Object Of Pleasure Research Articles

Writing to exist: Mes’adet Bedirhan’s pleas for Ottoman women

ABSTRACT Mes’adet Bedirhan was an eloquent author who wrote for the pioneer Ottoman feminist journal called Kadınlar Dünyası (Women’s World) published in Istanbul between 1913 and 1921. She wrote multiple pieces in the Ottoman Turkish and French editions of the journal in 1913–1914. Although very few traces of her life story exist in the historical accounts of the era, she left a mark in this world through her own act of writing. This article not only generates new information about her life but also endeavors to reflect on the overall content of her essays. Through these essays, she showed Ottoman women that they can change their destiny once they discovered their innate strength. She not only underlined women’s agency in contesting their unequal position in the society but also criticized her feminist sisters in the west for representing the Ottoman women as silent and submissive objects of pleasure.

Feminist Resistance in Tehmina Durrani’s “My Feudal Lord”

The paper aims to highlight the quiet, yet persistent, feminist resistance that can bloom even within the confines of a patriarchal, feudal society. Narrating her life as the wife of a powerful Pakistani feudal lord Mustafa Khar, Durrani lays bare the systemic oppression faced by women in this milieu: physical and emotional abuse, social ostracization, and a denial of basic rights. She speaks out against the sexual exploitation that is rampant within the confines of marriage, wherein women are often treated as only objects of pleasure and are considered to be suitable for childbearing purposes. However, resistance simmers beneath the surface. Durrani's defiance manifests in subtle acts of rebellion – intellectual pursuits, questioning societal norms, and even voicing her discontent to her husband. This defiance, though often silenced or met with violence, lays the groundwork for her eventual escape from the suffocating confines of her marriage. Through her raw honesty and unflinching portrayal of female subjugation, Durrani challenges the status quo and becomes a powerful voice for feminist liberation. Durrani is ostracized from her family and the Pakistani society for speaking out against her powerful husband and encouraging other women to speak up against the injustices they face. The narrative transcends personal experience, offering a glimpse into the collective struggle of women trapped within similar structures of oppression, ultimately urging readers to question and dismantle these systems.

Monehedonizm Nedir? Ekonomi Sosyolojisi Perspektifinden 'Monehedonizm' Kavramının Değerlendirilmesi

Monehedonism is a conceptualization obtained by Muhammet Caner Ilgaroğlu, a specialist in moral philosophy, by combining the concepts of Monetarism, which is a monetary economic theory, and Hedonism, which is a hedonistic moral theory. Monehedonism, which is expressed in Turkish as “Parasalhazcılık”, is an economic theory that starts out with the claim that the amount of money and its supply to the market will correct the economic balances, making money more valuable than ever before in history, and that it is the basic value that determines the market, gradually increasing economic, social and economic aspects in social life. The concept in question reflects many problems that arise on the axis of economy-society-moral relations. We consider that Monehedonism is a conceptualization that allows the unbalanced income situations, consumption habits and social relations that occur in economic and social structures where money is positioned as an object of pleasure to be addressed from the perspective of economic sociology. In this article, by evaluating it from the perspective of economic sociology, it will be discussed whether the concept in question is functional in defining and solving socio-economic and socio-psychological problems.

A Womanʼs Body: Situation, Space, Time: The Philosophical Aspect

This article is devoted to the philosophical and psychoanalytic aspects of a womanʼs body experience. Ideas about female physicality are presented in the works of T. Moi, I. M. Young, Z. Freud, K. Horney, etc. The existence of a woman is determined by the historical, cultural, social and economic framework of her position; abstract femininity does not exist, the historical epoch and cultural diversity affect the characteristics of femininity and the experience of the female body. Women identify themselves as women with body experience, the female body is constantly changing, transforming; it is an object of pleasure and desire of another. Psychological, cultural and social factors contribute to the fact that a woman takes a passive libidinal position of subordination and inequality.

Play Is a Child’s Work (on Instagram)

Play Is a Child’s Work (on Instagram)

Addiction, Waste(d) Labor, and the Debate of the Carpenter's Tools

Addiction, Waste(d) Labor, and the <i>Debate of the Carpenter's Tools</i>

The Portrayal of Women: Feminist Analysis of A Hologram for The King

This research paper attempts to investigate the representation of women, their character and their rights in Dave Eggers’ novel A Hologram for the King (2012), according to the feministic approach to literary works. Gender bias has been reflected in many literary works from classical canonical works to contemporary literary ones and has been dealt with in many critical pieces. The theme of self-objectification, which is closely tied to gender bias to some extent, has not been analyzed, independently and fully, especially in the literature of the post-colonial era. The current study scrutinizes the writer’s portrayal of women characters in order to uncover the replication of the same stereotypes and gender bias categories against women, dominant in the literary works before the post-colonial era. Based on the feminist approach, A Hologram for the King is identified as a misogynist work although it is written in postmodern era. The author of the novel, is inspired by men’s superiority, creates a completely distorted image of women by introducing them as people who turn themselves into objects of pleasure for men. The novelist further deprives women of their rights and misrepresents them as unprincipled humans, disparaging them as naïve and sexually licentious creatures. After all, this study becomes a means of writing back against marginalization of women, in their picturization and their subordination to men.

Hadith Study of Neglecting Women as Imam of Congregational Prayer Perspective of Religious Organization Activists in Malang Raya

Women in religion and culture-historical study have a journey of oppression, adversity and, discrimination. Women have always been used as objects of pleasure and victims of lust for men. Many interpretations of religious texts discriminate against women. Many religious figures look down on women through their interpretation of the texts of Al-Qur'an and Sunnah. One of the interpretations is the opinion of the majority of community leaders about the prohibition of women as imams of congregational prayer. This research aims to determine the views of the community from Muhammadiyah, NU, HTI, and Malang Raya Mosque Management regarding the meaning of the hadith of women's delegation as imam (congregational prayer leader) from a social construction perspective. This research is included in the category of qualitative research using the sociological construction theory approach, and the science of hadith criticism. This researcher used a new model in the realm of hadith research, named living hadith. Data collection methods in this research were in-depth interviews and documentation. The selection of informants used a purposive sampling technique. The analytical technique used in this research was the Huberman and Miles interactive model, namely; data reduction, data display, and conclusion. The understanding of activists of religious organizations Muhammadiyah, NU, HTI, and Mosque Management regarding the hadith negation of women being imams of prayer can be classified into two models of understanding. There are textual and contextualist-hermeneutical. Public understanding of the hadith regarding the delegation of women to become imam comes from hadith, opinions of classical scholars, contemporary books, and also comes from the results of intuitive meanings that lead to conservative and progressive.

Visual Pleasure in Kawabata Yasunari's Novella House of the Sleeping Beauties

The research discussed visual pleasure in Kawabata Yasunari’s novella “House of the Sleeping Beauties”. Women, whensubject to the male gaze, had often been the objects of sexual and visual pleasure. The novella described the nyotaimoripractice, in which sushi was served on the nude body of a woman for the object of male visual and sexual pleasure. Theresearch sought to dissect and explore visual pleasure in literary work and its central positioning. Using Laura Mulvey’stheory of male gaze and visual pleasure, and feminist literary studies, it employed content analysis as a method to uncover the phrases and paragraphs depicting visual pleasure in the novella. Firstly, the research finds that in practicing visual enjoyment, men use women as the objects of pleasure and fantasy. Secondly, men position women, their female bodies, and sexuality as markers of castration.

Women 'Owes' to Her Own Self in the Journey of Empowerment From 'Society” to “Self' Through the Lens of Film 'Thappad'

Since decades, the society at large has considered “woman” as a child bearing object or an object of pleasure or considered as second citizen of the world. The legal system of any country develops when the society has failed to resolve the disputes amicably and in lawful manner. The Constitution of India has always considered woman as an equal individual. The Indian Legal System has empowered women with equal status. The Indian Judiciary has protected women and her Fundamental Right of Privacy, Right of Freedom, her Reproductive Rights and has also protected her financial independence. Judiciary has always been upfront in protecting its citizen’s rights and decisions in Vishakha Case, Nirbhaya Case, Sabrimala Case and ShahBano case are worth noting. However, a lot is yet to be done. Who owns a woman? Is woman a property to be owned? Is woman a property to be captivated? Can society empower anyone? Can a piece of legislation empower anyone? After seven decades of achieving Freedom from the British Rule, talking and discussing about Women Empowerment is not only disturbing, but not acceptable. Women have to empower herself and “owe” her dignity and her freedom to her own self with the rights she has been conferred upon. Media has played a major role in the journey of Women Empowerment. The films help to evolve a thought process in the minds of people. The recent film in India “Thappad” where the main protagonist is the wife of a husband struggling with the challenges of his office promotion and out of frustration, he slaps the protagonist and the protagonist’s goes through the emotional turmoil from one slap. The movie also reflects the same situation in the protagonist’s maid’s life where she slaps back to her husband and has her own defense mechanism. This research paper aims to talk about the meaning of women empowerment, reasons why women has to empower herself from within, protection of her rights through various landmark judgments and why law cannot only help women to empower herself. The author has set the hypothesis that law solely cannot empower the women and she has to stand for herself. The author tests this hypothesis with the various decisions of Indian Judiciary and also through the lens of film “Thappad”.

Shaming Age

In a society that is still profoundly ruled by the patriarchal system, the female body continues to be considered as property of the male, therefore the female dancing body is looked upon as serving the patriarchal mentality and providing pleasure to the male gaze. The history of Oriental dance (Baladi) in Egypt is also a history of the liberation of the female dancer versus the traditional and ongoing shaming of the dancing body. This shaming is constantly connected to the body of the female as property of the patriarchal system that has to conform to certain rules of honour and of negating sexuality. Among those rules are the shaming of age and the continuous shaping of the female physicality and identity as an infantile, docile and obedient object of pleasure. The images of mature dancers, such as Carioca or Dina, are images of political opposition towards a general order that deprives dance of its autonomy, and deprives female dancers of their human value by transforming them into shameful mindless puppets. The Egyptian female Baladi dancers had their own struggles throughout the twentieth century ­­­­­­­– and until today ­­­­­­­– in order to re-define the autonomous female sexuality, the self-owned dancing body and the humanness of the dancer versus any objectification and de-humanisation. Those struggles intersect between gender traditions, the criticism of patriarchy and opposing the power of the de-humanisation of the female, and of the dance field in general.

Women and Pleasure in Guillaume Apollinaire’s Calligram Collection Poèmes à Lou

This article attempted to examine the connections between poetry and the constructions of women and pleasure emphasized by the author. The works examined were those of Guillaume Apollinaire, a famous French poet whose calligramatic poetry collections specifically positioned women as objects of pleasure. Most interestingly, in Apollinaire's poetry, the depiction of women as objects of pleasure through connotative symbols that could only be given significance by decoding the highly cultural meanings contained in the connotative symbols. The theory of the male gaze was used here to examine how visual pleasure had been operated by the poet. Meanwhile, semiotics had been used to decode the calligrammatic aspects of Apollinaire's poems. This research found that symbols of exoticism, reproduction, and fantastic pleasures were utilized by Apollinaire in his poetry to emphasize his dominance of women by positioning them as objects of pleasure.

From Private to Public

The most impressive thing about Andrew Norris’ book is its unflinching and unequivocal ease in bringing us to what I have elsewhere called the Cavellian precipice” through ordinary language philosophy and “external world” skepticism exclusively. That is, this book has a remarkable and fluid grasp of Cavell’s contribution to formal philosophical thought, which literary sorts like myself often eschew explaining precisely because the path to explaining skepticism, for us, feels far more pregnant and urgent when discussing objects of pleasure, namely film and literature.

Iraivi: An Anodyne Narrative – Feminist Approach

In India, cinema becomes a powerful medium. The cinema deals with the problems to be addressed and the social issues that are of national concern, cultural goals to be proud of, and ideological possibilities to be defended and explored (Sardar, 1998, p. 22). Although Mumbai-based Bollywood is usually considered the Indian Hollywood and the capital of the film industry, it is the Chennai based Kollywood film industry that has the greatest impact on the masses. “It has become increasingly pervasive in almost all aspects of Tamil society and perhaps the most prominently in political life” (Hardgrave, 2008, p. 60). The narration in Tamil cinema reinforces the dominant social value in the society, presenting them as natural and this is consumed by the audience. The stereotypes of masculine domination and feminine submissionare portrayed, often justified, and occasionallychallenged in cinema, but the predominant images ofmale domination and female submission are generally reinforced by cinema. Many cinema narratives are stillimplicitly designed to be interpreted from the point ofview of male domination. Audiences, particularly the men, learn and identify with male characters and treat females as objects of pleasure. The girls on the other hand learn from most cinemas that the world is male dominated and learn to accept the man's world.

Ways of (Virtual) Seeing: Applying a Bergerian Lens in a Multi-User Virtual Environment (MUVE)

Ways of (Virtual) Seeing: Applying a Bergerian Lens in a Multi-User Virtual Environment (MUVE)

Cuerpos disidentes: cuerpos en resistencia desde el arte y el feminismo

A lo largo de este artículo pretendemos mostrar cómo diferentes mujeres artistas han utilizado su cuerpo como un lienzo de expresión. Sus cuerpos disidentes, abiertos y llevados al extremo serán sujeto de representación y de autoafirmación, a través de los cuales empoderarse y resistir frente a las consideradas verdades absolutas patriarcales, según las cuales, las mujeres han sido representadas como objetos de placer para la miradas masculinas.

The past as an object: orientalist fantasies

ABSTRACTDrawing on Tanpınar’s journal, letters and academic writings, this article challenges the established reading of his works as integrating the Ottoman past into the modern present, and argues that he emerges as a self-orientalist in his identification with a notion of the rational Western intellectual that molds his perception of the past as well as of the East. This results in Tanpınar’s treatment of the Ottoman past, particularly in Huzur (A Mind at Peace) (1949) as a mystified and mystifying entity that can be integrated into modern life only as an object of pleasure—not of intellect. While his protagonists’ longing for the past seem to hold the promise of creating continuity between traditions, their attitude in fact amounts only to coveting the past as an object—a desire to possess the past and to become its master through putting it outside of time and reason, thereby creating a beautiful shelter from the tensions of modernization.

Re-imagining Horror in Children's Animated Film

Re-imagining Horror in Children's Animated Film

Post-production anarchism

Come! Unity Press was an anarchist community in New York City in the mid nineteen-seventies that based its operations on the ideas of Murray Bookchin, the organizer best known for his theory of “Post-Scarcity Anarchism.” Come! Unity Press offered free access for the publishing of literature and visual propaganda of all sorts; it attracted a wide range of the underserved and unacknowledged: Native Americans, Puerto-Ricans, blacks, gays. Despite this, and like other cultural movements before it, the project initiated “the metamorphosis of political struggle from a compulsory decision into an object of pleasure, from a means of production into an article of consumption” [Walter Benjamin]. Come! Unity Press was a forerunner of the consumer-oriented cultures of today. This article suggests parallels with the ideology of Cubism and the cultural program of the Bavarian People’s Republic of 1919.

Itinerari d’esilio, nel nome del Padre. Desde los blancos manicomios di Margarita Mateo Palmer

These are the signs that mark Margarita Mateo Palmer’s novel. This writing from the asylum challenges the preludes to immobility evoked by a place of order and restraint, thus enabling the emergence of a series of paths, which manage to shake the broken identity of the protagonist, Gelsomina, and of her time. Those intersections allow reflection on the contemporary Cuban condition, bent by the twilight of the revolutionary ideals, and at the same time to wonder about the human condition, savaged by the centripetal drive of consumerism and disposable worldviews, which are increasingly prone to wipe out any desiring tension in favour of magical objects of pleasure, hollow and ephemeral pret a porter [1] simulacra. This paper aims to analyse the narrative structure of the novel by means of the tools offered by Massimo Recalcati’s interpretation of Lacan’s psychoanalysis. Particular attention will be devoted to the interplay between the protagonists, who embody clinical figures and also symbolise different dimensions of contemporary Cuban experience. [1] This reading of the twilight of ideologies and of the vaporization of the Name of the Father is indebted to Massimo Recalcati’s thought (2010; 2011).