Patriarchal Order Research Articles

Mystery and Foil A Study on Lises Other Image in The Brothers Karamazov

In The Brothers Karamazov, Lise is a female supporting character whose narrative presence is relatively limited. However, as Alyoshas lover, Dostoevsky invests a great deal of emotion in this young woman, intentionally creating a character who is lovable. Yet, Lises character reflects a disciplinary influence of patriarchal discourse. Although her image presents an outward sense of rebellion and independence, she is further trapped in the mold of traditional discipline, embodying characteristics of the Other. Her attempts to break through the traditional female image and patriarchal order are not significant.

Family Care for Children with Disabilities in Czechoslovak Documentaries in the 1960s and the 1970s

This article discusses the approaches to family care for children with disabilities depicted in documentaries produced by prominent film directors in the 1960s and 1970s, the period explored as re-establishing patriarchal order in socialist Czechoslovakia. Interpreting the documentaries in the context of public campaigns on child welfare reveals mental deprivation as a central concept that brought together the biopower of institutions and patriarchal values. The success and dissemination of Deprivation Theory is shown to have resulted in multiple internal contradictions in the medicalization of public care for children that was initiated in the late 1940s. The article traces the grounding of the dichotomy of public care versus family care by re-constructing the social ideals around child development and family care. These ideals remain one of the obstacles to the deinstitutionalization of care for children with disabilities to this day.

The Unseen and the Unsayable: Walpolean Gothic Theatre

One of the defining features of the Gothic mode is its attraction to obscurity, its central interest in what cannot quite be apprehended. Gothic writing circles around the unseen, the unsayable, and the unknowable, and often self-consciously draws attention to the withholding of information. This article focuses on the foundational example of the Walpolean Gothic: Horace Walpole’s unperformed tragedy The Mysterious Mother (1768) is structured around what cannot be said, while Robert Jephson’s The Count of Narbonne (1781) – a dramatic adaptation of The Castle of Otranto (1764) – repeatedly draws attention to elements that are imminent but never quite realised. In these two plays, silence and absence make their paradoxical presence felt. The tragedies draw attention to questions of what can be said and done on stage, while simultaneously exploring the power of the negative to reveal the cracks in narratives of patriarchal order. Together, they demonstrate how the Gothic can use the force of what is not there to trouble theatrical and political hierarchies.

RE-READING OF VULNERABLE MINDS IN COSTUME- A SELECT STUDY ON TWO MALAYALAM MOVIES

Masculinity as depicted in visual culture is often appropriated as the ideal to adhere in most of the representations, whether it is cinema or performing arts. Patriarchal order tends to project masculinity as the source of power from which the matrix of a society is outlined. Representation of masculinity on screen and their dimensions convey human experiences in a hitherto unperceived way. Apart from being a muscular figure which is categorized against a vulnerable woman, the dawn of 20th century has witnessed varied representations onscreen including sensitive, vulnerable, possessive protagonists trapped in a well-toned muscular body striving for an identity. Performing arts, unlike movies gives space for representing varying emotions pertaining to their role in society using costumed characters and images.

궁정 작가와 귀족 여성의 ‘정치적 우애’로 보는 카롤루스 궁정 문화

Through Carolus Magnus’ four successive marriages and cohabitations, the court of Carolus established itself as a close-knit kinship community crowded with sons, daughters, and grandchildren. Carolus Magnus, the so-called head of the three generations, did not want his beloved daughters to marry. However, the court of Carolus began to be filled with the daughters of Carolus Magnus and those who supported them or had a special relationship with them. The daughters of Carolus Magnus, who had the closest contact with their great father(pater optimus) at the court of Carolus, developed their own personal network and political influence through informal relationships. The ‘political friendship(amicitia)’ between the noble women of the Carolingian court and the court writers began to create new changes within the Carolingian court. The beloved daughters of Carolus Magnus, who were born and raised at the court of Carolus, could not escape the patriarchal order of Carolus Magnus. As their father intended, the beautiful women could not leave the court like decorations that beautified the Carolus court and were like a kind of display that visually showed the power and wealth of the Carolus Empire. The death of his great father, Carolus Magnus, in 814 brought about a seismic change in the Carolingian court, the heart of the Carolingian Empire and a place of political memory. Ludovicus, the pious king, brought out from the center of the court his sisters who had beautifully illuminated the court. In this study, we trace the political moves of the wives and beloved daughters of Carolus Magnus, who led court culture, through the eyes of the 8th and 9th century Carolus court poets and biographer. This study seeks to reexamine the political dynamics and conflicts between the women who filled the court of Carolus and their political supporters or lovers, and furthermore, the political and historical meaning of the culture of the court of Carolus.

CROSS-DRESSING IN CONTEMPORARY BRITISH FEMINIST THEATRE

Sex and gender are two concepts that are often unconsciously used interchangeably, but they have distinct meanings. They are crucial in understanding the gender hierarchy or the distinction between man and woman created by the patriarchal order. While sex refers to a biological difference or an innate existence based on signs such as chromosomes and genitals, gender is a socio-cultural identity subsequently acquired through a social interaction. While the biology-oriented approach reduces femininity and masculinity to the body based on an essentialist approach, the socio-culture oriented approach underlines that femininity and masculinity are culturally constructed, fluid, and changeable. The gender roles assigned to man and woman in the patriarchal society bring along certain expectations based their sexes and their society’s values and beliefs about gender. The fact that both woman and man are expected to wear appropriate dresses for their gender roles is the reflection of this expectation. When a man wears clothing traditionally associated with women or when a woman wears clothing traditionally associated with men, they might face ridicule or criticism because these clothing choices challenge established gender norms, and because the clothes are reminders of roles, symbols that favour social roles. Contrary to this, cross-dressing is described as an act of wearing clothing and accessories that belong to the opposite sex, and it is possible to see its examples as a deconstructive strategy in contemporary British feminist theatre. This article aims at discussing the functions of cross-dressing as a body memory in contemporary British feminist theatre over selected plays such as Caryl Churchill’s Cloud Nine (1979) and Top Girls (1982), Timberlake Wertenbaker’s New Anatomies (1984), and Moira Buffini’s Silence (1999).

A symbolic violence approach to gender inequality in academia

AbstractFeminist scholars have long recognized the gender‐based challenges that women in academia face relative to men. Although numerous strategies have been designed and implemented to tackle this problem, the attainment of gender equality in academia has proved futile globally. Integrating Acker's notion of the ideal worker with Bourdieu's concepts of symbolic violence and capital, we undertake a qualitative study of how women in African universities navigate the masculinized ideal academic norm, and how their efforts to break free from this symbolic image reproduces and legitimizes gender inequality. Drawing on the narratives of 36 women researchers in Ghana, Nigeria, Malawi, Kenya, Botswana, and Zambia, our analysis reveals how the perpetual struggle for power, positions, and resources in academia influences women researchers within these contexts to enact three strategies for legitimacy―(1) ‘Engage the patriarchal order,’ (2) ‘Contest normative femininity,’ and (3) ‘Appropriate normative femininity.’ In contributing to the ongoing efforts to achieve sustainable development goals 5 and 8, we develop a theoretical framework that illuminates the subtle and sophisticated mechanisms that (re)produce, sustain, and legitimize the gendered structures and cultures in academia that serve to disadvantage women. The implications of these findings for theory and practice are outlined.

Historical comments on ethics in psychiatry : Challenges in the 19th century

With the emergence of an early psychiatry around 1800, anumber of questions arose on dealing with agroup of persons whose "alien", irritating and disruptive behavior was considered to be aphenomenon of being sick. In the context of the growing importance of human rights, the term humanitarianism attained ahigh relevance as the reference for early psychiatrists. Based on historical sources it is shown that despite amultitude of psychiatric beliefs on humanitarianism the established psychiatric practice was dominated by patriarchal order regimes up to the first decade of the twentieth century, later superimposed by the challenges of somatophysiological and experimental research as well as perceptions of biological racism. The associated new ethical questions were partially addressed within psychiatry but did not prevent an increase in the assessment of the mentally ill as "inferior".

Disaster, Transgenerational Endurance and Duration in Béké Writing

This article interrogates the preoccupation with transgenerational endurance and duration apparent in béké representations of “natural” disaster. It begins with a brief overview of the earliest literary texts to emerge from the French Caribbean islands: Auguste Prévost de Sansac de Traversay’s Les Amours de Zémédare et Carina, et description de l’île de la Martinique (1806), and Jules Levilloux’s Les Créoles ou la vie aux Antilles (1835)—both of which feature catastrophes that claim the lives of plantation owners and pose a threat to their daughters, the bearers of béké culture. I then consider texts by béké women who lived in Martinique at the time of Mount Pelée’s eruption in 1902, an unprecedented disaster which eradicated almost half of the island’s white population: Clémence Cassius de Linval’s Cœurs Martiniquais (1919) and Élodie Dujon-Jourdain’s Le Sablier renversé (1912). In doing so, I trace a lineage of male and female béké authors who lament white losses in the aftermath of “natural” disaster and remain anxiously preoccupied with the caste’s longevity. Such an approach reveals how white Creoles have, across generations, taken to writing to promote, protect and preserve their culture. Anxieties around the need to preserve patriarchal order, family bloodlines, names and language consistently resurface in this intergenerational literary output which spans more than a century. As we shall see, some of these temporal concerns converge with Édouard Glissant’s observations on time and memory in the French Antilles, specifically his sedimentary poetics of duration.

Making money moves: rural women, returnees, and renegotiations of sex work through the street in Addis Ababa, Ethiopia

ABSTRACT Feminist research has highlighted both the emancipatory components of sex work on women’s lives, as well as the problematic nature of an overly romanticised reading of women’s sexual labour. In Ethiopian cities, including the capital, Addis Ababa, rural migrant women and returnee women from the Gulf States are confronted with layered forms of structural disadvantage that narrow the scope of their prospects for economic empowerment and deepen their vulnerability. Consequently, women relate to the street as a connector to capital, despite clashing claims for access and proximity that govern the street economy. This paper explores the everyday lived experiences of rural migrant women and returnee women streetworkers in Addis Ababa. Drawing on qualitative data collected in 2022 and 2023, the findings of this study show that women resort to sex work under conditions of protracted economic strain and an absence of viable alternatives for self-employment. Due to the marginalisation they face as part of the informal labour market, women exercise sex work both in the form of streetwalking and through routine engagements in transactional sexual relationships; both activities representing a central component of women’s ability to get by in the city. This paper argues that despite being the site of consequential transformation, women’s economic empowerment through sex work takes place within an entrenched patriarchal order that reproduces disenfranchising power inequalities through the practice of sex work itself, while reasserting the way women’s bodily integrity, safety, aspirations, and social standing are governed on – and by – the street.

The distribution of patriarchal alms to non-beggarly categories of the population in the second half of the 17th century

The subject of the study is the records of the expense books of the Patriarchal State Order, which provide information about the financial assistance provided by the Moscow patriarchs to non-beggarly categories of the population: servants of the Patriarchal orders, participants in memorial services for secular and spiritual persons, prisoners of war who had previously been released from captivity, prisoners of prisons of all orders. The purpose of the study is to determine what the significance of patriarchal alms was for representatives of these categories. The author examines in detail the mechanism of giving alms in relation to each of them. Special attention is paid to the source aspect: petitions of potential recipients of alms were an important element of the clerical system of the Patriarchal State Order. They were part of the primary documentation that has not reached our days and can be partially reconstructed based on the texts of the expense books. The research is based on the methodological tools of auxiliary historical disciplines: first of all, Russian paleography, which opens up opportunities for analyzing the handwriting of officials who issued patriarchal alms and its recipients, as well as historical metrology and historical chronology. The analysis carried out allows us to form a detailed picture of the recipients of patriarchal alms who are not beggars. It should be noted that insufficient attention is paid to non-poor categories of the population in the modern historiography of Russian church charity. The results of the study indicate that such recipients could be those who are not necessarily poor in general, but currently in need of financial assistance, for example, servants of the Patriarchal Court who have fallen into difficult life situations. The same remark applies to former prisoners and "prison inmates and prisoners". Payments for participants of memorial services for secular and ecclesiastical persons – primarily for monarchs and patriarchs – were substantially closer to salaries and were carried out for performing certain functions at these ceremonies, however, in the text of the source they were also referred to as alms. It is concluded that the patriarchal alms was intended not only for the urban poor, but for those in need in the broadest sense of the word, which indicates its great importance for the Moscow society of the second half of the XVII century, makes it not a formality and exclusively part of the ceremonial, but a really important action from a socio-economic point of view of the Moscow patriarchs.

“Splendid Failures”: Inclination, Slow Regicide, and Performative Critique

This paper focuses on Honig’s critical reworking of the concept of inclination and her concept of “slow regicide”. With “slow regicide” Honig describes a performative critique of the violence of the patriarchal order. However, what Honig underestimates, I argue, is that this intervention must itself be non-violent if it is not to reinstate patriarchal violence. My suggestion is that paying closer attention to the performativity of inclination shows how “slow regicide” enables a non-violent refusal in which the normativity of patriarchy is frustrated and fails.

What Is the Patriarchy Doing in Our Bed? Violent Sexual-Affective Experiences Among Youth

Abstract Introduction In the context of a qualitative research study on sexual practices and risk among youth, repeated accounts of non-consensual sex and other forms of gender-based violence emerged. Drawing from that research, this article explores the influence of the patriarchal system on sexual-affective relationships among young people aged 18–25 years residing in Andalusia, Spain. Methods The fieldwork was conducted between March and May 2019. Six discussion groups were held with 39 participants segmented by gender, level of education, sexual orientation, and length of relationships. Results The results show that patriarchal constructs related to female body standards and the subordination of women’s pleasure to men’s, in addition to blackmail and sexual violence, continue to pervade the sexual-affective imaginaries and experiences of young people. Additionally, the participants’ discourses on patriarchal and sexual violence are interwoven with critical feminist points of view, revealing timid signs of resistance to the patriarchal order. Conclusions Women navigate inequality by assuming, negotiating, or rebelling against the different types of violence to which they are exposed in their intimate relationships. In their sexual-affective relationships, young people today are confronted with numerous tensions and contradictions. The discourse of females shifts between their right to seek pleasure and self-blaming, while trying to overcome feelings of shame and dismantling aesthetic standards or empowering themselves and claiming orgasm equality. Policy Implications The findings are applicable for the prevention of violence against young women in relationships of trust.

The Survival Dilemmas of Qinglou Talented Women in the Late Ming Dynasty and Their Encounters with the Patriarchal Order

Abstract During the Ming and Qing Dynasties it was common thought that the Qinglou talented women were not bound by normal human relationships and women’s virtues because they lived outside the patriarchal order. Chased after by male bigwigs in the society, they mingled at upper-class male playing places and obtained higher reputations because of their outstanding talent. However, they held a very contradictory position because, especially in the Ming dynasty, women’s virtues were still regarded as an important standard of female evaluation in the society. On the one hand, they faced dilemmas in their living conditions, and on the other, there was a subtle interaction between their living space and the patriarchal clan system – this also occurred because of changes created by the patriarchal clan system and social rules, which exerted a continuous influence on the way a female could survive in the later imperial period. Based on historical and literary documents such as jottings, novels, and unofficial history of Ming and Qing Dynasties, this essay aims at analyzing the living space of these talented women.

“Wholesome Utility”: Patriarchy and Black Nationalism in Paradise

Abstract: This essay examines the relationship between patriarchal culture and Black separatist politics in Toni Morrison’s Paradise . While these two themes are obviously central to the text, they are generally treated as merely contiguous elements of life in Ruby, Morrison’s fictional all-Black town. A close examination of classic Black nationalist discourse, however, reveals that the politics of Black separatism has, from the time of its origin, stemmed from efforts to establish a Black patriarchal order that could stand in opposition to racist institutions and practices that strip the Black man of the patriarchal status enjoyed by white men. I argue that Morrison’s novel exposes this causal relationship between patriarchal culture and Black separatism and the way that it generates within Black nationalist ideology a tendency to hijack, obscure, or even eliminate racial solidarity efforts that are more intersectional, inclusive, and democratic.

The Specter of Female Masculinity: How Women Shaped the Ex-gay Movement in the 1970s and 1980s

Starting in the 1970s, the “ex-gay movement,” a loose collection of conservative Christian counselors and therapists, experienced sizable growth in the United States. Importantly, women played a prominent role in the expansion of the ex-gay movement in the ensuing decades, both as counselors and as counselees. This article highlights the tension that arose between the patriarchal gender norms and the role women counselors played in the ex-gay movement. When read “along the grain,” ex-gay texts demonstrate the production of a gendered hierarchy that not only valued “female femininity” over “female masculinity” but also reified patriarchal authority in the US. Female pastoral counselors, such as Leanne Payne and Elizabeth Moberly, advocated for the conservative gendered vision of the religious right. But as women, these counselors—and their books—could not transcend the patriarchal order of the religiously conservative ex-gay movement.

The Centaur’s Kick: Backlash as Disruptive Upgrades to Patriarchal Orders

Backlash is not always pushing back against progress for women, but how is it still patriarchal? Sliced into three sections – on confluence, contestations, and cartographies – this article draws on a thesis about backlash as the exploitation of insecurity wrought by apparent crises to re/shape social orders, through re-fixing symbolic sites, namely the body, family, and nation. It begins by describing a confluence of types of actors and projects silencing feminist voice. Contesting gendered backlash narratives about the three sites are then explored, followed by a more theoretical section reflecting on cartographies of resonant concurrence and contradictions in backlash. Reflecting on masculinities, identification, and levels of hegemonic power, the argument is that the fixing of sites re/naturalises three deep-level patriarchal logics – phallogocentric binary (body), hierarchical (family), and categorical closed-systems (nation) principles – which helps us theorise the evolution of patriarchal hegemonies. This may inform more strategic countering of backlash.

Quick-Witted Eccentrics: The Genre and Genders of Screwball Comedy

Focusing on the type of funny woman that came to life in the Hollywood screwball comedy genre of the 1930s and 1940s, this article explores the intersections of genre and gender. The particular type of female comedic performance associated with the screwball comedy is characterized by an accelerated speed of dialogue, in which the woman demonstrates rhetorical skill, wit, and quick intelligence, as well as eccentric behavior that leads to comical situations. By taking a closer look at specific scenes from canonical screwball comedies, such as Bringing Up Baby, The Lady Eve, and His Girl Friday, as well as less widely known films, such as Four’s a Crowd and Take a Letter, Darling, the article demonstrates how the comic effect stems from the incongruity between the woman’s gender performance and conventional scripts of femininity, without however making the woman the object of the joke. Instead, the woman’s actions serve as the motor of the comic by radically disrupting the man’s sense of authority and the patriarchal order, by extension. The article argues that by featuring women as agents who disrupt the established or conventional order of things, the screwball comedy genre makes possible the emergence of a new way (or ways) of inhabiting femininity.

Patriarchal (Dis)orders: Backlash as Crisis Management

Patriarchal (Dis)orders: Backlash as Crisis Management

학생들의 출신지를 통해 본 생시르 - Fleury Vindry의 Les Demoiselles de Saint-Cyr(1686-1793)를 중심으로

Saint-Cyr lies at the intersection of the Catholic Reformation and the aristocratic policies of Louis XIV in the late 17th century. As evidenced by the fact that it was founded with the administrative and economic support of the absolute monarch Louis XIV, Saint-Cyr was an expression of the political will of the monarch to ultimately hold sociocultural hegemony by fundamentally cultivating subjects who would obey to the national authority through women education which is both pious and compliant to the patriarchal order. In this sense, Saint-Cyr illustrates the correlation of politics and education during the French absolute monarchy. Based on Fleury Vindry’s Les Demoiselles de Saint-Cyr(1686-1793), this paper analyzes the origins of the students who enrolled at Saint-Cyr from its opening in 1686 to its closure in 1793. This analysis shows that, while there was a regional bias in the origins of Saint-Cyr’s students in the early days of Saint-Cyr, over time “fragmentation of recruitment” or, an even nationwide distribution from the most central to the most remote parts was shown. This suggests that Saint-Cyr was not a school to educate some girls of interested local noble families into cultured women, but rather functioned to nationally propagate the political goals of the absolute monarchy through women who would become “first teachers” for their children and virtuous wives for their husbands.