Female Discourse Research Articles

Borders and Bridges in Gender Discourse: A Comparative Study of Feminist Stand-up Comedy in China and the United States

This paper selects the textual content of Yang Li’s and Iliza’s stand-up comedy for a comparative analysis, aiming to foster a dialogue between Chinese and American feminist stand-up comedy. This research findings uncover numerous similarities as well as several noteworthy differences. Additionally, to further explore the female discourse in Chinese and American feminist stand-up comedy, this paper employed quantitative analysis to assess the audience sentiment in the comment sections of the two comedians’ videos, aiming to analyze the discourse power and expression rights of these two feminist comedians. The findings offer insight into the potential and difficulties faced by female comedians tackling gender problems by highlighting the cultural quirks and social attitudes toward feminist humor in both nations. In addition, the study looks at how these comedians’ performances affect the public conversation about feminism and gender equality, offering insights into how feminist comedy is changing in China and the US.

An Exploration of Mother-daughter Painful Relationship in Feminist Cinema with Patriarchal Structures: A Case Study of Spring Tide

This article focuses on the mother-daughter painful relationship in Chinese feminist cinema, taking Spring Tide as an example, to explore the formation, manifestation and impact of this relationship in the context of the patriarchal structure. The film focuses on a three-generation story of mother-daughter relationships between an unmarried mother, Guo Jianbo, with her illegitimate daughter, Guo Wanting, and her single mother, Ji Minglan. As a female-centred film, the stereotypical image of mother and daughter is transformed in Spring Tide. In the ambivalence of the mother's love and hatred for her daughter, and the daughter's affection and rivalry for her mother, this film reveals the unique psychological structure and mode of relationship between females. Based on Lacan's "mirror stage" theory, this article highlights the function and plight of the mirroring between mother and daughter in the process of self-identification. In the patriarchal regime, the lack of female discourse leads the daughter to construct her ideal-ego in the mirror image of her mother but the alienated image in the mirror constrains the daughter's self-consciousness, which forms a complex relationship. It not only reflects the female-dominated diversified female relationship, but also implies the subjectivity plight of females in the patriarchal society. With the analysis of Spring Tide, this article discloses the profound significance of the mother-daughter painful relationship in feminist cinema which provides a new perspective for understanding the subjectivity of female discourse and suggests considerations for addressing the mother-daughter tension in future research.

An Exploration of Mother-daughter Painful Relationship in Feminist Cinema with Patriarchal Structures: A Case Study of Spring Tide

This article focuses on the mother-daughter painful relationship in Chinese feminist cinema, taking Spring Tide as an example, to explore the formation, manifestation and impact of this relationship in the context of the patriarchal structure. The film focuses on a three-generation story of mother-daughter relationships between an unmarried mother, Guo Jianbo, with her illegitimate daughter, Guo Wanting, and her single mother, Ji Minglan. As a female-centred film, the stereotypical image of mother and daughter is transformed in Spring Tide. In the ambivalence of the mother's love and hatred for her daughter, and the daughter's affection and rivalry for her mother, this film reveals the unique psychological structure and mode of relationship between females. Based on Lacan's "mirror stage" theory, this article highlights the function and plight of the mirroring between mother and daughter in the process of self-identification. In the patriarchal regime, the lack of female discourse leads the daughter to construct her ideal-ego in the mirror image of her mother but the alienated image in the mirror constrains the daughter's self-consciousness, which forms a complex relationship. It not only reflects the female-dominated diversified female relationship, but also implies the subjectivity plight of females in the patriarchal society. With the analysis of Spring Tide, this article discloses the profound significance of the mother-daughter painful relationship in feminist cinema which provides a new perspective for understanding the subjectivity of female discourse and suggests considerations for addressing the mother-daughter tension in future research.

Futuristic Flight: Science beside the Emotive in the Early Writing of Charlotte Brontë

As a solitary mention within her juvenilia tale ‘Tales of the Islanders’ (1829), Charlotte Brontë’s fictitious reference to air balloon flight suggests a wider social and literary context for its author’s understanding of this new scientific phenomenon. This article examines the wider textual presence of this awe-inspiring invention and how her seemingly simple reference to balloons ultimately aligns her from an early age to a wider, Romantic female discourse, particularly to the writing of Mary Shelley. The prevalent references to balloon flight in newspapers, magazines and books available to Brontë at the time, imply a familiarity with these dialogues, which is ultimately suggestive of the material she read and was subsequently inspired by to include in her own writing. Brontë’s reference to balloons associates her work with a Romantic discourse contemporary to her, specifically a female one, which situates her as a young writer alert to the literary dialogue of the time, hinting at a style she would later use in her novels, one which juxtaposed scientific invention in the Industrial Age beside an emotive poetic voice.

Study on Gender Ideology Evolution in the "Star Wars" Film Series

With the progression of time, female roles in science fiction movies have become increasingly significant, showcasing notable changes in both their quantity and character traits. Spanning 42 years, the "Star Wars" film series of 11 movies exhibits marked differences in female character portrayal. Over several years of development, female roles have gradually moved away from the singular identity of being "objects of gaze," no longer solely passive "desires of objects" or mere carriers for the flat representation of male characters in the audience's eyes and within the films. In the current narrative mechanism of Star Wars movies, the patriarchal center has been significantly challenged, and the "female discourse subject" with agency and independent will is gradually emerging. This study aims to explore the relevant connections between these female characters and the feminist trends of the time. By decoding the imagery of women in mainstream commercial films under the patriarchal framework, it analyzes the underlying gender ideologies and attempts to explore the future trajectory of constructing female discourse.

Emotional Practices of Female Discourse in Anti-Verbal Violence—Take the Douban Community as an Example

Emotional Practices of Female Discourse in Anti-Verbal Violence—Take the Douban Community as an Example

‘Sans offenser l'ordre’: Voice, Order, and Gender in Les Caquets de l'accouchée (1622)

This article considers a series of satirical pamphlets written against women – Les Caquets de l'accouchée – in which the male narrator covertly records women's gossip in the bedroom of a recently delivered woman. Scholars have largely focussed on the fluid gender identity of a male visitor within this sphere of all-female sociability. This study instead takes a closer look at the accouchée's visitors, in order to demonstrate that their identity, and the subjects of their quarrelling, are more than they first appear. Drawing from early modern dichotomy between conservative masculine order and female disorder, this study aims to show that female characters in the Caquets are not mere satires of female discourse. Rather, they are a hybrid blend of misogynistic views on the female intellect, and paradoxically, the mouthpieces for a conservative, nostalgic return to order which contemporaries would have regarded as antithetically masculine.

Theoretical Prerequisites for the Study of Male and Female Discourse in the Context of Masculine Cultural Pragmatics

Theoretical Prerequisites for the Study of Male and Female Discourse in the Context of Masculine Cultural Pragmatics

The Female Anxiety Embodied in the Gothic Novel: Frankenstein

Female Gothic Fiction - Frankenstein is a revealing tale of female anxiety and terror that not only has a distinctly Gothic sublime appeal, but also boldly reflects Shelley's female anxiety brought on by authorship and family ties through the absence of female discourse, the metaphor of the monster as a woman, and the appropriation of female fertility by men.

Unmasking the Social Constructions of Male and Female Narcissism in the Media: A Critical Discourse Analysis of Contemporary UK Newspaper Articles

This study takes a critical discursive approach to investigate the role of gender in the portrayal of narcissism and narcissistic personality disorder (NPD) in UK media discourse. The main objective is to build a more comprehensive theoretical framework that deciphers the existing discourse on NPD, including the potential stigmatisation of specific genders and hidden assumptions of NPD. By employing a more nuanced and subjectively relevant approach, this study delves into the gender dynamics of NPD through public opinion to transcend the limitations imposed by rigid psychometric accounts and clinical studies that characterised earlier NPD literature. The NexisLexis UK online search database was accessed to search and collect UK national newspapers from the past 5 years (2017–2023). A total of nine articles consisting of 5,549 words were selected for analysis, with approximately 2,700 words allocated to each gender. Three repertoires of NPD and narcissism were identified: (a) male narcissism and traditional gender norms; (b) female narcissism as less threatening; and (c) narcissism as predominantly male. The analysis findings provide insight into the complex interaction between narcissism, gender, and the media, revealing how existing gender myths and social biases in the discourse of NPD can contribute to the perpetuation of power imbalances and gender stereotypes. The male-related repertoires are overwhelmingly dominant in the discourse, whereas the female-related ones construct the meaning of narcissism in different ways and reveal different types of subject positions for both genders. The study finds that the representations of male narcissism in the media are closely aligned with traditional gender norms and relationship expectations, contributing to the reinforcement of harmful gender stereotypes and power dynamics. While the female discourse on narcissism is portrayed as less threatening and more discreet, potentially leading to minimised recognition and treatment of NPD in women and maintaining social inequalities. Lastly, the portrayal of narcissism as a predominantly male issue may inadvertently stigmatise men while simultaneously marginalising women's experiences, limiting a comprehensive understanding of narcissism among genders. The findings of this study emphasised the importance of challenging and deconstructing traditional gender norms, harmful stereotypes, and biases in the discourse of NPD and narcissism.

The Voiceless Rural Women in Films from the Perspective of Female Discourse A Case Study of Mountain Cry

Women living in village lacked their discourse rights owing to the restrictions in terms of both gender and geography. In China, rural-themed films focused on depicting the fate of those who live in obscurity, in order to present the real rural society. In this paper, the case would be the movie Mountain Cry. To further study the core of feminism while giving an insight into how womens right has been achieved in rural areas, the research need to find the unheard one, which is considered as the portrayal of village women in this movie and analyze the metaphors and plot device in Mountain cry. Although the protagonist was speaking out with such courage and strength, trying her utmost to get rid of the chains from patriarchy, throughout this process of self-redemption, she paid a heavy price. Unfortunately, its not just happened in the last century, even today, womens rights needed be achieved with different sacrifice to make.

Research on the Construction of Female Characters in Realistic Films: Path, Method and Classification

The dominance of consumer ideology and the prejudices of the patriarchal discourse system have kept women in a "low-dimensional prison" where they have been stared at for a long time. Since the growth of "her power", more and more public spheres are showing female consciousness and female discourse. The portrayal of women's roles and the construction of meaning in realist films express the "absence" and "resistance" of women's image in contemporary society. The young girls who want to break out of their cages, the mothers who are burdened by their families, and the women of the underclass who have a dual nature are the objects of their expression. "The absence of the family", the growth of the self and the "motherly nature" are the deep-seated "references" to which the female characters are trapped in the "prison".

Deconstructing Authority with Humor - The Cultural Adaptation and Reinvention of Women’s Discourse in Stand-Up Comedy of China

This paper explores the adaptation and alienation of Western postmodern approaches to female empowerment in China through an analysis of female discourse in the stand-up comedy industry. I used textual analysis to examine the discourses and audience feedback of female performers in the representative Chinese talk show "Rock & Roast". The results of this paper are divided into two parts: 1. the three main portraits and discourse strategies of female stand-up comedians extracted from their words; and 2. a comparison of public opinion on the acceptance of different female discourses and images in the first part with the audience's evaluation. The findings of the study show that female stand-up comedians are mainly moulded through language into three categories: women in traditional relationships, feminist fighters and highly educated independent women. The audience's feedback suggests that a new system of authoritative judgement between Western thought and traditional Chinese gender values is in the process of being born. In stand-up comedy, a model image of women that demands independence but without touching on gender issues is being promoted as the "most qualified" representation of women's image. The category of female discourse has an underlying premise of male discourse, and thus all talk of female discourse is inextricably bound up with male-centrism. Here, the term discourse is important for all normative forms of human life, in addition to what is commonly thought of as forms of speech. For example, Foucault's discourse of power and Said's theory of postcolonial discourse in the East start from all normative forms in life. When we analyze women's discourse in Chinese communication, we also focus on the normative forms of their lives in addition to words, exploring the crux of the problem from the deep psychological factors of culture, history, and anthropology.Generally speaking, women's discourse in contemporary Chinese communication is often characterized by several problems: misinterpretation, deflection, and pleasing, etc. Even though there are a number of feminist movements in contemporary China, they may not be able to truly and correctly address feminist issues. This does not lie in the strength of male power in China, but in the biased arguments and misperceptions of this issue in women's visions.

Theoretical basis for studying of male and female discourse in the light of cross-cultural pragmatics

Theoretical basis for studying of male and female discourse in the light of cross-cultural pragmatics

A Brief Discussion on the Female Narrative Strategy in The Online Drama "Feng Qi Luoyang"

Compared with the neglected, distorted or marginalized presentation of female images in traditional film and television dramas, the online drama "Feng Qi Luoyang" not only shows the importance of the role of female images, but also expresses the female voice and female discourse. It is well explained, which changes the narrative mode of the weak and helpless image of women under the dominance of male narrative. Based on the theory of narratology, this paper explores the female perspective and "female focus" in the online drama from the aspects of narrative situation and narrative field, and studies the unique narrative voice of women in "Feng Qi Luoyang".

Research on Male Gaze in Mass Media Opinion Guidance from the Perspective of Feminism

This paper is a study and analysis of the gender consciousness embedded in the mass media in the news reports. Social media provides women with an open and inclusive discourse field in the way of autonomous and interactive expression, which also produces female discourse different from that in the context of mass media. In the process of civilization construction, the role composition of mass media not only reflects many social problems, but also participates in the construction of people's social cognition. From the perspective of mass media, we can get a glimpse of the current situation of gender. To be specific, from the perspective of the brand new social and cultural phenomenon and concept of "male gaze", this paper will take criminal news released by the official media as real case, and further analyze and criticize the potential gender opinion guidance in the press release of China’s official media based on the change of social gender consciousness and the awakening of feminism.

The Female Narration in Shahd Al-Rawi’s “Baghdad Clock”

The novel responds to the female presence more than other literary genres, as its narrative elements contribute to receiving the female discourse and supplying it by expressing their thoughts, emotions, and gentle voices, and exploring their subconscious spaces by expressing their value. Women’s issues, and for this reason feminist writings rose to establish glory for women in parallel with what the man wrote, in addition to the importance of the central female presence in building the narrative space and her presence on the narration scene because the female narrator differs from the male narrator who dominated the scene by presenting the relationships of women through masks, and here this cry achieves a revolution Against the adoption of masculinity all the joints of life. The appearance of a woman and her call to live her world and express herself without feeling the dominance of the family (father/brother) was shaped when she observed perspectives that feed into her literary production through her relationship with her body or with the man, because writing about herself makes her more honest than the man, as this appeared through Feminist creativity in literary practice, so it seemed active and productive, and had a speciality with its awareness, language, independence of speech and thinking. The spontaneous dreaming child with a scene conveying the development of the life stages of women and the places mentioned in them and the relationships with family and friends, passing through the primary school stage and then university, which witnessed the great shift in her life, her ideas and her relations with others, as well as the transformation of the narrative language from its spontaneity to its maturity in proportion to age, and the novel showed Techniques in presentation and qualitative transitions transcended the linear narration in classic novels, mixing with imagination and activating the senses effectively and in a language that sought to sharpen The feminine atmosphere by conducting the tale obtained on the current real woman issue, because Shahd Al-Rawi is the character of the novel.

The Issue Of Woman-Subject-IdentityAs An Attempt Towards Self-Representation Of Gender Naira Hambardzumyan

The aim of the research is to examine the features of woman-subject’s [15, p. 900] self-representation, as well as the identification of the gender peculiarities of women’s literature in the poems of female authors who lived and worked in the Ottoman Empire in the second half of the 19th century. In the present study the poems are analysed in terms of the gender stereotypes of femininity and masculinity. The actuality of the paper is conditioned by the attempt and analysis of the subjective manifestations of consciousness of female authors and the problem of woman - subject - identity as a presence of writing. Such kind of analysis has been attempted for the first time. Generalizing the binary gender manifestations of femininity and masculinity, we notice that they are revealed through aesthetic images, are peculiar to the consciousness of female authors and are expressed through the poetics of their works. Therefore, these texts were viewed from two perspectives: a. expression of gender-related world-image, b. presentation of a definite gender-related problem. Summarizing the study scientifically and theoretically, it should be noted that in the Ottoman Empire female discourse in various literary genres is revealed through structural and paradigmatic specific ethnic elements, therefore, a serious study of the poetics and typology of women’s writings with new methodological principles is required.

Representation, Inter-construction, Production: Feminist Theory and Practice in Chinese Urban Films

As a social trend of thought, feminism can be directly expressed through social movements, and it can also be appropriately spread through the media through art. As a theory and practice, feminism has an intriguing relationship with art, media and reality. This paper examines the theory and practice of feminism in film, and discusses the dimensions of screen space, media space, and real space, including the emergence of female consciousness, the construction of gender politics, and the new pattern of female discourse space, that is, to examine representation, mutual construction and production status.

Representation of female relationships in domestic discourse: pragmastilistic aspect

This article analyzes the peculiarities of the reflection of female relations in Chinese-language domestic discourse on the material of stories and novels of the 20th-21st centuries. The concepts of «contact» and «discourse» were analyzed, the characteristic features of female contact in domestic discourse were revealed, a number of strategies and tactics used during female domestic discourse were investigated. It was found out that the discourse as a fundamental category of modern linguistics combines linguistic and social features of speech. The least structured type of discourse is the discourse of everyday speech communication that occurs in the form of oral conversation. The main feature of domestic discourse is its communicative orientation and proximity to everyday language. Family communication, in which each person is immersed, forms the so-called «family language», which forms a certain linguistic behavior of the person, features of speech, intonation and emotional coloring. In constructing the female character Chinese authors often turn to metaphorization, comparisons, contextual periphrases, metonymy and paremy (chenyu, yanyu, suyu, guanyunyu), among which the picture of the external attractiveness of women prevails, comparing her to the moon, the flower, the jade, the goddess, the unclean force. In depicting female discourse the authors turn to the means of gradation (climax and anticlimax), anaphora, use all kinds of exclamations, appeals, particles, resort to the expressive possibilities of root morphemes. Having studied the tactics and strategies used by women during everyday communication, we found that the dominant strategies are assertion, persuasion, proof and argumentation. When deploying conflict communication, women pay special attention to the strategies of accommodation, avoidance, cooperation, competition. It was revealed that women's language differs from men's in its greater expressiveness, the extensive use of exclamations and particles to increase emotional coloring, and a large concentration of emotionally evaluative vocabulary. We consider the studies of the composition of women’s domestic discourse and its synergy, based on the interaction of the objectives of the discourse and its constitutional limitations are the continuation of these studies.