Гендерная интерпретация античного сюжета об Атридах в романе Дж. Сэйнт «Электра»

Why Wicked Never Wins: An Examination of the Early Origins of the Evil Female Villain of the Fairy Tale Narrative

The use of women's language with a Balinese cultural background with a patriarchal culture is interesting to analyze. The novel 'Tempurung' by Oka Rusmini tells the story of women with Balinese cultural backgrounds. There are sixteen female characters in this novel, while three are male characters. This study analyzes the features of women's language used by female characters, which are analyzed using the referential, pragmatic, and distribution methods. Based on the results of the analysis, female characters use eight out of ten features of the female language, namely intensifier (40.72%), empty adjectives (17.01%), tag questions (16.49%), super polite form (7.22%), rising intonation on declarative (6.70%), hypercorrect grammar (6.70%), emphatic stress (3.09%), and lexical hedges or fillers (2.06%). Avoid strong swear words, and female characters do not apply precise colour terms. Female characters' use of women's language features is motivated by a patriarchal culture that makes men superior while women are inferior. The caste system in Balinese culture also underlies the use of female language features by female characters, for example, using polite forms when speaking with interlocutors who have a higher caste.

The objective of the study was to differentiate and prove that from the past century, the image portrayals of the Grimm Brothers’ select female characters in their short stories have changed in their film adaptations as the societies evolve to modern perception of women, most especially on their sexuality and sexual practices with the Feminist theory approach. The stories studied were (1) Beauty and the Beast (2) Cinderella (3) Hansel and Gretel (4) Little Red-cap and (5) Snow White. A qualitative design was used to analyze and presented the similarities and differences of the select fairy tale heroines’ physique, feats, and sexual values and practices. The comparison showed major differences in the images of the female characters in terms of age, skills, and sexual behaviors. In the text, the female characters were presented as innocent, young, gullible, dependent, and damsels in distress. While in the film, they were seen to be grown up women and perceived sexual values and behavior in a liberated manner. The influences in the text as mentioned from the life experiences of the Grimm Brothers, was based on their autobiographies. Furthermore, the films were products of Hollywood in the 21st century which also influenced the way the heroines and their image portrayals in the film were presented. Lastly, the study found that the empowerments of the female characters were emphasized in the film adaptations. Clearly, these changes in the women characters did not happen overtime they were a product of centuries of influences the revisions that were made by other authors significant like Walt Disney, retained the original images of these female characters. The mostly revised contents were the violent aspects of the stories due to its medieval influences. Keywords: Images, Female fairy tale characters, film adaptations

Reviewed by: French Feminisms 1975 and After: New Readings, New Texts ed. by Margaret Atack ed al Adrienne Angelo Margaret Atack, Alison S. Fell, Diana Holmes and Imogen Long, eds French Feminisms 1975 and After: New Readings, New Texts. Oxford: Peter Lang, 2017. Series: Modern French Identities, 127. 255 pp. As the fiftieth anniversary of May 1968 approaches, and as recent political and sociocultural debates concerning women and gender attest, feminism has reemerged as a driving force in generating charged debates about some of today's most topical issues concerning equality, sexual violence, and identity politics. French feminism in the twenty-first century champions a wide range of causes overlapping women's issues with those of other marginalized groups. Through social networks and in new performative activist circles, feminism is once again a term that has come to the fore in academic circles, the political arena, and popular culture. French Feminisms 1975 and After: New Readings, New Texts, is therefore a welcome and especially timely collection as it offers both a historical grounding of the contemporary relevance of feminism to women's writing as well as a diverse range of literary analyses which investigate themes of oppression, restraint, trauma, death, and gender. If the term "feminism" might seem overly complex for some, outdated for others, or even "taboo" (sometimes referred to as the "other 'F' word"), taking the time to reflect on the continuities and divergences in feminist ideologies and voices—the different waves of French feminism which span several generations—allows us to better understand the ways in which French women's writing (both past and present) engages with the legacy and ongoing progress of this important movement. This collection is one of two volumes born out of the 2015 Women in French UK conference, the theme of which, Les Femmes s'entêtent, marked another important anniversary: the 1975 publication of the seminal collective work of the same name. With its focus on imaginative writing, this collection offers insight into women writers—some canonical and others relatively underexplored—who turn to the space of writing to speak out against patriarchal and societal norms, thus offering new readings of a varied selection of writings which are either contemporary to or allude to the spirit of French feminism in 1975. Just as Les Femmes s'entêtent was a collaborative text offering multi-form articulations of women's voices, this collection shares a similar project as it brings together analyses of a gamut of texts: fiction, life writing, trauma narratives, theatre, and ludic, quasiexperimental work. In their introduction, the editors successfully and engagingly tackle an [End Page 173] especially thorny topic: charting the course of feminism in France in all its complexity and sometimes contradictory claims and objectives at key historical junctures from 1975 to the present. The introduction is extremely well researched. With a treasure trove of sources that elucidate the trajectory of modern feminist thought, the bibliographical information provided proves especially helpful to scholars seeking to (re)discover key texts from this wave of feminism as well as references to important works in gender studies, queer theory, contemporary women's writing in France, twentyfirst-century French literature, and post-feminism. As the editors explain, the major feminist texts of the 1970s and the literature that flourished during this period featured multi-faceted and nuanced concepts of feminisms—divergent positions which reflected schisms within feminist epistemologies stemming from other groups and schools of thought. After succinctly synopsizing this rich history, the editors pivot to consider the impact of Simone de Beauvoir and Monique Wittig on contemporary women authors and on the reinvigoration of feminist debate on topics such as motherhood, socially constructed gender roles, universalism, social inequality, queer theory, and gender studies. In the first chapter Chloé Jacquesson considers the ways in which feminism, knowledge, and literature overlap and are defined in Brouillon pour un dictionnaire des amantes, a 1976 text co-written by Monique Wittig and Sande Zeig. As the title of this text suggests, Wittig and Zeig rely on the rough-draft nature of this work to parody the discourse of knowledge while challenging the dominance of patriarchal language. Here as throughout her other works, Wittig rewrites...

The Power of Chaos

The aim of this research is to describe the resistance exhibited by female characters towards their husbands and families, as demonstrated through open and covert forms of resistance in the novella "Al-Lawn Al-Akhar." The data collection technique employed in this study is literature review. The data analysis technique used is descriptive analysis. The research adopts a sociological approach to literature with James C. Scott's theory of resistance. The primary data source utilized is the novella "Al-Lawn Al-Akhar" by Ihsan Abdul Quddus. The findings of this research indicate the presence of two forms of resistance in the novella "Al-Lawn Al-Akhar" by Ihsan Abdul Quddus: open resistance and covert resistance. 1) Public resistance is demonstrated by female characters in the novella through acts of rebellion, contradiction, anger, and threats expressed with a raised voice and visible facial expressions. This form of resistance is adopted by female characters who feel they are being treated unfairly or denied justice, prompting them to resist in order to defend themselves and seek their rights or justice. 2) Hidden resistance is practiced by the female character within the novella. It is manifested through silent grumbling and cursing within their hearts, behavior that reflects disapproval, silence, and concealed tears not shown to others.

For human beings are not so constituted that they can live without expansion. If they do not get it one way, they must another, or perish. --Margaret Fuller, Woman in the Nineteenth Century Readers of Old Mortality have been anything but remiss in bringing attention to the rebellious behavior of Porter's women characters. Her principal female characters have been said either to display a proud rebelliousness or, at the very least, to attempt resistance even though they will inevitably fail because of their ambivalent relationship to a past they cannot quite relinquish and a future they cannot quite embrace.(1) Many of these same critics have considered her characters as semi-autobiographical creations of what Joan Givner called Porter's own fatal ambivalence: She craved the protectiveness and support that she never had from her father and at the same time she disposed to be independent and dominant as her grandmother was (92). Porter's readers over the past decades, decades in which American culture has been marked by the optimism and anger of second-wave feminism, have typically celebrated the struggle undertaken by her female characters to achieve independence and to survive a headstrong (southern) patriarchal culture. Having inhaled the cultural air, which is not to imply that all Porter's readers are feminists, critics have often read Old Mortality as a story of American girlhood: a story not of Jamesian resistance abroad, but of resistance at home since the time when first-wave feminism making itself felt. The nature of her female characters' resistance, however, needs to be reconsidered. I propose that instead of presenting girls engaged in healthy rebellion against their assigned adult social roles, Old Mortality brings sharply into focus the pressures and anxieties suffered by adolescent females in Victorian America and their willingness to take their destinies into their own hands by deferring as long as possible--and at great risk to their own lives--the inevitable crossing from the freedom of girlhood to the restrictions of adult womanhood. The power of cultural ideology to shape and distort a girl's identity and seems to have riveted Porter, perhaps because she felt they were ideologies that persisted with equal force in her own age. Reconsidering Old Mortality in this light leads one to the realization that this not the only occasion in which Porter paired the struggle for self-autonomy with the sick of girlhood. The resisting female character, even if she fails to break out from under the oppression of the dominant culture in which she finds herself, is irresistibly attractive to twentieth-century readers. However, a critical dimension of Porter's story has, as a result, not received much notice: the suffered by pubescent girls who cannot quite accept the cultural status quo for women. To shift the focus from healthy adolescent rebellion to the ailing of girlhood, we need to resituate this text, removing it from the formalist, symbolist, and autobiographical sphere so as to contextualize it in fin-de-siecle American culture. My intent is neither to read the in the feminist context of the rebellious Victorian girl or the New Woman in the process of being born nor to claim that Porter is writing the body in the celebratory manner glorified by Helene Cixous, for instance. Rather, I wish to examine this story in the context of disease and in which Porter sets it, a context which urges us to consider both the sick of adolescent girls and Old Mortality as one of Porter's fictions of illness (Vrettos I). Not unlike Hawthorne who dragged his reader back to the gloom of Puritanism in The Scarlet Letter, Porter forces her modern-day (female) reader half a century back in time to the repressiveness of Victorian America. In this context, the female needs to be read as inscribed by its culture's discourses, one of which is its medical discourse, which will be the focus of this paper, so that we might examine how the nineteenth-century medical establishment read the female as against girls' readings of their own bodies. …

Producing his artistic works in a period marked by a patriarchal social structure, Shakespeare created vivid and controversial female characters that both reflected and subverted the image of women of his time in a great majority of his plays. Regardless of the genre, most women in his plays are often witty and admirably strong; sometimes unruly, disobedient, ambitious and occasionally naïve, submissive and conformist. Endowing his female characters with such multifaceted qualities, the playwright was seen as either a misogynist or proto-feminist due to the fact that he could portray women who were often incompatible with one another. After remembering the diverse representations of women in his various works and how his female characters, from submissive figures to strong, rebellious ones, embody both compliance with and resistance to societal expectations, the article posits that Shakespeare’s depictions of women, as both victims and assertive challengers, reflect his intricate understanding of gender dynamics, highlighting the resilience and intellect of his female characters amidst a rigidly patriarchal society. While not a feminist by contemporary standards, Shakespeare’s empathetic portrayals suggest a proto-feminist sensitivity through his female characters who challenge male authority in subtle but powerful ways. This study aims to revisit Shakespeare’s portrayal of Juliet in Romeo and Juliet to demonstrate that the playwright had a proto-feminist attitude and attempted to establish a balance between his time’s cultural codes and his humanist/individual self despite the patriarchal culture he belonged to.

The Disney ‘Princess Bubble’ as a Cultural Influencer

Australia in the 21st century is a far cry from the country that once struggled with the “tyranny of distance” and a pervasive sense of cultural inferiority. Twenty-first-century Australian literature reflects a society that is ethnically diverse, cosmopolitan in its outlook, and closely tied to global events. It is a literature that no longer defines Australia solely in relation to its British colonial past but is instead increasingly concerned with Australia’s own involvement in imperialist practices—both domestically, in relation to its First Nations people, and overseas, with Australia’s role in the Asia-Pacific region. The expansion of themes, experimentation with genres, and interest in interethnic or cross-cultural storylines to be seen in 21st-century Australian literature follows broader worldwide trends in response to globalization and the digital revolution. However, these developments also signal an important milestone in the Australian national imaginary. The proliferation of voices in Australian literature opens up a domestic space for dialogue, debate, and self-criticism. Some of the most important developments in 21st-century Australian literature have been the rise of First Nations literature, the growing recognition of women’s writing, and the acknowledgment of non-Anglophone literary production. With contemporary authors as varied as Gerald Murnane, Brian Castro, Alexis Wright, and J. M. Coetzee, we might point to Australia’s literary ecology as the clearest sign of a mature nation.

Contemporary Women's Post-Apocalyptic Fiction

The Fabian Mystique

The article examines the representation of domestic work of female and male characters in children’s literature of the 20th –21st centuries. The research is based on the Corpus of Russian Prose for Children and Youth (DetCorpus). In Soviet and post-Soviet children’s literature, male characters are overrepresented by male authors, the same tendency is present in literature for adults. In contrast, female authors are characterized by a more egalitarian distribution of characters. The analysis of the verbs denoting household work and used in the past tense shows that female characters are more often depicted by certain types of household work by authors of both sexes. Thus, women writers are more likely to portray women doing household work since they portray more women in general. Children’s literature can trace a rich tradition of the symbolic inclusion of male characters in domestic work. The article describes a circle of romantic and adventure topoi, which depict men and boys engaged in the arrangement of everyday life.

Injustice to women has made feminists fight the threats and all the attachments they experience. With that, women are considered capable of presenting themselves as independent figures free from adversity. The novel Garis Perempuan is one of the feminist-themed works present in revealing the resistance of the four female characters. This novel by Sanie B Kuncoro was published in 2010. This novel is a literary work that reveals things related to the attachment of female characters named Ranting, Tawangsari, Gendhing and Zhang Mey with patriarchal culture and other threats they face. Research on the novel Garis Perempuan aims to describe the resistance of the four female characters against patriarchal domination. To achieve this goal, this study uses the theory of feminist literary criticism. This study shows that the four female characters managed to defend themselves and their virginity from the threat of a patriarchal culture that is contrary to themselves. With all their uniqueness, they can have an opinion and hold fast to their position as a form of appreciation for themselves as women.

This research examines how Sufiya Ahmed’s Secrets of Henna Girl challenges patriarchal practices by depicting the female character as struggling to fight for their rights through Islamic values and education. By using qualitative methods and close textual analysis, this research examines how the novel opposes to patriarchal culture and the misconception of Islam as a religion that supports discrimination against women. Indeed, the novel uses literary devices to portray patriarchal culture with the following aspects: the female characters experience patriarchal abuse by depicting men as Tiger King represents powerful men. Secondly, the female characters deal with patriarchal system by depicting women as witches representing powerful women. Thirdly, women experienced patriarchal abuse are depicted through the metaphor of glass vases and sacrificed lambs. Fourthly, the characters are depicted as a drama queen if they pursue their educations and careers. Although this novel is seemingly depicted women as the victims of patriarchal system, they are able to resist this system by using Islamic tenets and values, especially the Quran and hadiths. Furthermore, it is found that even though the female characters receive so many patriarchal practices, the novel can depict them as resisting patriarchy through education and Islamic values. Thus, the novel uses Qur’an, hadith, and Islamic teachings as a way to resist the misconception of Islam as a religion that supports discrimination against women.