I analyse how fraught relationships to clothing and food can be either accepted and interpolated to reinforce the construction of female bodies as rape spaces within these texts, or problematised to portray empowered female characters as they recognise and reject them as potential tools of patriarchal control.
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WELLS, ELIZABETH A. "‘The New Woman’: Lady Macbeth and sexual politics in the Stalinist era." Cambridge Opera Journal 13, no. 2 (July 2001): 163–89. http://dx.doi.org/10.1017/s095458670100163x.
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Shostakovich's Lady Macbeth of the Mtsensk District became extraordinarily infamous after its damnation by Pravda in 1936. The amount of violence and sex in the opera distinguishes it from the Leskov novella on which it was based, and seems to have underpinned Stalin's disapproval. The complex relation between Shostakovich's detailed representation of sexuality and his portrait of Katerina, the opera's tragic heroine, mirrors the social tensions of the sexual revolution and the conservative backlash of the 1920s and 1930s. The writings of feminist Alexandra Kollontai (1872–1952) about the new Soviet woman display striking similarities to Shostakovich's portrayal of his female characters and offer a context for his approach.
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Cheung, Tammy, and Michael Gilson. "Gender Trouble in Hongkong Cinema." Cinémas 3, no. 2-3 (March 15, 2011): 181–201. http://dx.doi.org/10.7202/1001198ar.
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The authors conduct a brief survey of some recent examples of the Hongkong cinema, focusing on questions surrounding the portrayals of female and male characters in them. Today's Hongkong films, society and culture are just now taking tentative steps towards an awareness of gay and lesbian themes, and in some measure, of feminism. How are different types of female characters presented in contemporary Hongkong cinema? How does the traditional Chinese view of "male" differ from the West's? The recent trend that has "gender-bending" characters appearing in a number of Hongkong feature films is also examined. The authors maintain that stereotypical representations of women, men, and homosexual characters persist in the Hongkong film industry, that honest portrayals of gay and lesbian characters are mostly absent from the movie screens of the Crown Colony.
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Jahan, Sultana. "Gender Nonconformity and Casting around Individuality, Free Will and Survival: Sharat Chandra’s Women in His Novel Srikanta." Journal of Arts and Humanities 7, no. 3 (March 9, 2018): 08. http://dx.doi.org/10.18533/journal.v7i3.1340.
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<p>The present paper is a sincere effort to explore the image of Indian women in the early 19th century social context as depicted in Sharat Chandra’s novel S<em>rikanta</em>. In this novel Sharat Chandra’s portrayal of women characters- Rajlaksmii, Annada, Abhaya , and Kamal Lata assert their individuality, self-worth and deliverances boldly in the then male-controlled and traditional society. These characters are unwavering and resolute enough to cast around an emancipated futuristic outlook. They are all precursors to the later day women characters depicted by the feminist writers. Sharat chandra is not a feminist in the traditional sense nor does he take the side of forceful assertion of women rights but he shows a significant understanding of woman psyche and to a great extent, protests against social and religious double standard that ultimately results in gender nonconformity. He values humanity more than chastity and raises his voice against traditional morality and religious dogmatism in depicting illicit love relationship and in disclosing the deceptions underlying the established marriage custom. To all female characters, Rajlaksmi, Annada,Kamal Lata, and Abhay, marriage fails to provide congenial atmosphere to love and value each other; rather to them, marriage is nothing but religious and social yolk that come up with patriarchal applaud but result in self-deception. This paper is an attempt to elucidate Sharat Chandra’s unconventional idea of chastity and reversed roles of women going deep into the female characters of this novel who fearlessly look down on the patriarchal impediments.</p>
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Protomo, Rice Gusti, and Oom Rohmah Syamsudin. "REALISM AND OPTIMISM IN THE NOVEL A GOLDEN WEB KISAH AHLI ANATOMI PEREMPUAN PERTAMA DI DUNIA." INFERENCE: Journal of English Language Teaching 3, no. 2 (July 1, 2020): 101. http://dx.doi.org/10.30998/inference.v3i2.5768.
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<p>The purpose of this paper is to describe the problems in the patriarchal society and prove the optimistic realism contained in the novel “A Golden Web” by Barbara Quick and how female characters were portrayed in the 18th century. The method to analyze the novel is content analysis and literature review from books and theories related to the novel and historical records. Using a new criticism approach, this paper examines the intrinsic elements of the story. The writer studies the elements through characters and characterizations using descriptive-analytical structures. The paper ends with descriptions of character and characterization, optimism realism, and how female characters in the 18th-century novel’ contained can be revealed.<br />Keywords: realism; patriarchy; optimism; new criticism</p>
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Gelley, Ora. "Europa 51: The Face of the Star in Neorealisms Urban Landscape." Film Studies 5, no. 1 (2004): 39–57. http://dx.doi.org/10.7227/fs.5.4.
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Although Europa 51 (1952) was the most commercially successful of the films Roberto Rossellini made with the Hollywood star, Ingrid Bergman, the reception by the Italian press was largely negative. Many critics focussed on what they saw to be the ‘unreal’ or abstract quality of the films portrayal of the postwar urban milieu and on the Bergman character‘s isolation from the social world. This article looks at how certain structures of seeing that are associated in the classical style with the woman as star or spectacle - e.g., the repetitious return to her fixed image, the resistance to pulling back from the figure of the woman in order to situate her within a determinate location and set of relationships between characters and objects - are no longer restricted to her image but in fact bleed into or “contaminate” the depiction of the world she inhabits. In other words, whereas the compulsive return to the fixed image of the woman tends to be contained or neutralised by the narrative economy and editing patterns (ordered by sexual difference) of the classical style, in Rossellini‘s work this ‘insistent’ even aberrant framing in relation to the woman becomes a part of the (female) characters and the cameras vision of the ‘pathology’ of the urban landscape in the aftermath of the war.
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Prof. Eman Fathi Yahya PhD. "Gender Role in Kamala Markandaya’s Nectar in a Sieve." journal of the college of basic education 25, no. 105 (December 1, 2019): 292–300. http://dx.doi.org/10.35950/cbej.v25i105.4800.
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Women are being presented in Kamala Markandaya’s novels as the center of concern. She is a famous Indian novelist in the postcolonial era and she is very famous internationally for her masterpiece “Nectar in a Sieve”1954 .
Markandaya treats women’s issues and problems in her novels in a very deep way. A woman quest for identity and redefining herself finds reflection and constituted an important motif of the female characters.
What helps Markandaya in drain a realistic portrayal of a contemporary woman is that having a deep insight into women’s issues. Markandaya explores and interprets the emotional responses of women and their problems with much understanding.
In her novels, female characters are the chief protagonists searching for meaning and value of life. Also She presents an existential struggle of a woman in some of her novels who refuses to submit her individual self and emerges undergoing much pain and suffering.
In her writing, Markandaya traces a woman’s journey in order to know herself. This journey is from self-denial to self-assertion, from self-negation to self-affirmation, and from self-sacrifice to self-realization.