Image Of New Woman Research Articles

Beyond Stereotypes: The Polysemous and Polymorphous Representation of Women in Moroccan Cinema through Adam (2019)

This paper critically examines the portrayal of women in Moroccan cinema, with a specific focus on Meriem Touzani's film Adam (2019). The film is a substantial case study, challenging traditional gender roles, particularly in cinematically representing the two female protagonists' bodies and voices. By critically re-evaluating the poetics and politics of representing women in Moroccan cinema, this paper features the importance of adopting an intersectional perspective and engaging with feminist film theory. The study employs qualitative methods, including close textual and thematic analysis, to investigate how bodily expressions and vocalizations contribute to constructing gender identity. Within the film, the findings are situated in the broader scholarly discourse on gender representation, drawing on theoretical frameworks from scholars such as Laura Mulvey and Kimberlé Crenshaw. This research is interested in tapping into the present debate on transcending hegemonic patriarchal structures in the Moroccan cinematic apparatus, advocating for more unbiased and empowering narratives that reflect the diverse experiences of women. As active media consumers, the audience plays a crucial role in this advocacy. Eventually, this paper contributes to ongoing discussions about gender representation, cultural identity, and social change in Moroccan cinema, offering new insights into the dynamics of advancing a new image of women on screen.

The Portrayal of Women in Park Chan-wook’s Films— Using Decision To Leave as an Example

The “patriarchy” that has developed throughout Korean history, and human civilization as a whole, has lasted for millennia. This systematic, structured and unjust system of male domination over women has conferred a higher status, value and privilege on men. These institutions and behaviours form the conceptual framework of sexism, and at the heart of patriarchy is the maintenance and rationalisation of male privilege and power. Several of Park Chan-wook’s highly representative women’s films in recent years have stood up to observe society from a woman’s point of view, creating a new image of women. This essay takes director Table Chan-wook’s latest work, The Resolution to Break up, as an example, and discusses the image of women in Park Chan-wook’s films. Park Zan- wook creates a special and tense female image with the highly contrasting character of Song Seo-rae. Furthermore, he uses this unique female figure as a leading narrative to create a film that highly combines romance, thriller and suspense. As well as the main character Song Seo-rae, a typical oriental woman, she shows the consciousness of women’s self-awareness in modern society, facing up to her emotions and making choices in her relationships, who is no longer a traditional female figure who can be swayed by her emotions.

Feministyczna dekonstrukcja tradycyjnego obrazu kobiety w utworach Qiu Jin

Women’s issues are a significant subject of study in the realm of Chinese literature. In many works, it can be seen to oppose stereotypes or norms imposed on the female gender and to take measures leading to the emancipation of the individual. Such literature is symptomatic of a desire for change in society, that is, the overthrow of the patriarchal system and the introduction of equal rights between the sexes. An example of such prose is the works of China’s first feminist, Qiu Jin, who decided to fight for women’s rights. She was sentenced to death for her revolutionary activities. However, her texts introduced a completely new image of women into the public sphere - different from the one that had been reproduced for hundreds of years in ancient China. The poet chose to endow her heroines with charisma, courage, intelligence and the will to fight for a better life. Her aim was to make women aware of their situation in life, their social role, and to encourage them to leave the male-dominated world. Michalina Koniuk, in the chapter “Feminist Deconstruction of the Traditional Image of Woman in Qiu Jin’s Works”, proposes to analyse Qiu Jin’s works and present that the characters created by the writer oppose and destroy the image of the obedient and uneducated woman that existed in ancient China. First, the social role imposed on women in Chinese society has been described, namely that of obedient daughter, wife and daughter-in-law. The requirements and rules expected of Chinese women have been presented, and how Confucian norms contributed to the belittling of women’s role and position in Chinese society. As the poet was inspired by her own life experiences, Qiu Jin’s life were briefly introduced. Her childhood, during which the first signs of dissatisfaction with the obligations and social norms imposed on girls could be observed. An unsuccessful marriage mobilised the feminist to fight for women’s rights, to oppose the doctrines of Confucius and to leave home and go abroad. This was a great act of courage and at the same time a struggle for freedom and independence in the life of a feminist. That part was followed by an analysis of Qiu Jin’s works, whose female characters exemplify the kind of norms and behaviours that Qiu Jin rebelled against. At the same time, these characters deconstruct the traditional image of a woman and introduce a new one of a strong and independent individual. In this chapter, all poems and quotations have been translated by the author from Chinese into Polish.

Dominated Females: Lu Yin’s The Heart of Women and the New Woman

China’s political, social and cultural environment during the 1920s and 1930s shaped the ‘new woman’ notion, which was a crucial dynamic of female liberation during the May Fourth era. In Lu Yin’s novel The Heart of Women (Nüren de xin 女人的心), the image of new woman is secondary to the cause of China’s modernisation in a male-dominated May Fourth discourse. This essay will explore this position from three perspectives. The construction of the new woman during the May Fourth era characterises the first point. The second is male-dominated discourse of modern identity and new woman in the May Fourth literature. Male lead in The Heart of Women is the third aspect.

The Dao of Oshin

AbstractTV soap operas are disdained by the elite class in modern society, but some of them are much welcomed by ordinary people. Oshin, a 1983 Japanese serialized morning television drama, captivated both audiences. This series reflects both social transformation and prevailing norms. It also actively participates in the creation of a new social atmosphere and a new concept of womanhood. The characterization of the central heroes and heroines in this series convey the writer’s ideals and anticipation. Through her actions and her demeanor, the eponymous Oshin opens up a new path toward emancipation and a new image of women. To some extent, she shapes her world and that of others. The emergence of thousands of businesswomen has both echoed and responded to this popular, rags‐to‐riches story. This explains why Oshin has met worldwide acclaim. Oshin bravely pursues her personal independence, freedom, and happiness, but she also cares about others and always puts others first. She fights against patriarchy, but she respects men and treats them as partners rather than rivals. She is the integration of Western and Eastern culture and a fruit of the Second Enlightenment. She catches the essence of dao, whose wisdom lies in synthesizing and harmonizing seeming opposites in order to resolve predicaments and move forward. As we face an increasingly severe ecological crisis, such wisdom is urgently needed.

The Image of New Woman as Portrayed in Jhumpa Lahiri’s Novel The Lowland

The last decade of the Victorian era witnessed a major shift in the social attitude of the woman. It was a break away from the patriarchal system, and women emerging as independent being and moving towards achieving gender equality. The ‘New Woman’ is considered as a precursor to the feminist movement and thus the legacy of New Woman lives on to this day. Jhumpa Lahiri, the significant writer of the Indian diaspora has emerged on the global literary scene with her remarkable writings. The novel has a compelling plot of family relations. It delineates the tender fraternal bond between Subhash and Udayan and how it gets affected by the various paths they chose in their lives. This intensely emotional tale unfolds diverse dimensions of the woman caught in the predicament of conservative cultural practices at home, political unrest in society and the life of an exile in the immigrant land. It also explores Gauri’s expression of identity, her struggle with love, Bela’s choice for individuality and pragmatism in life has turned the novel into a unique narrative. In her second novel, ‘The Lowland’ Jhumpa portrays her women characters devaluing the patriarchal setup. They break the myths of womanhood and motherhood. Prominence is given to assert their position in society by restoring self-identity than nurturing deeper family relations. They fight with courage and confront various challenges in their marital relationship.

ANALYSIS OF POST FEMINISM AND PATRIARKI IN SONG "THE TEASER" OF JANNETA AND MAIA ESTIANTY'S WORKS

Since the 2000s, there have been many songs whose lyrics contain the meaning of infidelity. In line with the problem of infidelity, the development of creation and the song industry also began to highlight the problems of infidelity. One of the famous songs was titled Sang Penggoda by Tata Janneta and Maia Estianty. Women inspired many songwriters to produce works of art, which then dominated the lyrics of pop songs, dangdut, skirts, and so on. No wonder the song lyrics that describe women are selling well in the music industry market. This study analyzes the representation of postfeminism and patriarchal ideology in the song lyrics of Sang Penggoda. The research method used is critical discourse analysis with the technical analysis of Norman Fairclough's model, with the approach of postfeminism theoretical framework, patriarchal ideology, and Michael Foucault's analytical theory. The results of the study show that the song is a media forming the feminist ideology of power, namely strengthening the first woman and marginalizing the second woman. Song writers have the ability to reflect on the ideology of listeners towards post-feminism ideology and patriarchal ideology and use it to encourage oppressed women to continue to struggle to build a new image of women who are strong, firm, and independent in making decisions in their lives.

Hister Ergo Sum

Starting at the end of the Nineteenth century, the hysterical body invaded the European medical and artistic scene, giving birth to different kinds of ambivalent performances. The sexed body was the dominant reference in the definition of hysteria, which, for a long time, was considered by medicine as a form of neurosis typical of women/females. The hysterical body, with its troubling sexuality, was considered as the pathological body par excellence and, as a consequence, had to be regulated. At the Salpêtrière, the Parisian clinic run by Jean-Martin Charcot, the staging of the hysterical body seemingly offered a «great representation of desire» produced by the masculine gaze lingering over a female body: a grotesque body-marionette that moved, miming strong erotic scenes repeated at will under the impulse of a doctor-director. At the same time, the hysterical body began to be investigated also by the performing arts, finding its perfect stage in the performances of Eleonora Duse and, especially, Sarah Bernhardt. Even if in different ways, the two actresses were equally inspired by the hysterical pantomime, which gave them the chance to promote not only an artistic renewal, but also a new image of woman.

Militância política e relações de gênero: o caso das mulheres militantes no Curdistão*

Resumo Este artigo pretende analisar a participação feminina atual na luta curda pela independência e contra o fundamentalismo do Estado Islâmico, a fim de demonstrar como ela gerou uma mudança radical nas relações sociais entre os sexos. Essa questão principal foi abordada através da promoção de uma nova imagem da mulher e do seu papel social que não era mais só aquilo de mãe e esposa. Depois de uma breve visão geral sobre a complexa história de povo curdo e, consequentemente, do papel que as mulheres têm desempenhado dentro dela, tentei retomar a evolução teórica da desconstrução do gênero, com o objetivo de destacar a permeabilidade do conceito em relação ao contexto histórico e social. Além disso, tenho analisado a relação entre gênero e a constituição da ideia de nação, a partir do conceito de genderification do nacionalismo. Por fim, considerando a especificidade das mulheres curdas como mulheres subjugadas, subalternas e sem nacionalidade reconhecida, é abordada uma definição das interconexões teóricas entre gênero, raça, etnia e classe, a fim de contextualizar essa realidade peculiar.

The Transformation of Motherhood: From a Neglected Mother to The Mother of a Whole Nation

The aim of this article is to explore how the perception of Italian women and their different roles — especially that of a mother — changed from ancient times to the Risorgimento period. In this context, the article seeks in particular to clarify the role played by the image of the Italian mother in forming a unified and common national identity during the Risorgimento. It illustrates how, from this point in time, women started to play a new role in society — a role which until then history had prevented them from enjoying. In an Italy which before 1861 was heavily split and divided into areas of different foreign domination, women, and mothers in particular, began to be used to create, in the minds of the ‘new Italian citizens’, a new unifying symbol that would serve as a measure to keep the nation together. What emerged was a new image of women, and especially of Italian mothers, that was imbued with religious and romantic symbolism. This did not exactly mean emancipation for women — often, in fact, these visions of mothers were full of sexist images — but it nevertheless helped all Italian women to come in from the shadows to which they had been relegated historically and culturally.

Translating Gender Stereotypes: An Overview on Global Telefiction

The essay proposes, from a descriptive and intercultural view, the approach to both (para)textual and textual information around television series, involving gender(ed) features, attitudes, and values. Those texts are being translated, released and spread all over the world and, therefore, contribute to the global stereotyping of a (supposed to be) new American woman. Under the patronage of Descriptive Translation Studies and going beyond, a thick approach to the act of translating is proposed, in order to map entirely the translated product. With a balanced combination, which puts together a linguistic microscope and a cultural telescope, a catalogue (and subsequent corpus of data) will be portrayed, allowing the analysis of the rewritten texts broadly. The inventory is made up of a number of TV series getting a good mark for the Bechdel test, which (seemingly) challenge old stereotypes in order to build up a new image of woman. Placing considerable importance on ideology in Translation Studies and, by doing so, refusing and turning down the view of the translation as a neutral bridge, an invisible agent, we will pay attention to the fact that not only linguistic but especially cultural, and even ideological, differences arouse when dealing with the act of translating. In particular, we will focus on the subject of manipulation and rewriting of stereotypes in the field of audiovisual translation.

Evolution of New Woman: A New Façade of Indian Culture in the Select Novels of Manju Kapur and Shobha De

The present paper is a sincere and humble effort to explore the evolution of new woman in India after the partition. The birth of “new woman” in India is a reality, as the concept and position of womanhood has changed in the modern context. Attitudinal shift can be seen in the woman who longer shies away from taking initiatives. Though this new change in thought has its variables, the results are relative depending upon the individual. Through present paper, the researcher has attempted to investigate a new fac ade of Indian culture that gave birth to a new woman presented in the select novels of Manju Kapur and Shobha Dee. The new image of women presented by novelists under study is ambitious, lustful, power hungry and bold. She is an assimilation of western influences as well as her native culture. She is a hybrid who despite of all kinds of upheavals, is able to strike a balance among diverse spheres of her life. All domains of her growth, social, political and psychological remain the focus of our investigation. Index Terms—Evolution, fac ade, new woman, psychological. I. INTRODUCTION This research paper is a sober attempt to study the evolution of new woman in India after the partition. It is pertinent to note that throughout the history of mankind, from its Paleolithic civilization, goddess worship was widely prevalent, and families were matriarchal in their structure. But in the course of time civilization was overtaken by patriarchal dominance, and worship of the male deity became the dominant concept. In social set up, male ego acquired control and predominance in all spheres of social activities such as ritualistic performances, politics, religion and ethnic which in turn submitted women to the place of utter subordination, a secondary place; the insignificant. The phrase „new woman‟ [1] was coined originally by Henry James and intended by him to characterize American expatriates living in Europe. Women of affluence and sensitivity exhibited an independent spirit and were accustomed to acting on their own. The socio-political and economic forces brought about awareness in women who took up the new roles in the social, political and economic life. In the post World War, the slang „Flapper‟ was applied to a „new breed‟ of young western women who revolted against the Victorian conventional set up and assumed new fashionable and modern roles in the society as quoted by

An Analysis of Chun Tao in The Sense of Survival

In the novel "Chun Tao", Xu Dishan created Chun Tao as a new image of women, who has strong survival spirit, firm life philosophy and independent viability. Although Chun Tao’s life was full of suffering, she never gave up hope. Through the analysis of the survival consciousness of Chun Tao revealed her spirits of independent and self-respecting, also showed the glory of humanity distributed by Chun Tao. Through close reading to analyze the character Chun Tao from the perspective of survival, intend to provide a new angle of observation for the reader to understand Chun Tao.

G.I. Jane Joins the Band: WAC and the Andrews Sisters

Before World War II, male instrumental bands (led by Glenn Miller, Artie Shaw, Duke Ellington, etc.) and male crooners (Bing Crosby, Nat King Cole) dominated the pop charts. While female musicians achieved success on the vaudeville circuit or in the race music industry (such as Bessie and Mamie Smith), there was little room for female artists in the mainstream. It wasn’t until the 1940s, that the public embraced female singing groups. Plunged into war, Americans suddenly wanted to hear motherly, soothing voices associated with the security of home. While record labels were initially reluctant to sign female acts, companies soon recognized the appeal of the Andrews Sisters and similar groups. At the same time, the armed forces recruited WAC (Women’s Army Corps) members to entertain the troops, promote war bonds, and staff veterans’ hospitals. To motivate WAC and national acts to make inspiring music, the government stressed patriotism and new opportunities arising from wartime service. However, the government qualified its appeal to women by invoking idealized motherhood to exclude certain singers from WAC, censure female artists, and to disband female bands after the war. The rise and fall of WAC bands and the Andrews Sisters in the 1940s suggests that Americans tolerated women singers when they promoted patriotic values, but not when they violated gender boundaries. Before examining the role of female musicians in the 1940s, it is important to establish the cultural context which allowed women to leave the household and perform publicly. The OWI (Office of Wartime Information) and ASF’s (Army Services Forces’) promotion of the Andrews Sisters and their WAC counterparts attests to a broader move to utilize all resources and citizens (including the untapped female workforce) to achieve victory. Due to this “total war” mindset, there were massive propaganda campaigns (featuring “Rosie the Riveter”) to encourage housewives to leave the home in order to serve in industry, community service, and civil defense. At the same time, the military encouraged female professionals such as nurses and musicians to rehabilitate troops and boost domestic morale. Whereas stigma1 had previously restricted the number of women working outside the home, new propaganda glorified the female worker.”2 To explain this new propaganda, author Maureen Honey suggests that “During World War II, economic, social, and political forces combined to produce a need for new images of women, those that showed wage work as a normal, vital part of female lives and that conveyed the message that women could and should occupy all types of jobs.”3 The propaganda campaign to normalize the female worker was so successful that some 19 million women joined

The Post-Feminist Mystique

The Post-Feminist Mystique Feriss, Suzanna, and Mallory Young, eds. 2005. Chick Lit: The New Woman's Fiction. Routledge. $100.00 he. $28.95 sc. 288 pp.Early, Frances, and Kathleen Kennedy, eds. 2003. Athena's Daughters !Television's New Women Warriors. Syracuse University Press. $39.95 he; $19.95 sc. 192 pp.Innes, Sherre. 2004. Action Chicks: New Images of Women in Popular Culture. Palgrave Macmillan. $79.95 he; $18.95 sc. 304 pp.The problem lay buried, unspoken, for many years in the minds of American popular culture critics. It was a strange stirring, a sense of dissatisfaction, a yearning that cultural studies theorists suffered in the beginning of the twenty-first century in the United States. As she wrote the essays, attended the conferences, and shut off the television at night, she was afraid to ask even herself the silent question-Is this all?When Betty Friedan's The Feminine Mystique was published in 1963, it documented a generalize malaise among white middle-class college educated women who found wife and motherhood in the suburbs to be less fulfilling than American culture had promised. To some, this book ignited the contemporary feminist movement (labeled the second wave after the suffragists and abolitionists-the wave of the late nineteenth and early twentieth century). Her infamous opening (reworked in my epigraph), narrated in the voice of a stay-at-home everywoman, lamented a life devoted to cooking, cleaning, and taking care of others. Some forty-plus years later, we find ourselves mired in Martha Stewart-esque new domesticity as writers such as Caitlin Flanagan blame feminism and mothers who dare to venture outside traditional stay-at-home gender roles for just about every societal ill (Catlin 2006). Sometimes popular culture might appear to tell a different story, however, one where women (still, largely white) are the protagonists of their own destinies, with or without men and babies. Perhaps in response to an American culture veering closer and closer to a 1950s-era level of paranoia and conservatism, critics tend to heartily endorse unconventional images of gender in contemporary popular culture. Work of such a kind appears in the anthologies Chick JJt: The New Woman's Fiction, Athena's Daughters .-Television's New Woman Warriors, and Action Chicks: New Images of Women in Popular Culture. Whether we mine the novels of Jemima K. for traces of Edith Wharton or squeeze out racial critiques of Otherness in Bufly's vampires, we feminist pop culture critics are skilled at unearthing progressive potential in what might at first appear to be patently sexist or otherwise conservative depictions of women. Such a Search and Describe mission reflects a hunger for agency and the potential for cultural/social change. Thus Pamela Anderson in Barb Wire troubles gender binaries because she stabs with a stiletto instead of a sword, and a Bufiy fan's rejection of gender politics becomes a submerged call for 'radical and de-centered attention to multiple differences, none of which merit theoretical privileging over others' (DiStefano qtd. in Frances and Kennedy 2003, 82). Similarly, the conflation of sexual power and credit card debt in the Shopaholic novel series is seen by one author as more about individual postmodern ideology fatigue than as a depressingly accurate portrayal of the limited routes to sociallysanctioned agency open to (even) white middle class women in the late 1990s. In other words, at least to me, sometimes these endorsements seem overly-optimistic.Yet as a pop culture critic who herself has been called on the women's studies carpet for finding feminism in artifacts such as TLC s A Wedding Story and Mona Lisa Smile, I am not unsympathetic the mining of the popular for feminist potential. In this respect, I believe all three books are valuable additions to the field, not only of gender and popular culture but of feminism in general. I also realize that critiques of our critiques are sometimes as effortless and simplistic as reading aloud a list of MLA paper titles. …

Prime time: how TV portrays American culture

What does television tell us about our lives? In Prime Time: How TV Portrays American Culture, noted media critics Robert Lichter, Linda Lichter, and Stanley Rothman reveal that prime time entertainment is often out of synch with the reality of American life. Prime Time provides the first comprehensive guide to the meanings and messages of entertainment television. From the 1950s to the 1990s, it examines how the world of TV depicts American society in the home, at work, and in popular culture. The authors show that television's images of American life have changed drastically in recent years to include more graphic sex and violence, political commentary and new images of women and racial minorities. Based on a scientific survey of nearly 1,000 shows and more than 10,000 characters, from Dodge City to Dallas, from the Honeymooners to the Huxtables, and from June Cleaver to Murphy Brown, Prime Time is the most extensive analysis of television's history ever presented in one volume. According to Prime Time, television has become an agent of social upheaval. The 1990s world of sitcoms, soaps, and cop shows is sexy, sarcastic, and cynical about the very standards and sensibilities television embraced so enthusiastically just 20 years ago.

The New Image of Women in Women's Magazine

The New Image of Women in Women's Magazine