Good Wife Research Articles

A Woman’s Place Is in the Morgue: Understanding Scully in the Context of 1990s Feminism

A Woman’s Place Is in the Morgue: Understanding Scully in the Context of 1990s Feminism

:Conduct Becoming: Good Wives and Husbands in the Later Middle Ages

:<i>Conduct Becoming: Good Wives and Husbands in the Later Middle Ages</i>

Women vs modernity in Rajinikanth's Tamil-language films: The mother, the good woman, the modern virgin and the angry feminist

Abstract This article presents criticism on Tamil-language films starring the iconic Indian actor Rajinikanth, focusing on the development of female characters as battlegrounds between tradition and modernity. Within the framework of Rajinikanth films as nationalistic projects in which the gendered portrayals of characters are tied up with notions of patriotism and duty, female characters in Rajinikanth films almost always conform to four stereotypes: the goddess mother, the traditional good woman, the modern virgin, and the angry modern feminist. Using close reading and a broad chronological survey of Rajinikanth's filmography, this article highlights the modern virgin stereotype as a mediating force between tradition and modernity, and argues that the predictable reconstitution of modern virgins into traditional good wives betrays growing fears of modernity and globalization within Tamil culture.

Serial Surveillance: Narrative, Television, and the End of the World

This article examines the relationship between two trends in contemporary serial television: the frequent use of surveillance as a device for non-linear storytelling, and an emphasis on the emotional devastation of series characters and viewers alike. Through analysis of shows ranging from 24 and Person of Interest to The Good Wife and Westworld, the article highlights the significance of surveillant logic to contemporary television while also establishing serial narrative as part of a landscape of despair underlying television's new “golden era.” The intersections in theories of time coming from surveillance studies, television studies, and film studies indicate how the surveillance functions both as an element of serial narration and as the imaginary of the American postmillennial security state.

The Lexico-Semantic Analysis of the Common and Various in World of Gender Picture in the English and Tatar Linguistic Cultures

Phraseological unit is a peculiar unit of language, as complex and contradictory as language and culture. The results of a contrastive description of phraseological units cast light on the general and the differing of conceptual metaphors, which predetermines the similarities and differences of linguistic world-images. The ways of reflecting the extralinguistic reality being different for each individual language are formed in linguistic world-images. As a result, each language view of the world is characterized by cultural concepts, attitudes, and stereotypes. The value world view is a part of the linguistic world-image, since the reasoning about the good and the evil is an integral part of any society, language and culture. The universal concepts such as person, man, woman are reflected in language, and every culture comprehends its own values that must be inherent in person, man, woman. What determines these values – what is good and what is bad? An obligatory component of evaluation which directs the movement of the value judgment along the estimation scale is value stereotypes and attitudes. Linguistics demonstrates how social stereotypes influence the perception of the words such as “woman”, “man”. Social stereotypes often provoke discussions and turn into acute problems with the democratization of society, for example, a good wife – the keeper of the hearth, the hostess in the house. This paper, by comparing Tatar and English languages, examines gender structure in phraseological units.

‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife

As Keith Negus and John Street wrote in their Introduction to the “Music and Television” Special Issue of the journal Popular Music (No. 3, 2002), television is an important mediator of the knowledge, understanding and experience of music. Inverting their formulation to “music is an important mediator of knowledge, understanding, and experience of television” (as James Deaville writes), we can further our understanding of different, more or less obvious meanings transferred by a television program. Bearing these two complementary ideas in mind, we aim to map the kinds of knowledge that are being produced and mediated through music in two extremely popular TV shows, which are also famous for their (innovative) use of music: Grey’s Anatomy (ABC, 2005) and The Good Wife (CBS, 2009–16). These two series – a medical drama and a series about lawyers and politics – have (at least) two things in common: 1) the already-mentioned role that music plays in their narratives, and 2) the fact that both focus on female characters and ‘feminine’ stories, employing numerous, liberal and/or postfeminist discourses. Our goal will thus be, to investigate what ‘kind’ of a female subject is being produced through interactions of music and image and by the music itself, as well as what kind of (post)feminist discourse is deemed ‘acceptable’ in a mainstream television discourse.&#x0D; &#x0D; Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper&#x0D; How to cite this article: Mikić, Vesna, Adriana Sabo. "‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife." AM Journal of Art and Media Studies 17 (2018): 79−88. doi: 10.25038/am.v0i17.272&#x0D;

근대적 현모양처 ‘초봉’과 ‘미라’의 수난 그리고 모색 : 채만식, 『탁류』와 손창섭, 『여자의 전부(내 이름은 여자)』비교 연구

근대적 현모양처 ‘초봉’과 ‘미라’의 수난 그리고 모색 : 채만식, 『탁류』와 손창섭, 『여자의 전부(내 이름은 여자)』비교 연구

The Power of Woman in Weiner’s Little Earthquakes

This research aimed to explain the power of women as a good wife and mother to face many problems in their life. It applies psychological Maslow’s theory, who proposes five steps of Hierarchy of Needs covering Psychological Needs, Safety Needs, Belongingness and Love Needs, Esteem Needs, and Self-Actualization. This research used descriptive qualitative method which used to analysis and explained how the psychological theory was applied in literary work focused on character analysis in this novel. The data in this research were taken from the dialogue and narration of the novel. The finding of analysis indicates that there are four mothers struggling to fulfill their needs in life. They are Becky, Kelly, Ayinde, and Lia. Based on the novel, those of characters have a lot of problems in their life. Not only problems, as human they also have kind of needs. To analyze their needs, the researcher connected with Hierarchy of needs by Maslow and found that they can fulfill all the steps start from Psychological, Safety, Belongingness, Esteem, and the high step is Self-Actualization. In spite of they need struggling which is not easy. But from their intention, support from each other called sisterhood, and love form people around them, they can solve their problem and fulfilled their needs.

Conduct Becoming: Good Wives and Husbands in the Later Middle Ages. By Glenn D. Burger. Philadelphia: University of Pennsylvania Press, 2018. 262 pp. $65 cloth.

Conduct Becoming: Good Wives and Husbands in the Later Middle Ages. By Glenn D. Burger. Philadelphia: University of Pennsylvania Press, 2018. 262 pp. $65 cloth.

A discourse analysis for Korean women’s leisure culture from 1960s to the present - Application of semantic network analysis

본 연구는 현대 한국 여성의 여가에 대한 사회적 인식을 시대별로 분석, 여성들이 여가문제에 있어 어떤 이데올로기 갈등을 겪어왔는지 그 사회적, 문화적 맥락을 종합적으로 분석하여 향후 여성의 여가향유 환경 개선을 위한 의미 있는 시사점을 도출하고자 하였다. 이를 위해 본 연구는 여성 여가에 대해 다룬 총 4,614개의 언론 기사의 652,513개의 단어를 ‘의미연결망’ 기법을 활용하여 분석하였다. 연구결과, 1960년대에는 ‘현대화’와 ‘현모양처’ 이데올로기가 혼재된 양상을 보였고, 1970년대에는 전통적 현모양처에 뿌리를 두되 부업을 통해 가정 경제에 기여하는 희생적인 여성의 모습을 미덕화 했다. 1980년대 여성의 고등교육과 사회진출 증가로 ‘현대 여성 이데올로기’가 강조되었으나, 이 시기부터 여성 여가 문제에 있어 ‘현모양처’ 이데올로기와의 본격적 갈등이 시작된다. 여성의지위가 향상된 1990년대에는 오히려 두 이데올로기의 갈등이 심화된 양상을 보였고, 2000년대에도 이러한 갈등은 지속되며 오히려 이데올로기 갈등 사이에서 여성은 자신의 여가를 희생하는 경향을 보였다. 2010년대에는 두 이데올로기 간의 갈등이 여전한 가운데, 쉽게 소비할 수 있는 여가상품의 증가로 자투리 시간을 활용한 스낵컬쳐 여가를 선호하는 양상을 보이게 되었다.This study investigates the social discourse for Korean women’s leisure culture and analyzes the conflicts between the ideologies which affected to the women’s leisure issues with the social and cultural context. For this purpose, this study analyzed a sum of 652,513 words of 4,614 news articles about Korean women’s leisure by applying semantic network analysis. In the 1960s, both the enthusiasm for ‘modernization and ’good wife and wise mother’ ideologies were simultaneously affected to women’s leisure discourse. ‘The good wife and wise mother’ ideology have a stronger impact on women’s leisure culture in the 1970s. In the 1980s, even though the Korean women had higher education background and advanced social status compared to the former periods, both ‘good wife and wise mother’ ideology and ‘modern career women’ ideology conflicted each other. The conflicts between the two ideologies were intensified in the 1990s and the women tended to sacrifice their leisure in the course of the ideological conflicts in the 2000s. In the 2010s, women who exhausted due to the intensified conflicts between the two ideologies showed preference for passive forms of leisure.

The Arrival of New Women

The Arrival of New Women

Meanings of Sexuality: Views from Malay Women with Sexual Dysfunction.

In Malaysia, female sexual dysfunction (FSD) among Malays is common, so understanding the meanings of sexuality becomes crucial, as they can vary with identity, and this may influence each woman's subsequent reaction to sexual experience. In this article, we explore the meanings of sexuality that Malay women had developed throughout their lived experience. This qualitative study, situated within a social cognitive theory and a phenomenological framework, was conducted through in-depth and photograph elicitation interviews with 26 Malay women who had self-reported experiencing FSD. The findings suggest that the meanings of sexuality for these women linked closely with fundamental factors of Malay identity, which is comprised of tradition (Adat), religion (Islam), and language, that all influence gendered roles. Malay women understood sexuality to be sexual intimacy within marriage, privileging their marital role as a "good wife" over their personal rights within a sexual relationship. This understanding of sexuality was reinforced by meanings attributed to procreation, which Malay women linked closely to the purpose of marriage and their role as a "good mother." The findings should provide useful evidence that could be used in sexual health promotions to help reduce FSD and in clinical practice to generate appropriate therapy in Malaysia and elsewhere.

Are Independent and Liberal Women Villains?

This paper unpacks the perpetuation of negativity in liberal and modern female roles telecast by Pakistani Urdu TV drama serials. These dramas relay an implicit message that a woman cannot be a successful professional and a good wife or mother at the same time. The majority of contemporary TV dramas constantly present liberal, bold, and independent females in negative roles i.e., villains, anti-heroines and unsuccessful persons. Whereas leading positive roles appear to be traditional and conformed to conventions. Constantly, repeated negative female images and stereotypical patterns through TV dramas tend to impinge upon viewers. Thus, I employ the framework of social cognitive theory to comprehend the findings and examine the implications of these negative female images. This paper examines forty female roles appeared in five popular Pakistani Urdu TV drama serials telecast during the period of 2012-2016 and discusses the ways in which stereotypes are conferred to the negative female roles in these serials. By using the methodology of thematic analysis, I argue that by associating female negative roles with the impression of modernity, boldness, and liberalism, these drama serials indirectly reinforce conventional and subservient attitudes for women. Moreover, this type of portrayal in TV drama serials not only reinforces the passivity and subordination for females, but also reduces the prospects of diversity, openness, and acceptance of an independent and progressive approach of women in Pakistan.

Kobieta przy (filmowym) stole. Wegetarianizm, polityka mięsa i płeć kulturowa

The article explores cinematic representations of vegetarianism and meat-eating in the context of the blockbuster British romantic comedy Notting Hill (1999) and one of the episodes of the American legal drama The Good Wife, entitled The Red Meat. The article approaches the acts of meat consumption and its refusal performed by female characters from the perspective the sexual politics of meat whose major principles have been analyzed by Carol J. Adams in her 1990 work. The analysis of the representation of the relation between meat (consumed or rejected) and gender proposed in the article displays a twofold function it may perform in a cultural text: it may be used as a narrative strategy which helps complete a psychological portrait of a character and as a starting point to explore a changing status of vegetarianism in contemporary culture. Suspended between rejection and desire, animal meat served, as food becomes a focus of gender and identity inscribed in a broader context of the question of subjectivity of non-human animals.

Wahid Jahan, a Reformer's Wife and Partner in Muslim Women's Reform at Aligarh

As the Muslim women’s question was articulated by men in the ‘reform’ movement (as in other communities), the participation of women was also by their (male) design; many times, women’s reform activities were seen as evidence of their own (male) progress. This paper examines the role of women initiated in the reform movement and the ‘role model’ they were expected to play, especially if educated and wedded to one active in ‘reform.’ The paper takes up the study of Wahid Jahan in reform, wife of Sheikh Abdullah, a pioneer in Muslim women’s education at Aligarh in the early twentieth century. Initiated in reform by her husband, and expected to follow his guidelines in all-important matters like being a ‘good wife’, her life would still be worthwhile to explore if the wife’s commitment and initiatives moved beyond the expectations or dictates of her husband. The paper thus, through biographical writings on Wahid Jahan, seeks to examine the larger question of reform normative and wife’s agency; whether it was possible for a wife as subordinate partner in reform and agent at home, to extend spaces for women both in the family and the school, or to separate herself from her roles.

Framing the body, vocalizing the pain: perspectives of South Slavic female directors

ABSTRACTThe article argues that the recent output by a group of South Slavic female directors has created a synergy of thematic preoccupations and stylistic choices which constitute a new coherent development. Previously dominated by male figures, the region’s film industries have suffered a series of political and economic setbacks in the last three decades which additionally reduced opportunities for women. The authors discussed include Jasmila Žbanić (Grbavica aka Esma’s Secret, 2006), Aida Begić (Children of Sarajevo, 2012), Mirjana Karanović (A Good Wife, 2016), Ivona Juka (You Carry Me, 2015), and Hana Jušić (Quit Staring at My Plate, 2016). I rely on theoretical works by Elaine Scarry, Cathy Caruth, and Dominick LaCapra as a foundation for discussion of representation of trauma, as well as on Vivian Sobchack’s and Laura U. Marks’ phenomenologically informed approach to film interpretation, in particular their understanding of the role of the non-ocular senses in evoking an affective response in the spectator. Having focused on post-war themes, the five South Slavic female directors mobilize the mechanism of haptic visuality to appeal to the spectator’s embodied intelligence and his/her empathic involvement related to the traumas suffered by the female protagonists. In these films the violated and injured bodies serve as a site of cultural encoding and speak in place of the characters, some of whom have been silenced. Their traumas become a vehicle for soul-searching, resulting in substitution of the loss with a future-oriented agency. This space between the character’s trauma and her agency becomes an active ground for engaging the viewer through a set of representational strategies which, in turn, hold an inherent call to his/her own agency. Such politics of viewing suggested by these directors highlights an ethical dimension and lends agency to the region overwhelmed by narratives of victimization.

Race Rescue

Abstract This paper examines Methodist missionary discourse in Papua at the turn of the nineteenth century, locating two themes: what I call a pathology of desire, to be found in the polemical missionary discourses directed at sexuality, immorality and licentiousness, and a pathology of culture, to be found in their polemical discourses against abortion, infanticide and child-rearing practices. Together, these pathologies were seen as the main causes of population decline. The two discourses, constantly at play, produce a doubled image of Papuan women – the fallen woman and the bad mother – which, it was considered, necessitated the intervention of “a civilising mission.” This involved race rescue – the isolation of those thought vulnerable (children and young women) on the mission station, away from the dangers of the villages, at the same time instilling in them their own notions of sexual morality, and above all the training of Papuan women in European models of motherhood and domesticity, so they would become good wives and mothers.

The Moral Crisis and Salvation of Women

The article explores the similarity between the Japanese formula about the ideal of women «a good wife and a wise mother» and the Nazi slogan for the ladies «Kinder, Küche, Kirche» (i.e. children, kitchen, church). Further, the author shows that the life of the American woman of the fifties described by Betty Friedan in its nature does not differ much from the above formulations. Even under these conditions, the weaker sex demonstrated resistance to a monotonous life. The theory of female archetypes by Jean Shinoda Bolen showed that female types are different from each other. Modern Azerbaijani science, taking this into account, should be armed with new theories in order to find the key to the psychology of various types of women in the country.

Baking Powder Wars: The Cutthroat Food Fight that Revolutionized Cooking by Linda Civitello

Reviewed by: Baking Powder Wars: The Cutthroat Food Fight that Revolutionized Cooking by Linda Civitello Cynthia Ross Baking Powder Wars: The Cutthroat Food Fight that Revolutionized Cooking. By Linda Civitello. Champaign: University of Illinois Press, 2017. ix +252 pp. Illustrations, appendix, notes, bibliography, index. $19.95 paper. Linda Civitello’s latest book, Baking Powder Wars: The Cutthroat Food Fight that Revolutionized Cooking, is quite a departure from her previous globally centered and broad work, Cuisine and Culture: A History of Food and People. An attractive, full-color cover photograph of an old baking powder canister shot full of holes promises that the reader is about to embark on a raucous adventure of the leavening agent’s history. Yes, baking powder and raucous adventure just occurred together in the same sentence. Happily, Civitello’s work does not disappoint in creating a stimulating history of a now ubiquitous American ingredient. Using numerous public, private, and corporate collections in California and throughout the Midwest, the author has meticulously researched the development of baking powder and its indelible links to industrialization, corporate structures, food policy, and advertisements touting quick-rising breads as a key feature of the American dream. However, Civitello writes more than a straightforward business history. Before delving into the trade wars of baking powder moguls, she vividly explores how properly made daily bread—with the right amount of rise, a tender crumb, and consistently good flavor—was for centuries chiefly the burden of women. By the eighteenth century, bread making was closely associated with domesticity, wholesomeness, health, and purity. The stakes were high for women who struggled to turn out quality daily bread using potentially inconsistent leavening agents. Every loaf was potentially a shaming tool, used to either prove or ridicule her virtue as a good wife and mother. In response, women strove to create consistent and quick chemical leavening agents in their kitchens to alleviate the physical and social burdens of bread making. Their experiments with wood ash and tartaric acid eventually became the basis for a nationwide industry. Science refined baking powder production and improved the preciseness of the chemical process by the early nineteenth century. Chemical leavening became big business after the end of the American Civil War, with each company closely guarding their own recipe. Civitello [End Page 245] does well to carefully point out how the baking powder industry fit into the larger development of Gilded Age consumer culture with its foundation of consistent mass production. In the associated advertising war, businesses focused their efforts on women, attempting to create both brand loyalty and assuage any lingering doubts about the safety of chemical leaveners in a multi-decade media campaign. By the end of the century, midwestern baking powder manufacturers like Calumet, Rumford, Royal, and Clabber (later Clabber Girl) dominated the industry and grocers’ shelves. With industrial food production solidifying its place in American life in the first half of the twentieth century, the battle over baking powder shifted to the Federal Trade Commission and a resultant proliferation of self-rising flour, cake mixes, and quick breads touted as the solution to home baking for working women and harried housewives. By the twenty-first century, baking powder was ever-present but rarely considered due to this marked increase in quick mixes and commercial bakeries along with a significant decline in home baking. The recent antimodernist food movement has not changed that substantially. Civitello’s work is, as promised, an exciting exploration of baking powder and a welcome addition to studies of food history. Using the seemingly ubiquitous white powder found in most kitchens across the United States as a device to trace the historic role of women in food production, the rise of industrial food and adoption of early chemical food additives, and evolving patterns of consumption is no small task. Civitello accomplishes that and proves baking powder is indeed as American as buttermilk biscuits. Cynthia Ross Department of History Texas A&M University–Commerce Copyright © 2018 Center for Great Plains Studies, University of Nebraska–Lincoln

Conduct Becoming: Good Wives and Husbands in the Later Middle Ages by Glenn D. Burger

Conduct Becoming: Good Wives and Husbands in the Later Middle Ages by Glenn D. Burger