Feminine Universe Research Articles

La luna y la feminidad entre los tobas del oeste formoseño (Gran Chaco, Argentina)

O presente trabalho aborda a estreita e significativa associação existente entre a mulher e o céu na cosmologia dos Tobas do Oeste de Formosa (família linguística Guaicuru). Para tanto, é focada a relação estabelecida, num nível prático e simbólico, entre o universo feminino e o personagem celeste, representado pela lua. A lua é um ser masculino que no plano narrativo deixa a sua marca na constituição mitológica da mulher toba. A partir desse ponto, é realizada uma analise do conjunto de mecanismos sociais e aspectos da organização social ligados à concepção toba da feminidade. A análise da trama simbólica de relações significativas entre a feminidade e o plano celeste mostra, por sua vez, que a mulher é considerada como um ser perigoso, com marcadas características de liminaridade. Em decorrência disso, a práxis social toba constrói uma feminidade obediente às prescrições sociais, pois a insubordinação e a quebra das normas na vida cotidiana podem desencadear uma série de desajustes que vão do individual ao coletivo, podendo também gerar desordens cósmicos.

Iracema, Lúcia e Aurélia: três personagens femininas sob o olhar de um escritor romântico.

SUMMARY: This work proposes a reflection about three female characters: Iracema, Lucia and Aurelia, from Jose de Alencars literary compositions Iracema (1865), Luciola (1862) and, Senhora (1875), respectively, from Literary Period of Brazilian Romanticism. This research tries to show the role of feminism inside the society at that time, in which woman had a little importance, but her strength and her decision guided her dreams and abnegations. To comprehend this context, we bring in Brazilian Literature, specifically in Literature Period of Romanticism, some readings of recognized authors that can help us to understand the feminine universe. We apply an explicit and objective questionnaire with dissertative questions to some students from Letras Course from FFCL-Ituverava and readers from literary compositions that are been studied.

IRACEMA, LÚCIA E AURÉLIA: TRÊS PERSONAGENS FEMININAS SOB O OLHAR DE UM ESCRITOR ROMÂNTICO

This work proposes a reflection about three female characters: Iracema, Lúcia and Aurélia, from José de Alencar´s literary compositions Iracema (1865), Lucíola (1862) and, Senhora (1875), respectively, from Literary Period of Brazilian Romanticism. This research tries to show the role of feminism inside the society at that time, in which woman had a little importance, but her strength and her decision guided her dreams and abnegations. To comprehend this context, we bring in Brazilian Literature, specifically in Literature Period of Romanticism, some readings of recognized authors that can help us to understand the feminine universe. We apply an explicit and objective questionnaire with dissertative questions to some students from Letras Course from FFCL-Ituverava and readers from literary compositions that are been studied.

Recomeçar e tudo sobre minha mãe: uma leitura analógica sobre a representação feminina e materna no cinema de Roger Michell e Pedro Almodovar

This paper explores the themes that exist in the film Todo sobre mi madre of Pedro Almodovar (1999) and The Mother (2003) de Roger Michell, throughout a semiotic reading of the images and the discourses of the protagonists characters, focusing on the construction of both maternal and feminine roles, with the intent to verify and question social conventions about the feminine universe and to identify stereotypes, also not stereotypes of images about the maternity in our culture.

Para ser um guri: espaço e representação da masculinidade na escola

Our experience with psychoanalytic clinic of children in a public mental health service during the late years has shown us a large difference between the number of boys and girls assigned to psychotherapy due to school problems. The number of boys is considerably higher. What makes boys so averse school today? Or would school be averse something of masculinity that is conveyed here? What causes this conflict that is specially hard in some individuals who are assigned to psychotherapy as a way to be tamed? Would it be due to an attempt to erase the difference, so that it returns as violence and transgression at school? How do boys build models of identification if they cannot be different among a strongly feminine universe?.

Les écrits autobiographiques des femmes russes du 18e siècle rédigés en Français

Whatever the perception of French philosophy by the authors of the autobio¬ graphies with which we propose to deal in this article, the Enlightenment provoked and formed their strategy which consisted in making the shadow supposed to surround the feminine universe disappear. This feminine universe is shown more clearly than in the writings of French authoresses. In the texts of Catherine the great, countess Dashkowa, Mme de Kriidener and the writer of the Note secrète feminine ambition expresses itself more radically than in Western Europe during the same period. Whilst in France a woman could aspire to no more than the rank of queen of a Salon and was excluded from the public stage during the French Revolution, in Russia, the same period saw women making revolutions, taking power, dictating their will and drawing up self-portraits in full conscious¬ ness of their historical role : the first was empress, the second member of both Russian academies and numerous European ones, the third counsellor to Alexan¬ der the 1st. Unlike French female aristocratic memoirs, where a need to provoke passion and awaken masculine desire is often manifest, the quest for masculine love and real or imaginary desires are generally absent from our Russian texts. Women — mothers, daughters or friends — , and not men, become objects of sensibility and affection. Men are left on the margins of life. The idea that passion is women's main occupation, established and maintained in France by authors and authoresses in the 18th century, is hardly relevant here. The Russian authoresses insist on their status as women and their femininity is their defining aspect.

L'enfant, sujet et objet du conte (Sanan - Haute-Volta)

Abstract Following a brief sketch of her methodology and a survey of all the tales (91) featuring a child within her corpus (327 tales), the author presents her analysis in two sections. The first one, subtitled «The image of the child as a social being» deals with the child as subject of the tale. Through an internal analysis of the tales : — their types and themes (mainly situations and tensions issued from the network of relationships in a polygamous, patrilinear and patrilocal society), — the human paradigm within which the child usually appears (exclusively his parents — mother, father, sisters, brothers, plus the other women living in the compound), — the type of relations he has with his partners (total dependency on the feminine world that surrounds him, and specially on his mother), the author tries to define the child's image as it is revealed in these tales : asexual being, without any kind of real social status, mostly passive ; she also shows how, in fact, one can only arrive at this image by what is said of the child's needs and rights revealed through the behaviour of the adults towards him. The second part deals with the child as object of the tale. By analysing the tales focussing on orphans and benjamens, the author demonstrates their double message. Besides the obvious one adresse d to this adults or senior partners, an other message, unsaid, unrevealed, adressed to the child proposes the models of behaviour that will be his, when grown up. All the tales featuring orphans make a clear differentiation between boys and girls reproducing the necessary parting of the young boy from the feminine universe ; in doing so, they deliver to each of them the message which corresponds to their new status. On the other end, the tales featuring benjamins recreate the link between the masculine and the feminine domains, but on a different basis .-solidarity replacing dependency.