Masculine Point Of View Research Articles

The Sociality of Tragic Fate of Marginal Characters from a Masculinist Perspective - An Example from the Film Mr. Tree

The protagonist of this film is Mr.Tree, an over-aged youth, unemployed and mentally ill, who lives at the bottom of Chinese rural society. Through the subjective perspective of him, a marginal character in the society, the film reflects on and crises the social problems faced in the process of development and transformation of contemporary society under the domination of the patriarchal system, and this paper will discuss how this process is based on the dual identities of grassroots and male. This paper will discuss how this process has caused irreparable damage to the fate of the marginalized characters represented by Mr.Tree, who is both grassroots and male, as well as the inevitable social factors for this damage to occur, so as to analyse the plight of the underclass under the domination of the patriarchal system from a masculine point of view. The male survival dilemma under the domination of patriarchy is analyzed from a masculine perspective.

Sexist discourse against women on social media: #erkekyerinibilsin Twitter stream example

Doğuştan gelen ve bireyin biyolojik olarak sahip olduğu kadınlık ve erkeklik cinsiyeti daha sonra yaşam içerisinde aile yaşamı, sosyal çevre, ekonomik ve kültürel yapı vb. tarafından şekillendirilerek bir kimlik haline dönüşür. Bu kimliklerin inşasındaki eşitsizlikler olarak tanımlayabileceğimiz toplumsal cinsiyet eşitsizliği günümüzde toplumlardaki sosyal, ekonomik, kültürel, politik ilerlemelere rağmen artarak devam etmektedir. Geleneksel medya olarak tanımlanan radyo, televizyon ve gazetelerde, yeni medya olarak tanımlayabileceğimiz sosyal medya ağlarında da kadına yönelik cinsiyetçi söylemlerle sıklıkla karşılaşılmaktadır. Sosyal ağlar, kimi zaman, söz konusu bu cinsiyetçi söylemleri belli başlı sözceleme stratejileri ve olanakları ile cinsiyetçi söylemin hedefi ve nesnesi olan kadını değil onun karşı cinsi olan erkeği söylemin nesnesine dönüştürebilir. Çalışmanın konusu bu söylem ve sözceleme stratejilerini incelemektir. Bütüncemizi, 7 Haziran 2020’de twitter’da #erkekyerinibilsin etiketiyle başlatılan; geçmişten günümüze dilimize yerleşmiş, kadına yönelik cinsiyetçi söylemler içeren, sıradanlaşmış atasözlerini, deyimleri, maço söylemleri tersine çevirerek erkeklere yönelik uyarlanmasıyla başlayan ve kendiliğinden bir akıma dönüşen tweetler oluşturmaktadır. Akım çerçevesinde üç gün boyunca iki bini aşkın tweet atılmıştır. Çalışmada, bu tweetlerden 90 tanesi incelenmiştir. Eril bakış tarafından tanımlanan kadın kimliğini ifade eden bu söylemlerin çok sesli sözcelem biçimi olan tersinleme ile (Fr. ironie) tersine çevrilmesi yeni bir anlam ve kimlik inşasının da oluşmasına yol açmıştır. Seçilen tweetler kendi içlerinde dilsel yapı, işlev ve değer açısından sınıflandırılmıştır. Eril kültür tarafından tanımlanan kadın kimliğinin anlam alanları dilbilimsel ve anlambilimsel yöntemle çözümlenmiştir. Kadın kimliğini cinsiyetçi söyleme dayanarak tanımlayan söylemlerin tersine çevrilmesiyle elde edilen yeni söylemlerdeki değişkenler sözcelemsel olarak incelenmiş, sözceleme öznesinin karşıt bir kimlik inşa ederken aslında kendi kimliğini de kurduğu ortaya konulmuştur.

The Representation of Domination and Resistance in Feminist Dystopias: The Case of The Handmaid’s Tale Tv Series

Geleceğe yönelik düzen tasarımlarını iki kutup bağlamında düşünmek mümkündür. Buna göre bir tarafta ütopya, diğer tarafta ise distopya yer almaktadır. Ütopyalar ideal gelecek kurgusu yaparken; distopyalar ise karanlık ve kaygı verici bir çerçeve çizer. İkisi de düşsel nitelik taşımakla birlikte, gerçeklikten kopuk değildir. Ütopyanın iyimser öngörüleri de distopyanın karamsar korkuları da her zaman gerçek dünya ile bağlantılı olmuştur. Bu çalışmanın konusunu oluşturan distopik anlatılar, mevcut toplumsal düzendeki kusurlara dikkat çeken ve bu kusurlar ortadan kaldırılmadığı takdirde meydana gelebilecek olumsuzlukları gösteren uyarılar olarak değerlendirilmektedir. Bununla birlikte distopyaların erkek egemen bir tür olduğu ve dolayısıyla eril bakış açısı taşıdığı unutulmamalıdır. Yirminci yüzyılın sonlarında ortaya çıkan ve kadın yazarlar tarafından kaleme alınan feminist distopya ise, odak noktasına kadını koyan ve erkek egemen düzeni eleştiren anlatılardır. Bu çalışma, feminist distopya örneklerinin ‘geleceğe dair paranoyak tahminler’ olduğu görüşüne karşı çıkarak, bu tür anlatıları ‘var olan erkek egemen düzenin muhafazakâr gerçekliğinin alegorileri’ şeklinde kabul etmektedir. Bu bağlamda feminist distopya türünün temsilcilerinden kabul edilen Margaret Atwood’un 1985 yılında yazdığı The Handmaid’s Tale romanından aynı adla uyarlanan televizyon dizisi ele alınmıştır. Ataerkil düzene eleştirisini distopya türü üzerinden yapan dizide, egemen düzenin tahakküm araçlarının ve tabi olanların direniş olanaklarının nasıl temsil edildiği nitel içerik analiz yöntemiyle incelenmiştir.

Deleuze in utero: Deleuze — Sartre and the Essence of Woman

The article is devoted to a detailed analysis of Deleuze’s early essay “Description of Woman” (1945). The author demonstrates that this text contains both the rudiments of the Deleuzian problems of immanence and abundance of desire and also reveals Sartre’s influence on Deleuze’s thought because what Deleuze found in Sartre prompted him to develop his own philosophy. Dissatisfied with Sartre’s concepts of love and desire, Deleuze pushes Sartre toward immanence, for which purpose he pares away those aspects of Sartre’s thought that he sees as problematic. The author shows how Deleuze in this early essay abandons Sartre’s intersubjectivity to discover a specific relationship with woman-as-object-of-desire. Rejecting Sartre’s model of the Other-as-subject, Deleuze arrives at what he calls the a priori Other. The article describes how Deleuze challenged Sartre’s understanding of sexual difference in order to find the ontological and bodily foundations of desire through a rejection of subjective desire in favor of a more fundamental desire. Deleuze hoped to develop a model of desire that would make it something immanent instead of a lack. The article shows that Deleuze’s attempt to discern this immanence in woman fails but that he subsequently provides an aesthetic method for realizing the immanence of desire and thus counteracts Sartre. One of the main points of Deleuze’s early text is rejection of Sartre’s masculine point of view, which makes male desire the foundation of female sexual difference. In conclusion, the author claims that the encounter with Sartre was a watershed event for Deleuze because it was Sartre’s philosophy that Deleuze tried to recast to allow for immanence. In this sense, Deleuze’s first essay is a mirror image of his last essay because both of them seek immanence.

Reencenação e pós-apocalipse na obra fotográfica de Francesca Woodman

A obra fotográfica de Francesca Woodman surge integrada numa geração estadunidense de fotógrafas, ainda imbuídas do espírito da segunda vaga feminista, nos anos setenta, da qual fazem parte Ana Mendieta e Cindy Sherman, entre outras. Para além da evidente qualidade estética, a obra de Woodman é profundamente questionadora dos papéis de género, que tende a inverter e a rasurar nas suas fotografias sempre de modo pertinente. Neste sentido, são particularmente significativos os seus tableaux vivants fotográficos, nos quais recria quadros célebres do cânone artístico mundial e de passagens bíblicas, questionando assim, nas suas recriações, não só as noções de género, mas também a própria validade da historiografia artística oficial, dominada pelo ponto de vista masculino. Simultaneamente, as suas fotografias configuram um mundo pós-apocalíptico e propõem uma utopia de índole feminista como resposta. Pretendo analisar com detalhe os elementos referidos.

Desire and Rape in the Feminine: The Tales of Echo and Salmacis: An Ovidian Answer to Propertius 1.20?

Desire and Rape in the Feminine:The Tales of Echo and Salmacis: An Ovidian Answer to Propertius 1.20? Jacqueline Fabre-Serris (bio) In this paper I offer a comprehensive study of two stories told in Ovid's Metamorphoses 3 and 4, each about the meeting between a boy (Narcissus/Hermaphroditus) and a nymph (Echo/Salmacis), consumed with desire at first glance. In both passages Ovid uses a narrative pattern recurring in many erotic tales of the Metamorphoses with male and female protagonists: the sudden sight of an erotically attractive young individual, followed by violent desire, declaration of love in vain, and attempted rape. Since the 1964 study of Hugh Parry,1 violence and rape2 in Ovid's Metamorphoses have received serious scholarly attention. In the United States there is an ongoing debate on whether and how it is even possible to teach Ovid today, since his vivid depictions of rape and sexual assaults may be offensive for some students.3 Although I will not discuss this particular issue, it seems important to keep in mind that Ovid is the ancient author most interested in examining erotic feelings and sexual situations from a female perspective. In my opinion, the two passages I compare typify Ovid's personal, authorial choice to empathize with women's point of view and behavior by giving literary space to a female voice.4 I would argue that Ovid has derived the idea of constructing two parallel stories about erotically desirous nymphs, Echo and Salmacis, from Propertius 1.20. In this text Propertius provides the exemplum of mythical Hylas's rape to support advice given to his friend, Gallus, about Gallus's beloved, also named Hylas: huic … / nympharum semper cupidas defende rapinas (Ward off from him the ever lustful abductions by nymphs, 7.11). In both narratives, Ovid refers, through a wide range of textual echoes, to various passages from Propertius 1.20. Propertius is only interested in the masculine point of view. He describes in detail the sexual advances of Boreas's sons, Hylas's fascination for his own image seen in the water, and Hercules' despair after Hylas's abduction. Only at the end, and very briefly, does Propertius mention the kidnapping of the boy by the lustful [End Page 127] Mysian nymphs.5 Unlike Propertius, Ovid focuses on the nympharum cupidas rapinas by describing how both women, although very different—one a nymph possessing extremely limited speaking capability, the other of some eloquence—fall in love at first sight, try to seduce the boy they desire by looking for an opportunity to be successful, attempt to kiss him despite his resistance, and, in the case of one of the women, to have sex with him. I. Echo and Salmacis: Two Unexpected or Exemplary Cases? Echo and Salmacis do not comply with the traditional picture of the 'nymph.' Both behave in ways that defy Roman literary gender stereotypes. Echo is said to have kept Juno away from other nymphs, when they were making love with Jupiter, by speaking for a long time with the goddess, and displaying considerable skill (longo prudens sermone, Met. 3.364). As Ovid points out (cum deprendere posset / sub Iove saepe suo nymphas in monte iacentis [while she (Juno) could have caught the nymphs often lying under her Jupiter in the mountain, 3.362–363]), Echo was trying to help not Jupiter but her fellow nymphs so that they might enjoy their sexual encounters without being disturbed or punished—apparently because they were her friends. Such friends make it usually easy for their friends to have erotic encounters with their beloved. Catullus attests that Allius did the same for him when Allius enabled him and Lesbia to be together in a safe place (68.41–44, 67–69). However, such behavior was not expected from a Roman woman, who was supposed to consider pudor (sexual reserve), both her own and that of other women, as a priority. Salmacis does not enjoy what the other nymphs like to do, namely, hunt with Diana. In the Metamorphoses, Ovid has multiplied the stories in which young girls, mortals or nymphs, eager to preserve their virginity, choose to live in the woods and...

Współczesne kobiety myślą o sobie samych – świadectwo filozoficzne

The article is an attempt to present the peculiar character of feminist philosophy, using as examples three women thinkers living in different times and places. The phenomenologist and Catholic Edith Stein writes about the similar natures of men and women, their equality, and the vocation of women to realize their talents and abilities. The French philosopher and psychoanalyst Luce Irigaray deconstructs philosophy and culture created from the masculine point of view and looks for ways of expressing women’s desires and imaginations. The contemporary Polish philosopher Jolanta Brach-Czaina describes feminine experiences that have until now been absent in philosophy. What is common to them all is the need to speak with their own voice about their own experiences and to construct an autonomous feminine personality.

Concepções de homens hospitalizados sobre a relação entre gênero e saúde

A saúde masculina é ainda pouco discutida. Estudos mostram que há um padrão social hegemônico sobre o masculino que influencia comportamentos preventivos de homens diante da saúde. Esta pesquisa, qualitativo-descritiva, investigou por meio da análise de conteúdo de entrevistas de dois homens hospitalizados, as suas concepções sobre gênero e saúde/adoecimento. Sob o ponto de vista masculino, homens e mulheres ficam doentes igualmente, embora as mulheres cuidem mais e preventivamente da sua saúde devido ao corpo reprodutivo. Os homens cuidam menos da saúde porque têm dificuldades em se afastar do trabalho, procuram por ajuda médica apenas diante de situações críticas que impõem limites na vida social e adoecem de modo mais severo. As concepções identificadas enfatizam a necessidade de elaboração de políticas públicas, que visem promover a saúde, específicas à população masculina.

Commentary on Article by Lauren E. Storck: A Masculine Point of View

Commentary on Article by Lauren E. Storck: A Masculine Point of View

Gender and ischemic heart disease

Physiological and pathological processes differ in men and women, depending on factors such as sex and sociological and anthropological characteristics. However, many diseases are still approached from a masculine point of view. In this respect, ischemic heart disease is one of the diseases that most clearly reflects biological differences and social inequalities. In women, the disease presents at a more advanced age, and presentation is frequently atypical with a higher prevalence of comorbidities and greater severity. Consequently, treatment and outcome differ from those in men. Additionally, women differ in their knowledge, and beliefs regarding ischemic heart disease, as well as in their attitudes at symptom onset. Therefore, clinical practice should place significant emphasis on all these aspects in order to avoid inequalities between men and women in the correct diagnosis, treatment, prevention, and rehabilitation of ischemic heart disease.

Género y cardiopatía isquémica

Physiological and pathological processes differ in men and women, depending on factors such as sex and sociological and anthropological characteristics. However, many diseases are still approached from a masculine point of view. In this respect, ischemic heart disease is one of the diseases that most clearly reflects biological differences and social inequalities. In women, the disease presents at a more advanced age, and presentation is frequently atypical with a higher prevalence of comorbidities and greater severity. Consequently, treatment and outcome differ from those in men. Additionally, women differ in their knowledge, and beliefs regarding ischemic heart disease, as well as in their attitudes at symptom onset. Therefore, clinical practice should place significant emphasis on all these aspects in order to avoid inequalities between men and women in the correct diagnosis, treatment, prevention, and rehabilitation of ischemic heart disease.

"... Equality from the Masculine Point of View ...": the 2nd Earl Russell and Divorce Law Reform in England

"... Equality from the Masculine Point of View ...": the 2nd Earl Russell and Divorce Law Reform in England

Her Work: Stories by Texas Women ed. by Lou Halsell Rodenberger

Reviews 63 Mexican folk history focuses events into the lives of individuals, families and locales. If this history produces heroes, they are immediate and of the people: Benito, Pancho, Joaquin — in this case, the young padre. Candelaria’s account opposes conventional historiography, which celebrates remote heroes who are distant from the preservers of an oral tradition. That distance begets abstractions, not the stuff of actual life. The oral tradition of Mexican folk is a participation activity for the hearer, as well as for the narrator. It demands a conversational mode. As narrative, folk history, told thus, develops and preserves cultural identities. History, to Candelaria, is what is constant in human experience. His title, Not by the Sword, indicates a position which appeals to Americans, both Latin and non-Latin: A heritage is preserved and transmitted by living it, not by imposing it upon an enemy militarily. The careers of his lineal ante­ cedents, Padre Tercero and soldier Carlos, demonstrate Candelaria’s alterna­ tives and illustrate the validity of his preference. Candelaria’s objectless title suggests that an action commenced by the sword isof no productive consequence. Furthermore, the title’semphasis upon what the author considers not to be the source of history builds an automatic suspense. The expectation of a positive alternative to what is refuted in the title generates a mystery that is unravelled only by reading the entire book. Such development occurs regularly as a defining criterion for fiction. Cande­ laria makes it work for history, as he exploits literary style as a powerful tool of folk history telling. Whether the reader would consume historical fact, enjoy structured narrative or tease out stylistic puzzles, he will find Nash Candelaria’s Not by the Sword a book well worth his attention. The unusual blend of Candelaria’s experiments should keep the book under the scrutiny of critics for a long time. ROBERT LINT California Polytechnic State University, San Luis Obispo Her Work: Stories by Texas Women. Edited by Lou Halsell Rodenberger. (Bryan, Texas: Shearer Publishing, 1982. 335 pages, $16.95.) The reader who opens this volume of contemporary short stories by Texas women expecting to find tales of conventional cowboy lore will be dis­ appointed. The thirty-one stories contained in the collection defy any definite categorization of theme, content, or motif. They can be defined only in a broad sense, as editor Lou Rodenberger puts it, as explorations of the “mys­ teries and the complexities of human life.” Rodenberger explains the rationale for collecting stories written strictly by women who have lived in Texas: the nature of the state itself encourages breadth and diversity of vision. These stories certainly fulfill this description, since they vary widely in several respects: geographical locale — from urban chaos to rural loneliness;social class — from middle-class dilemmas to lower- 64 Western American Literature class minority concerns; point of view — from child to adult (including four stories in the masculine point of view) ; theme — from family and femalemale relationships to women’s individual concerns. Because of this variety, the reader will necessarily find some stories more amusing, interesting or edifying than others. Yet this variety of response is not, I think, due entirely to personal perspective, for the stories definitely vary in quality. For instance, I was able to identify strongly, on the one hand, with Rico’s point-of-view in Estela Portillo Trambley’s “Village,” when, as a private in Viet Nam, he shoots his sergeant in the arm to prevent the massacre of a village of innocent Vietnamese citizens. On the other hand, I found equally convincing and realistic the story of a young girl Ann and her first encounter with death — the child’s attempt to understand the rules of the adult world (“Rules” by Ann Marable Sparks and Betty Marable Flowers). Yet other stories such as Ruth Brodsky’s “The Shamus and the Shikse” and Carolyn Osborn’s “Wildflowers I Have Known,” were less accessible either because of a strong and specialized cultural perspective or a rather unconven­ tional technique. The volume itself is well-bound and attractively printed, and its dust cover carries a painting by Ancel E. Nunn of a woman, presumably in a rural Texas...

Novels of Innocence: Fictions of Loss

Most novels, because they so wholly enlist our sympathies, seem to tend toward the subjective, the passive, the feminine. The subtitle of the Marquis de Sade's Justine, The Misfortunes of Virtue, might no less pertinently be attached to Henry James's Portrait of a Lady or Wings of the Dave. Such a loss, from a more detached, more dynamic, more masculine point of view, may be envisaged as a gain of experience.'