Female Emancipation Research Articles

Gamelan Girls: Gender, Childhood, and Politics in Balinese Music Ensembles

Gamelan Girls: Gender, Childhood, and Politics in Balinese Music Ensembles

William Dubois’s Sociology of Empowerment, and Black Male Feminism, As a Source of Black Women Empowerment

Famous for black feminism, Sociology of Empowerment, and Black Female Emancipation, glorified inside his very celebrated Museum exhibits, that includes the multimedia representations inherited inside the freedom of Speech, Vote, and debates around the discrimination of Black Females: “Du Bois’s limited views of black women, inhibit his ability to imagine African American women, as race leaders”. Du Bois adopts a paternalistic stance, as he simultaneously admires, and pities black womanhood. The black women characters he presents in The Souls of Black Folk, are predominantly struggling, overburdened, physically attractive women, who are nevertheless able to support black men. McCaskill notes, “Paradoxically, African-American jmen were impressed into a patriarchy, that disclaimed women’s equality to men, in the political, and professional spheres, while simultaneously mythologizing this same sisterhood’s moral, and domestic superiority, over their brothers (p. 23)”. Du Bois’s descriptions of Black women, unintentionally, re-inscribed patriarchal ideals, as he sought racial equality. This research focuses onto the important notion of Black feminism, that William DuBois was the ancestor, to the Black Feminist movement. These ideas are confirmed, inside the Empirical results, that are based on analyses of opinions, about the DuBois’s influence in the Contemporary, by Youth Sociologists.

Filozofia a svetonázor v recepcii členov slovenského spolku „Detvan“ v Prahe do roku 1900

At the turn of the 19th and 20th centuries, ideological differences began to emerge in the Slovak national movement under the influence of intellectual stimuli to which the younger generation of the Slovak intelligentsia was exposed during their university studies. The Detvan association, which brought together Slovak students in Prague, created opportunities for ideological transfer, including the fields of philosophy and worldview. This paper’s aim is to identify the ideas developed by European intellectuals and the ideological currents that became the subject of discussions at the association’s meetings, influencing the thinking of Detvan’s members. In addition to publications aimed at the public at large, important sources documenting the ideological inspirations and the formation of opinions by the Detvan members, this paper includes the minutes of the internal meetings of the association, kept at the archives of Charles University in Prague. The analysis of these minutes has shown that, until 1900 and especially in the 1890s, the self-education of the members was to a significant extent also aimed at expanding their knowledge of philosophy, expected to serve as a springboard for the formation of political thinking and perception of the world. Themes of the papers the members presented and discussions held in the association included the work and thought of Charles Darwin, Immanuel Kant, Ernest Renan, Tomáš G. Masaryk, Arthur Schopenhauer as well as Karl Marx and Friedrich Engels. The members also discussed ideas expressed in the fiction of writers Leo Tolstoy, Émile Zola, Henrik Ibsen and H. G. Wells. At the turn of the 19th and 20th centuries, the younger generation of the Slovak intelligentsia was thus exposed to the ideas of the labour movement and socialism, female emancipation, Darwinism, positivism, naturalism and secularisation. The association offered a platform for the transfer of ideas whose freedom contrasted with the formal and predominantly conservative character of the official university milieu in Prague. Among the most active Detvan members in the 1890s, who contributed their own lectures, papers and reflections, were Ján Smetanay, Vavro Šrobár and Jozef Ruman. After their departure, the focus of the association’s self-education began to shift to national history and literature, lectures on Slovak grammar and literary criticism.

Beyond Tomorrow: German Science Fiction and Utopian Thought in the 20th and 21st Centuries by Ingo Cornils

Reviewed by: Beyond Tomorrow: German Science Fiction and Utopian Thought in the 20th and 21st Centuries by Ingo Cornils Anne Fuchs Beyond Tomorrow: German Science Fiction and Utopian Thought in the 20th and 21st Centuries. By Ingo Cornils. Rochester: Camden House. 2020. 322 pp. £80; $99 (ebk £19.99; $24.99). ISBN 978–1–64014–035–6 (ebk 978–1–78744–797–4). Speculative fiction has been the dark continent of German Studies until very recently. While Germanistik has largely ignored popular genres such as fantasy or Science Fiction (SF) because of their perceived poor aesthetic ‘value’, Anglophone German Studies has been in the grip of the discourse on Vergangenheitsbewältigung and the prevailing memory paradigm. As a result of this foreshortening of the field, the burgeoning domain of speculative fiction has remained largely unexplored. Against this backdrop the publication of Ingo Cornils’s study is to be welcomed: it marks a shift from the Anglophone preoccupation with the outdated discourse on Vergangenheitsbewältigung towards what Cornils aptly calls Zukunftsbewältigung. The scope of Cornils’s study is astonishing: it deals with 70 novels and 25 films, from Kurd Laßwitz’s Auf zwei Planeten (1897)—the earliest example of German SF—to best-selling author Franz Schätzing’s Die Tyrannei der Schmetterlinge (2018) and Theresa Hannig’s Die Unvollkommenen (2019). The book also covers a wide range of SF films and TV formats, from Fritz Lang and Thea von Harbou’s classics Metropolis and Die Frau im Mond to the 1960s prime-time TV series Raumpatrouille, which, as Cornils convincingly shows, set new standards in set design as its disc-shaped spaceship Orion was inspired by the Bauhaus. While the representation of slick technology in the series signalled the technological modernization of West Germany, the unisex uniforms gestured towards female emancipation. Cornils’s study is at its best when it engages with the popular SF tradition: another prominent example in this vein is Stefan Ruzowitzki and Michael Krummenbacher’s TV series Acht Tage (broadcast in 2019), which imagines an extinction scenario in an entertaining format. The rediscovery of the digitally restored version of Fassbinder’s Welt am Draht (1973) is another highlight: the film explores the political repercussions of the erosion of the difference between simulation and reality long before the invention of the Internet. By analysing both high-brow and popular formats Cornils rightly highlights the malleability of a genre which spans the entire spectrum from the most critical and gloomy dystopias to entertaining and fast-paced plots about the race against the clock. Occasionally Cornils stretches the genre boundaries too elastically—by, for example, including Schnabel’s island utopia Die Insel Felsenburg or Uwe Timm’s novel Ikarien, which tracks the history of eugenics. Cornils’s book does not pursue a literary-historical exploration of the development of the genre. Rather than systematically exploring the genre’s intrinsic responsiveness to the rapid advance of modernization in Germany after 1871 right up to the end of the Weimar Republic and after the Second World War in the context of Germany’s division, Cornils groups his material into fourteen short chapters that explore themes such as first contact stories, catastrophism, virtual realities, surveillance, space stories, AI, and eternal life, to name but a few. This is understandable, given the richness of futurist scenarios and preoccupations. However, [End Page 142] this prevailing thematic focus flattens the history of the genre. Given the subtitle, the broad-brush discussion of German utopian thought in Part i comes across as too male-centric and rather eclectic: neither literary critic Jost Hermand nor the late FAZ editor Joachim Fest nor the sociologist Harald Welzer is an obvious contributor to the great tradition of utopian thinking from Hegel to Benjamin and Hannah Arendt to Ernst Bloch. Even though Cornils’s book does not do full justice to the socio-philosophical contexts of utopianism or to the contemporary debates on posthumanism and the Anthropocene as central drivers of SF, it does offer a rich survey of the German SF tradition. Its coverage will make it an indispensable reference point and source book for further analyses of an unduly neglected genre. Anne Fuchs University...

Поэтика сенсационной литературы в рассказе-повести Э.Гаскелл «Серая женщина»

The articles deals with “The Grey Woman”, a long short story written by E. Gaskell in 1861. The stress is done on the study of elements of sensational literature poetics in the text of the story, i.e. the setting (château), motifs of secret and fear, the antihero-villain. The paper focuses on the influence of gothic and Newgate novels on the formation of “the hybrid genre” of the sensational novel represented in the analysed long short story. Also, the biography of the author is discussed in its connection with the creation of the story and the collaboration with Charles Dickens in his periodicals. The impact of literature periodical publications on public opinion on various social issues, in particular, on female emancipation and status of women in the British society in Victorian era is considered. The theme of matenity is also treated in the paper as the key one in the works of E. Gaskell.

Гендерный фактор в спорте: маскулинность/феминность ценностей спорта как социального института

The problem of clarifying the content of social roles in conditions of high dynamics of the transformation of society necessarily raises the question of revising the content of gender differences as a set of social indicators of gender. A particularly controversial problem field in the context of gender relations is sports, which is an important institution of socialization and an instrument of social success. The masculine nature of sports activity leaves an imprint on their social status in the context of gender guidelines and raises questions about the gender status of sports and the problems of gender identity of athletes. The aim of the article is to study the gender factor in sports and to study the gender orientation of the values of sports as a social institution. The methodology of the study is determined by its problem field. When considering subjectobject relations in the system of gender identification, the methods of a dialectical approach were applied, where gender was studied as a unity of subjective-personal and objective-cultural factors of thinking and behavior. When considering the problem of masculinization of female athletes, a structural approach was employed, where gender is considered as a cultural and historical code, as a special case of an episteme in gender-role discourse. In the study of the initial masculinity of sports values, a biosocial approach was used, where the phenomenon of sports was considered from both biological and social positions. The development of the problem of gender factor research in sports included consideration of the following issues: masculinity of sports as their typical feature, the impossibility of their feminization; the problem of masculinization of female athletes; sport as an area of female emancipation. As a result, the historical and physiological reasons for the masculinity of sports are considered. The archaic criteria for assessing gender identity and the inclusion of gender-specific personality traits characteristic of modern people in masculinity indicators are substantiated. The role of sports in the phenomenon of women’s emancipation is considered: the role of infrastructural and cultural factors of women’s inclusion in sports. The ambiguity of the phenomenon of masculinization of female athletes, the symbolic nature of the criteria, and the formulation of this problem are revealed. The role of the historical development of sports in the direction of universal needs and opportunities is shown, where the differentiation of sports disciplines and its qualitative diversity play a special role. This evolution has ensured an equal participation of women and men in sports activities.

Armenian Charitable Organisations of Constantinople and the Problem of Female Emancipation

The aim of the research is to study the activities of Armenian national, charitable organizations, boards of trustees, unions, colleges and schools established in the large cities of the Ottoman Empire with considerable Armenian population, particularly in Constantinople, in the second half of the 19th century. The charities helped schools and colleges with clothing, daily allowance, stationery, and financial means. The study undertakes to classify these companies and unions according to the purpose of their humanitarian and patriotic activities and their ideological basis. It is important not only in terms of systematization of charities and colleges but also in terms of women's issues in Armenology. The relevance of the study concerns the formation of ideas about women's issues and the awakening of women's self-consciousness in the second half of the 19th century and the beginning of the 20th century. As a result, in the context of women's emancipation processes, not only the function of the Armenian charitable associations and colleges founded in the Ottoman Empire in the second half of the 19th century, but also their goals, plans, strategies, and ideological bases have been studied. In addition, the research examines the issues of women's rights, emancipation, education, and upbringing in the period in question. Charities, schools and colleges founded by women functioned as a result of activities for the benefit of the nation. Many graduates of these institutions later became teachers, worked in newly opened schools and colleges, and spread progressive ideas of women's emancipation.

Gender Relations and Female Agency in Claire Keegan’s Antarctica

Abstract Claire Keegan is one of the most prominent voices within the contemporary Irish short story panorama. Internationally acclaimed, her prose has been praised for its frank and bitter portrayal of a rural world, whose outdated values, no matter how anchored in the past they might be, still prevail in a modern milieu. Keegan’s unsympathetic views on society, mainly on the Catholic Church and the family, are the main targets of her harsh criticism. Issues like gender and sexuality, two social constructs with which to validate an uneven distribution of power, constitute the pillars of most of her plots. Bearing these aspects in mind, my proposal focuses on the analysis of Keegan’s first collection of short stories, Antarctica (1999), in light of gender relations and female agency, in an attempt to find patterns of – often thwarted – female emancipation in the context of the rapid changes of a society that is still adjusting to a globalised world. This article will also engage in the discussion of her second collection, Walk the Blue Fields (2007), and her long short story Foster (2010).

Additions to the Сommentary (Based on F. M. Dostoevsky

The article analyzes certain proper names and titles of the works from the 1860s notebooks of F. M. Dostoevsky (preserved in the Manuscripts Department of the Russian State Library, fund 93.I.2.8 and in the Russian State Archive of Literature and Arts, fund 212.1.4, 212.1.5). Some of the notes have not been deciphered or have a controversial reading in research literature. These include both the names of people with whom Dostoevsky personally communicated, the names of the authors of books that the writer read, and the anthroponyms of literary heroes. Proceeding from the commentaries that accompany the first publications of notebooks in vol. 83 of the “Literary Heritage” series, as well as in vols. 20 and 27 of “The Complete Works” of the writer in 30 volumes, the author of the article offers an updated and/or corrected commentary on certain names and titles. Thus, the correct title of the book by the historian I. D. Belyaev, which was a part of Dostoevsky’s library, and about which a memo was made, is established. Dostoevsky often left critical notes in his notebooks regarding the works of a particular contemporary. The article examines a number of entries about “nihilistic novels” instigated by the reading of the then-current works on female emancipation. The commentary by T. I. Ornatskaya, who ascribes the name “Lilinka” and the records associated with it to “Dream,” a short story by A. V. Korvin-Krukovskaya, is disputed, confirming the opinion of other researchers that the source of the records is N. D. Akhsharumov's novel “A Tricky Business.” The article also analyzes records concerning the writer's debts (for example, to V. P. Polyakov, P. A. Popov and V. P. Popov), as well as notes about the failed and unknown authors of the “Epoch” (a certain Andreev). In Dostoevsky's notebooks of the “Time” (“Vremya”) and “Epoch” (“Epokha”) period (1860–1865) there are proper names that still have no corresponding comments. The article aims to draw the attention of researchers to existing problems for further development of the topic.

Villains, victims and victors: A character analysis of Amma Darko’s women

Studies on Amma Darko‟s presentation of women suggest a retaliatory and sexist characterization because of the condescending circumstances her female characters find themselves. This critique, however, distorts the novelty she brings to the table with regards to the politics of female emancipation. Thus, drawing on postcolonial feminism, this paper explores the dynamism in character presentation in Darko’s first four novelsin order to show how she rethinks female subjectivities. Such a reading is important in the ways in which it provides a better appreciation of Darko’s vision through character and characterisation and postcolonial feminisms.

Langage obscène et injurieux dans La Voyeuse interdite de N. Bouraoui et C’est le soleil qui m’a brûlée de C. Beyala

Sexuality is a very popular theme in African literature in general. Strongly linked to other themes like patriarchy, female emancipation, male domination, etc., sexuality translates the gender conflict in women and men and betrays male ideology in African societies. Sexuality in the corpus chosen for our study: C’est le soleil qui m’a brûlée by Calixthe Beyala and La Voyeuse interdite by Nina Bouraoui, is intimately linked to the writing project of these authors who chose to opt for obscene language and insults in order to show to what extent man reduces woman to a simple sexual object and in order to adopt a position of counterattack in the concern to reduce man to his sexual organ. Obscene language then becomes a means of proclaiming the freedom of women. The authors also use this shocking language to awaken readers’ awareness of the urgent need to establish a balance in the relationship between women and men. Reading the obscene and offensive language throughout the two African novels submitted for study will allow us to see how the authors portray sexual scenes without retouching and constantly put them back into their ideological and social framework.

The Story of Stenka Razin and the Persian Princess in Direct and Inverse Projections: Yevgeny Zamyatin and Anna Barkova

The article considers two cases of the creative reception of the legend about Stenka Razin and the Persian princess in Russian literature of the 1920s – in Yevgeny Zamyatin’s tragedy Atilla (1925–1928) and screenplay Stenka Razin (1932–1933), on the one hand, and in the play by A. Barkova Nastasya Kostyor (1923), on the other hand. The direct and inverse projections of Razin’s plot are represented: in Zamyatin’s case the roles of Razin and the princess are distributed in the traditional way, as they are typical for the long history of this plot in Russian culture – both in folklore and in literature, and in Barkova’s case these roles are reversed in the gender aspect. This peculiarity is considered as connected to Barkova’s interest toward “woman question”, the problem of female emancipation, women’s equality. The plot of Stenka Razin and the Persian princess is analyzed in the article together with another one – the plot featuring the woman warrior, since they are closely interrelated in Russian literature of the 1920s. The hypothesis is that this relationship is due to the active demolition of the old gender order during this period.

Hannah Höch’s machine-women - A Questioning of Female Emancipation in the 1920s

Zu Beginn des 20. Jahrhunderts erweckte das Thema des Maschinenkörpers großes Interesse bei den Künstlern der Moderne. Die mechanische und funktionalistische Darstellung des Menschen verweist auf die sozio-ökonomischen und technologischen Veränderungen in den westlichen Gesellschaften. Die in tote Materie und eine Projektionsfläche umgewandelte Maschinenfrau reflektiert die Konsum-, Rationalisierungs- und Mediatisierungsphänomene der modernen Gesellschaft. Der Rationalismus wird immer sichtbarer und erfasst alle Facetten des Alltags, selbst die intimsten. Für die deutsche Dadaistin Hannah Höch stellt der sexualisierte mechanische Körper die Problematik des Frauen-Männer-Verhältnisses im Berlin der Weimarer Jahre dar. Um ihre Ängste angesichts der Emanzipation von Frauen zu veranschaulichen, griffen viele männliche Dada-Künstler auf eine mechanische Ästhetik zurück. Im Gegensatz zu ihnen verwendet Höch das Motiv, um die Auswirkungen des sozialen Fortschritts zu relativieren. Die Analyse der mechanischen weiblichen Figur in den Werken Das Schöne Mädchen (1920) und Bürgerliches Brautpaar (1920) liefert zwei kritische Porträts über die Stellung der Frau im Zwischenkriegsdeutschland.

New Women’s Biopics: Performance and the Queering of Herstor/ies

This article revisits the debates about the postfeminist biopic in the 21st century through the films Wild Nights with Emily (Olnek, 2018), Florence Foster Jenkins (Frears, 2016), The Favourite (Lanthimos, 2018) and particularly Colette (Westmoreland, 2018) to examine the ways in which new women’s biopics queer women’s histories. The article examines the debates about representation concerning the female biopic (Bingham 2010, Polaschek 2013), especially the problematic conflation of a woman’s body/sexuality with her body of work and proposes an analysis of screen biography as a filmic (that is, mediated) event open to non-normative identifications and desires. Biopics of women demand a shift in focus from representation to performance, both in relation to the actor’s function as the cornerstone of the biographical fiction and in relation to the performativity of the genre itself. Drawing on Landsberg (2015), I argue that new women’s biopics stage encounters between the spectator and the historical figure through different forms of mediation. In this respect, I examine the modalities of reflexive performance in connection with queer bodies and subjectivities in the first three films cited above, before moving on to a case study on Colette. Colette largely plays in the mid-Atlantic idiom of the postfeminist biopic (Polaschek 2013), including a non-imitative star turn by Keira Knightley, whose star persona is briefly analysed, yet the film’s queerness entertains a complex relationship with this postfeminist framework. While queer identities risk becoming diluted into the standard trajectory of female emancipation proposed by the film (a narrative invested with added urgency in the post-#MeToo moment), performance inflects this narrative differently: the intermedial mise-en-scène (particularly photographic posing, theatre, and dance) makes Colette a biopic equally concerned with the retrieval of women’s histories as with the production of the queer female self against the backdrop of patriarchal cultural industries.

O CICLO DE AUTOALIMENTAÇÃO DO SISTEMA PENITENCIÁRIO BRASILEIRO E A EXPLOSÃO DA POPULAÇÃO CARCERÁRIA FEMININA DO NORDESTE

This article will address the exponential growth of the female prison population in the Northeast and the configuration pattern of Brazilian criminal policy, based on studies about the penal structures. Initially, will be seen how the female emancipation, unassisted, constituted circumstances that led women to criminality. Then, will be collected data that allow to trace the profile of the incarcerated woman and the place of these women in crime to, in the sequence, see how a penal policy focused on incarceration inserts the prison system in a cycle that fosters its own collapse, constituting one of the determining thresholds for the explosion of the prison population. That said, the study elaborated becomes fundamental to the Law since starting from the analysis of a specific group, it is possible a better understanding about the configuration of the prison as a whole. To this end, the methodology used consists of applied research, using the deductive and dialectical methods and auxiliary methods (historical, quantitative and qualitative), as well as bibliographic research and articles from the legal and anthropological areas.

Serpouhi Dussap’s Mayda; or, The Birth of Armenian Women’s Literature through the Palimpsestic Narrative of Feminism

Abstract Mayda (1883), Serpouhi Dussap’s first eponymous novel, quickly met the patriarchal reaction among the Armenian male intelligentsia of Constantinople over the issue of female emancipation. Today the significance of Dussap’s best-known novel and feminist ideology is both welcome and appreciated yet not with much gratifying analysis of the literary and intellectual ventures invested in this first-time production. This article seeks to place this literary event among the feminist literature scholarship of the nineteenth century. For this initial venture to bring recognition to Armenian feminist literature, the present study introduces the general literary scene in the Ottoman Armenian community in the late nineteenth century, then outlines the critical detraction leveled against the novel, only to produce a new reading that reflects the feminist literary strategy of the time, namely, the palimpsestic mode of writing. Finally, the reading suggested in this article is linked to another underrated work, the mythical tale of Arachne. Reworking Nancy K. Miller’s theory of “Arachnologies” into the context of Armenian women’s literature, the analysis of Arachne’s tale is the “mytheme,” the foundational unit, so to speak, that encapsulates the feminist literary ideology of nineteenth-century Armenian women’s literature.

A representação do empoderamento feminino na teledramaturgia brasileira

Between 1979 and 1980 the series Malu Woman was aired on Globo TV, starring actress Regina Duarte. Created by director Daniel Filho, the series is a milestone in the history of brazilian teledramaturgy, given that it was a media work that had as its focus the barring of conservatism in our society bringing to the discussion center the new profile of brazilian women: independent and owner of herself. The series had the mission of discussing social issues that would come, especially, in the following decades, to become agenda in the feminist agenda as, for example, divorce, abortion, contraceptive methods, maternity, domestic violence, feminine homosexuality, menopause, prejudice against women unhappiness, infidelity, first menstruation... For this study we will use the DVD box, which contains nine episodes, from the series Malu Woman, launched by Globo Brands in 2006. In this chapter, we will study how there was representation of female emancipation through this television series. For that purpose, let us corroborate the theories of some historians with important feminist studies, among them: Raquel de Barros Miguel and Carmen Rial (2012), Maria Zilda Matos and Andrea Borelli (2012) and Carla Bassanezi Pinksy (2014).

‘We’re Going to Make You into a Proper Woman’: Postfeminist Gender Performativity and the Supernatural in Penny Dreadful (2014-2016)

Neo-Victorian Gothic fiction exploits the supernatural to achieve social and sexual emancipation for women, shaping the narrative into what Esther Saxey defines as the ‘liberation plot’ (2010). John Logan’s Penny Dreadful (2014-2016) explores how female characters transgress heteronormative gender roles with the assistance of supernatural forces. My main aim is to show how the series fails to grant the female protagonists a sense of feminist liberation, punishing them instead for their subversion of socially imposed gender acts. In applying Saxey’s (2010) and other supplementary approaches to gender emancipation, I analyse the female characters’ failed attempt at achieving it by unleashing their supernatural doubles. In doing so, I show that—in spite of Penny Dreadful’s apparent advocacy for female emancipation—its misogynistic vilification of vindictive women can be understood as part of the show’s postfeminist context of production.

Entrevista a Rania Benzina. La dicotomía del proceso emancipatorio político y social de las tunecinas

La lucha de las mujeres tunecinas desde la década de 1980 se encuentra dividida entre el feminismo islámico y el feminismo laico. El feminismo laico critica que la emancipación política y social de las mujeres esté sustentada en la religión, porque la religión subsume el papel de la mujer en la sociedad; mientras que el feminismo islámico sostiene que la lucha contra el patriarcado se enmarca en el Islam, porque la religión ha brindado los elementos para que las mujeres sean sujetas de derecho y sujetas políticas. Desde las protestas del año 2011, la dicotomía de ambas vertientes es más profunda, especialmente tras la llegada al poder del partido Al Nahda, y se ha logrado que la reconstrucción identitaria de la mujer tunecina sea un debate entre las mujeres. La mujer tunecina, no es sólo árabe o islámica, es amazigh (bereber), es magrebí y es africana. La entrevista con Rania Benzina, integrante de la Asociación Tunecina de Mujeres Demócratas, expone la complejidad del entramado político y la lucha contra el patriarcado de las mujeres en Túnez, así como una cuestión vital: ¿qué significa ser una mujer en Túnez? La respuesta que se está articulando evidencia un proceso de redefinición política.

Female emancipation in a male dominant, sexually dimorphic primate under natural conditions.

In most group-living animals, a dominance hierarchy reduces the costs of competition for limited resources. Dominance ranks may reflect prior attributes, such as body size, related to fighting ability or reflect the history of self-reinforcing effects of winning and losing a conflict (the winner-loser effect), or both. As to prior attributes, in sexually dimorphic species, where males are larger than females, males are assumed to be dominant over females. As to the winner-loser effect, the computational model DomWorld has shown that despite the female’s lower initial fighting ability, females achieve some degree of dominance of females over males. In the model, this degree of female dominance increases with the proportion of males in a group. This increase was supposed to emerge from the higher fraction of fights of males among themselves. These correlations were confirmed in despotic macaques, vervet monkeys, and in humans. Here, we first investigate this hypothesis in DomWorld and next in long-term data of 9,300 observation hours on six wild groups of robust capuchin monkeys (Sapajus libidinosus; S. nigritus, and S. xanthosternos) in three Brazilian sites. We test whether both the proportion of males and degree of female dominance over males are indeed associated with a higher relative frequency of aggression among males and a higher relative frequency of aggression of females to males. We confirm these correlations in DomWorld. Next, we confirm in empirical data of capuchin monkeys that with the proportion of males in the group there is indeed an increase in female dominance over males, and in the relative frequency of both male-male aggression and aggression of females to males and that the female dominance index is significantly positively associated with male male aggression. Our results reveal that adult sex ratio influences the power relation between the sexes beyond predictions from socioecological models.