Patriarchal World Research Articles

From the Outside Looking In: One Woman's Acimowin

I struggle mamereTo bringYour wordsInto nokum'sCabinBut the wordsAre in battleCompetingfor my mindI am a mixed-blood woman raised in Canada where my two ancestries have competing worldviews, from social, political, and religious ideology to ancient philosophies. These mixed ancestries also come with different social expectations. In the social-political world of Native Studies where I walk daily, my French grandmother, mamere, is argued as coming from a world of privilege because she was white-skinned, and my Cree grandmother, nokum is thought to come from a world of oppression because she was dark-skinned. Yet both my grandmothers experienced abuse and prejudice. How and where the abuses originated may be different, but they did occur. I have a lot to learn from my grandmothers, but it has taken me many years of inner conflict, self-righteousness, and pain to get to this understanding. To acknowledge both grandmothers having been oppressed means I cannot continue to think of the world in simplistic, binary terms of colonizer/colonized. I must legitimize the equality of suffering in both cultures. Indeed, my worldviews had been turned upside down as I began to identify with the feminist movement, nonetheless it is nokum's world that was shattered, demeaned, and distorted, so it is her world I bring to you today with this story. Another day I may talk about my mamere's patriarchal world, but today is for nokum.

John Keats'in Lamia Şiiri ve Yaşar Kemal'in Yılanı Öldürseler Romanında Eril Kol

Bakış sadece bakma eylemini değil erkek egemen toplumsal söylemin kadınları kontrol etmesini ve onları belli bir şekilde temsil etmesini simgeler. Kültür tarihinde, mitolojide ve edebiyatta kadın sıkça yılanla (örn. Medusa, Lamia, Lilith) özdeşleştirilmiştir ve kötülük, cazibe ve büyü kaynağı olarak görülmüştür. Mitolojide ve kültür tarihinde yılansı kadının yaptığı kötülükler kem göz ile anlatılır ve koruyucu mavi göz (Türkçe’de nazarlık) veya bakış eril dünyayı bu kötülüklerden korumak için kullanılır. İngiliz Romantik şairi John Keats’in mitolojide üst tarafı kadın alt tarafı yılan olan Lamia’nın haberci tanrı Hermes tarafından insana dönüştürüldükten sonra Lycius adındaki genç bir adamla yaşadığı aşkı anlatan Lamia adlı şiiri, Corinth’in eril dünyasında Lamia’nın yokedilmesi konusunda kolektif bakışın işlevini yansıtmaktadır. Şiirde, bilge Apollonius’un öğrencisi Lycius’u yılanın kötülüklerinden koruma işlevi gören ‘mavi bakışı’ bu çalışmanın amacı bağlamında önemlidir. Yaşar Kemal’in Yılanı Öldürseler romanında eril/toplumsal bakış bu sefer kocası eski sevgilisi tarafından öldürülen ve çok güzel bir kadın olan Esme’ye odaklanmıştır. Roman başlığının gösterdiği gibi eril bakışın amacı yılanı ezmektir ve birçok karakter, özellikle de Esme’nin kaynanası, Hasan’ı annesini öldürmeğe ikna etmek için bir köy ortamındaki eril toplumsal söylemin bütün araçlarını kullanır. Makale, bakışın tarihi, dini ve mitolojik önemini, eril yönünü ve dişil olanla bağı veya mitik/tarihi çatışmasını ele almayı amaçlamaktadır. Makale, bu konuları Keats’in Lamia şiiri ve Yaşar Kemal’in Yılanı Öldürseler romanı bağlamında ele almaktadır.

Transitional Space: An Opening of the Experiential Realm Beyond the Mind

Este artículo describe cómo la comprensión psicoanalítica existencial radical de Donald Winnicott de la conciencia de transición y la relación de transición entrelaza nuestra psicología personal y nuestra experiencia más profunda de nuestra propia ontología existencial. Este artículo también aborda las coincidencias ontológicas de nuestra comprensión fenomenológica existencial contemporánea y la praxis tántrica Dzogchen de los siglos VIII y IX. El artículo muestra cómo la comprensión tántrica de Dzogchen CE de los siglos VIII y IX ilumina el pensamiento existencialista que atraviesa la fenomenología trascendental de Husserl y más tarde la fenomenología ontológica de Heidegger y Merleau-Ponty. El artículo también revela cómo estas dos modalidades de psicoterapia fenomenológica existencial y praxis tántrica convergen en el proceso experiencial de auto liberación. El trabajo también describe cómo una experiencia que es de fácil acceso se convirtió en el mundo espiritual patriarcal en algo propio de unos pocos «iluminados» como producto corporativo o marca ofreciendo, así, con este artículo, el más oculto secreto del tantra.

Between Social Utopia and Totalitarian Reality: “Children of Milky Way” by Dokiia Humenna

The paper considers the novel “Children of Milky Way” by Dokiia Humenna in the context of the postwar Ukrainian diaspora’s literary process. The focus is on the issues of relations between fiction and documentary writing, the individual and collective experiences. The literary Kyiv, being one of the central images in Dokiia Humenna’s novel, appears not only as a page from individual or national histories, a sample of the Kyiv text in the Ukrainian diaspora’s prose, but also as a generalization based on such texts and made due to various forms of intertextuality, which absorb the history and atmosphere of the Kyiv 1920s. The problem of interrelations between the writer and government, art, politic, and ideology is one of the most essential in the novel: Dokia Humenna reveals various aspects of the writer’s life and work in conditions of the totalitarian state and culture – from suicide to madness, from resistance to adaptation and collaboration. A future person and society in “Children of Milky Way” are represented in a commune. The histories of the two characters-antipodes Taras Saragola and Seraphym Carmalita are connected to its progress and decline; in the world of totalitarian repressions and control they choose different life strategies and roles. The memory about Soviet terror and repressions, as well as the Holodomor-genocide, “killing the Ukrainian peasantry as a foundation of the nation and destructing intellectuals as a brain of the nation” is important in the novel. The history of collectivization is related to the traumatic memory of the serfdom times, which affects the second and third generations and deepens the trauma caused by disintegration of a family, destruction of the patriarchal peasant world. This process was accompanied by desacralization of the Father’s figure as a personification of power, by infantilization of masculinity. The writer associates totalitarian reality with the metaphor of Night, which acquires different ambiguous meanings in the Ukrainian anti-totalitarian discourse.

Between Two Worlds: Chinese Immigrant Children and the Production of Knowledge in the Era of Chinese Exclusion

Between Two Worlds: Chinese Immigrant Children and the Production of Knowledge in the Era of Chinese Exclusion

De territorios-cuerpos imposibles y sus estésis de re-existencia.

El sistema de género moderno/colonial que comenzó a erigirse durante el siglo XVI, requirió de ciertas tecnologías de clasificación social como las de engeneramiento y racialización a partir de las cuales clasificar y organizar los cuerpos posibles y expulsar los cuerpos imposibles, en el sentido de no pasibles de “pro-yecto” en el mundo capitalista - moderno/colonial y patriarcal. La política y estesis de lo imposible que ofrecen los feminismos Abya Yaya intervienen las ontologías del cuerpo y la fundación de “lo común” desde un gesto político que torsiona a partir de lo imposible el orden de lo factible, haciendo de su praxis del pensar epistemologías desde la supervivencia para la re-existencia estésica. En esta torsión establecen diálogos y desplazamientos con otras expresiones del feminismo y con otras perspectivas críticas descoloniales. En lo que sigue, recorreremos los diálogos y desplazamientos que nutren este gesto de re-existencia.

Black Girl Thought in the Work of Ntozake Shange

In this article I examine the performances of black girlhood in two texts by Ntozake Shange—the choreopoem “for colored girls who have considered suicide when the rainbow is enuf” (1977) and the novel Sassafras, Cypress and Indigo (1982). The black girls whom Shange portrays navigate anti-black racism in their communities, domestic violence in their homes, and explore their connections with spirit worlds. In both these works, Shange stages black girls who make decisions based on their understanding of the spheres of influence that their race, gender, and age afford them in an anti-black patriarchal world dominated by adults. I draw, too, from Patricia Hill Collins’s work on feminist standpoint theory and black feminist thought to introduce the term black girl thought as a theoretical framework to offer insights into the complex lives of black girls who live in the post-civil rights era in the United States.

Estetyka wobec feminizmu

When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

ESTHETICS TOWARDS FEMINISM

When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

Family Matters: Centering Elite Women's Lives in an Age of Revolution

Family MattersCentering Elite Women's Lives in an Age of Revolution Lucia McMahon (bio) Sentiments of a British-American Woman: Esther DeBerdt Reed and the American Revolution owen s. ireland University Park: Pennsylvania State University Press, 2018 264 pp. First Ladies of the Republic: Martha Washington, Abigail Adams, Dolley Madison, and the Creation of an Iconic American Role jeanne e. abrams New York: New York University Press, 2018 328 pp. Sarah Gray Cary: From Boston to Grenada; Shifting Fortunes of an American Family, 1764–1826 susan clair imbarrato Baltimore: Johns Hopkins University Press, 2018 248 pp. Recent works of biography have shown how prescriptive ideologies and gendered expectations shaped early national women's experiences with marriage, motherhood, and sociability. The three books under review contribute to this growing historiography by underscoring how elite women's contributions to their families and social circles served valuable economic and political interests in the Revolutionary and early national periods. Despite their different subjects, these three works clearly show how elite men benefited from the "social capital" they derived from their marital and familial relationships with accomplished women who ably exerted their influence and intelligence on their behalf. The family dynamics illuminated in these books inspire careful consideration of how such methodological [End Page 809] approaches collectively contribute to our understandings of elite women as biographical subjects and historical actors. In Sentiments of a British-American Woman, Owen S. Ireland explores the life of Esther DeBerdt Reed, most well known for her fund-raising campaign on behalf of the Continental Army during the American Revolution. Ireland admires Esther DeBerdt Reed's strong personality, public activism, and political acumen, declaring, "Her story deserves to be told" (2). It is a compelling story that reveals an intricate web of transatlantic networks, family connections, and political ambitions. The daughter of a British merchant, Esther DeBerdt began a lengthy courtship with Joseph Reed, an American business associate seeking access to her father's commercial networks. Their relationship helps illustrate how shifting emotional and economic landscapes shaped men and women's expectations for romantic love and marriage in the late eighteenth century. As several scholars have noted, the emerging ideals of "companionate marriage" privileged affectionate, egalitarian unions founded in mutual friendship and esteem. Yet as the Reed courtship reveals, even relationships based upon emotional ties were also subject to familial and financial considerations. Esther's father did not approve of the match, and, in his mind, that should have settled the matter. Indeed, as Ireland suggests, Joseph Reed initially accepted Denny DeBerdt's decision, seemingly unwilling to jeopardize his commercial ties with Esther's father in the name of love. But Esther—"a strong-willed young woman in a patriarchal world"—was intent on "evading her father's explicit command" (7). The couple's lengthy courtship, which was initially conducted in secret and against her father's wishes, faced additional obstacles once Joseph Reed left London in 1765 in order to attend to his family's struggling business in New Jersey and "[i]t would be five long years before the lovers saw each other again" (33). During that time, Esther sought to "achieve her ends by circumvention rather than confrontation." According to Ireland, she leveraged "her charm, [and] her intelligence," enlisting supportive allies and devising various plans that would enable Joseph to return to London, as she repeatedly expressed her wish not to live in America (12). Yet as Joseph Reed worked to salvage his family's finances and to establish a legal practice in New Jersey, it became clear that the couple's future was in America. In 1770, after much drama, and her father's death, Esther got the marriage she wished for, but not the place of residence. [End Page 810] Once married and settled in America, Esther initially struggled to adjust to the provincialism of rural New Jersey. She skillfully assisted her husband with his legal practice and financial pursuits, deftly handing his correspondence and maintaining his business records. Such activities serve to illustrate the often behind-the-scenes ways that eighteenth-century women "contributed to the family's economic base" (108). During the Revolutionary War, Joseph Reed sought out daring, sometimes reckless, combat...

Trials of the Human Heart by Susanna Rowson

Reviewed by: Trials of the Human Heart by Susanna Rowson Anne Baker (bio) Trials of the Human Heart susanna rowson Introduction by melissa adams-campbell. Edited by richard s. pressman San Antonio, TX: Early American Reprints, 2017 326 pp. For nearly a decade now scholars of early American literature have been calling for readers and scholars to move beyond Charlotte Temple, Susanna Rowson's most popular work, and to pay more attention to the wide variety of texts Rowson produced in her long and constantly evolving career. In their 2011 special issue of Studies in American Fiction "Beyond Charlotte Temple," Jennifer Desiderio and Desiree Henderson argue that "Susanna Rowson is an author who deserves our full and engaged attention" (xxvii), and the essays in their valuable collection suggest that scholars are indeed taking notice of Rowson's plays, poetry, schoolbooks, and multiple novels. Despite this very welcome development, however, print editions of works other than Charlotte remain few and far between, thus making it challenging for scholars to introduce Rowson in all her variety to students or for nonspecialists to encounter Rowson as an author of far more than the sentimental phenomenon that is Charlotte. A new edition of Trials of the Human Heart (1795) published by Early American Reprints is thus a very welcome addition to the list of Rowson texts available in print. Aside from its being "the first best-selling novel in the United States," a key reason for the popularity of Charlotte Temple among teachers of early American literature has surely been its brevity; it's easy to find a place for Charlotte on a crowded syllabus. While Trials of the Human Heart is decidedly not brief (it was originally published in four volumes), it has other qualities that recommend it to educators trying to engage their students' interest in early American literature and culture. [End Page 601] Its heroine, Meriel Howard, is in many ways far more intriguing and likely to provoke lively discussion than poor Charlotte. The "trials" Meriel faces over the course of the sixteen years covered in the novel include attempted rape-incest at the hands of the man she believes to be her father, her nearly becoming a prostitute in order to provide for her destitute mother, an unhappy marriage, and shipwreck. As the novel draws to a close, however, the mood lightens and Meriel reunites with a lost true love and with her real parents, and finally achieves a happy marriage and home. These events surely make for an exciting narrative, but what gives the novel greater depth and interest is the fact that we hear these events narrated by Meriel herself in letters to her friend Celia, who remains throughout the novel in the French convent where Meriel herself spent her childhood. The epistolary form of the novel enables readers to consider Meriel's own explanations of how she chooses to respond to the various villains and misfortunes she encounters, and to ponder whether the naïve Meriel of the early chapters gains wisdom along with experience. Along with its epistolarity, gothic and picaresque elements in the novel make it an ideal vehicle for discussing the various subgenres of the eighteenth-century novel. The supplementary materials in this Early American Reprints edition are excellent. The footnotes are helpful enough to enable undergraduates to read the novel, and the introduction provides useful, concise information about Rowson's life and career and argues, insightfully, that Trials "exceeds the bounds of the marriage plot even as it delivers one" (11). The inclusion of the epilogue to "Slaves in Algiers" (written just a year before Trials), in which Rowson boldly proclaims that women "were born for universal sway," provides an interesting counterpoint to Trials, raising questions as to what extent Meriel is ever able to achieve agency in the patriarchal world in which her adventures take place. An excerpt from William Cobbett's "A Kick for a Bite," a misogynist attack on Rowson and her work, further highlights the way questions about gender relations and women's role in public life shaped Rowson's writing. Editions like this one make it possible for students and general readers to see for themselves the fuller...

“I Could Read It Like Leaves”: Communion of Languages in Paula Meehan’s Geomantic

“I Could Read It Like Leaves”: Communion of Languages in Paula Meehan’s Geomantic Wit Pietrzak Throughout her oeuvre, Paula Meehan has paid much attention to the tragic condition of oppressed people, including women and the financially destitute, all of whom are often evoked in conjunction with the precarious situation of the natural environment. In her twentieth-century volumes, the matters of economic deprivation and social injustice, also on the part of the Catholic Church, come to prominence, as in “The Statue of the Virgin at Granard Speaks,” which focuses on the church’s “toxic language of evasion and hypocrisy.”1 In The Man Who Was Marked by Winter (1991), the role of poets across the ages has been that of “representative spokespersons of the oppressed and vulnerable communities,” even if Meehan is hesitant to accept that role, instead frequently “emphasiz[ing] the limitations involved in presenting herself as a spokesperson.”2 While it would be disingenuous to claim that her work has undergone a major change—especially as Meehan has noted, in regard to frequently being dubbed an urban poet, that “[she doesn’t] see the city and the human beings and non-human beings in the city as apart from nature that nature ends where man-made material looms”—it seems there has been what she herself describes as “a gear shift” in her twenty-first-century work, particularly in the last two collections, Painting Rain (2009) and Geomantic (2016).3 In them, the issue of environmental degradation is brought to the fore with an increased urgency. Given the breadth of her preoccupations and the degree to which they intertwine in her poetry as well as in interviews, “addressing her work fully,” as Kathryn Kirkpatrick points out, “requires an expansive ecocritical frame, one that [End Page 62] acknowledges the interconnections between exploitative economic systems, social inequities, and environmental degradation.”4 The “ecocritcal frame” that has so far been applied to reading Meehan’s poems includes the work of cultural theorist Carol Merchant as well as of ecofeminist thinkers like Rosi Braidotti, Val Plumwood, Maria Mies, and Vandana Shiva. The starting point in considering Meehan’s ecologically attuned work is the critique of “the cosmology of a capitalist patriarchal world system which defines freedom as the transcendence of nature, a transcendence available only for a few and at the expanse of the Others.”5 This condition of capitalist exploitation is characteristic for the Ireland of the Celtic Tiger period. Meehan has increasingly noted in interviews that So many of our vulnerable ecosystems were (are still) under threat from mindless turbo development. Late century capitalism run riot. Now that the boom is over and we’ve gone into recession and the government is using taxpayers’ money to bail out the banks, we may have a breathing space to estimate what’s been lost through the unmediated and rampant greed that characterized both planning and building in nineties and noughties Ireland. In there too is the “Sean Bean Bocht,” poor old mother Ireland with her four green fields—“each one is a jewel” as the song tells us, only now she’d more likely sing about her four green sites. House and site for sale was a common advertisement, whereas before you’d have House and garden for sale. In fact you’d be afraid to stand still too long in case someone built an apartment complex on your head.6 This general anxiety over the fate of the environment is given a still sharper expression in the 2009 interview with Jody Allen Randolph, in which Meehan states that “the ravages of turbo development in the last decade have meant enormous loss, erosions of rich biodiverse fields and the communities they sustained,” adding, “I think the big loser [of the Tiger-period boom] has been the environment. There are ecosystems and marginal zones that will never recover.”7 Compared to her earlier interviews, the 2009 conversation with Allen Randolph exudes a sense of grief for the condition of nature. The above remarks about the destruction the Irish environment has suffered are made in reference to her celebrated poem “Death of a Field,” which opens Painting Rain: “The field itself is lost...

The drama and the libretto "The Storm" by Alexander Ostrovsky: a historical plan in the image of the patriarchal world

The article is devoted to the problem of studying the historiosophical views of Alexander Ostrovsky. The author examines it on the material of two works by the playwright written in different years: the drama "The Storm" and the libretto "The Storm". The article provides a comparative analysis of these works and substantiates the provision that they are in complementary relations. The author comes to the conclusion that Alexander Ostrovsky as a librettist restores the character of public and private life of the heroes of the 17th century, consistently removing the themes indicating the crisis state of the patriarchal world in the mid 19th century. The article shows that at the same time, the playwright reveals the causes of this crisis. The author points out the convergence between the libretto "The Storm" and the novel "The Idiot" by Fyodor Dostoevsky, as well as the book "The History of a Town" by Mikhail Saltykov-Shchedrin. The study helps clarify the historical and cultural realities of the two works of the same name by Alexander Ostrovsky and deepen their interpretations, which is topical in the context of the preparation of his Complete works and letters to publish.

‘Calamity’: the small town and railway as allegory

The aim of this text is to analyse and interpret the allegorical elements in the film Calamity by Věra Chytilová in 1981 in the context of contemporary social and existential situations; to describe individual elements of allegory; to prove that they are presented through different symbolic elements (specifically the ideological and artistic) which transform the relation of the allegorizing and the allegorized. The initial allegorical agents in the film Calamity are formed through the title of the film where the word ‘calamity’ produces three meanings: a natural phenomenon, a social (and implicitly political) situation and an existential crisis. Similarly, the small town and railway, as a space in which the most important part of the story occurs, create a synecdoche of the Czechoslovak society in the time of normalization and call attention to actual social and political crises linked with the normalization regime at the turn of the 1970s and 1980s. The specific political situation also creates a backdrop to the portrayal of the feminist viewpoint which the director conjoins with the fall of the patriarchal world. Finally, the film captures an existential crisis that is of an unpolitical and timeless character, shown predominantly through failures of human communication..

Young feminists working globally to end violence against women and girls: key challenges and ways forward

ABSTRACTDrawing from our experience as young feminists working with an emerging feminist advocacy collective focused on addressing violence against women and girls (VAWG), our article focuses on some of the key challenges young feminists face while advocating for feminist-informed programming in efforts to address VAWG in humanitarian and development settings. Drawing on our own experience as young feminists to prevent and address VAWG in a patriarchal world, we see ourselves as walking a tightrope. On one hand, our radical activism is instrumental in achieving a world where no one is left behind. Yet we are often told, in direct and indirect ways, to dial down the feminism, to be ‘inclusive’ and ‘intersectional’ with limited meaningful accountability to women and girls. We conclude by offering a set of recommendations aimed at advancing young feminist activism in VAWG work and retaining a feminist space that is political, while working in partnership with other movements and actors.

A BOOK REVIEW: FEMINISM ANDNERSUS FEMINITY OF MODERN WOMEN

One important theme attached to pop culture is the politics of representation and sub-cultural identity. The pop singer Madonna and then the Spice Girls are frequently regarded as the representation of modern women offering a different face of feminism ideology. Successfully entering the market
 competition, Madonna, through her cry of 'material girl', characterizes herself as an independent woman in the still dominating patriarchal world while challenging the burden of 
 morality placed on the shoulders of women. She asks young women to rebel against male-centred traditions and unashamedly exposes her sensuality as a source of power and even domination, or in short celebrating 'being women'. The flag of Girl Power is also waved by the 1990'sBritish female
 singers, the Spice Girls, who call young girls to "be strong, be brave, be loud and control your own destiny. Believe that your self can do anything you want to do and be confident. We have to be independent, but it does not mean that you don't need a boy" (Swastika 2004: 66).

Intimate Partner Violence: Is it Possible to Evaluate on Similar Way to Men and Women?

Intimate Partner Violence [IPV] is a complex and multi-determinate phenomenon, there are different theoretical approximations to explain it; some of them are related to internal factors as self-esteem, attachment, or intergenerational transmission of violence, others are focused on external elements. Ecological Model is an alternative in which is possible to consider both, internal and external factors, altogether. On IPV, men and women can become victims and perpetrators; however, per Ecological Model, these facts need different background for their explanation. To be born as a man or as a woman in a patriarchal world poses different challenges and opportunities for each.

Towards Modernity in Manju Kapur’s A Married Woman

Manju Kapur speaks, with great narrative eloquence, of the idea of independence. She was awarded the Commonwealth Writers Prize for her first novel Difficult Daughters in 1999. It has earned her very substantial success, both commercially and critically, both India and in abroad. Her novel “A Married Woman” deals with new woman protagonist. It gives us revolutionary theme, the plot centers on a woman's obsession with love and lesbianism. Here, “new woman” is bold and modern in perspectives. She is job oriented, rebellious, educated and thoughtful. Kapur's heroines are mostly educated, aspiring individuals caged within the confines of a conservative society. Their education leads them to independent thinking for which their family and society become intolerant of them. They struggle between tradition and modernity. Kapur has taken profound insight into woman's inner turmoil to find a place, an identity and individuality of her own in society. For centuries, women are always back staged by patriarchal world. This paper brings out the feminist views of Manju Kapur and the issues related to the inner turmoil of women in her novel.

ТЕМИРБОЛАТ МАМСУРОВ - ВЫРАЗИТЕЛЬ МИРОВОЗЗРЕНИЯ ГОРЦЕВ

The article studies the creativity of the famous Ossetian poet Temirbolat Mamsurov. His merit is that he was the first to create a new genre, the genre of a poem, genetically close to the folklore genre of folk songs. The article reveals the main problems and peculiarities of Mamsurov’s poetry. The main content of the study is the analysis of his poetry. On the basis of the analysis it is concluded that for T. Mamsurov the criterion for evaluation of a person and social phenomena remains the patriarchal world of a mountaineer with his ethics and aesthetics.

Being a Sensible Woman: Hypertextuality in Grimm’s Fairy Tale and Juliet Marillier’s Wildwood Dancing

The re-writing of a fairy tale caters for characters, settings and values that have undergone changes, be it explicit or implicit. In Juliet Marillier’s Wildwood Dancing, the main female character Jena is transformed from the passive and obedient Twelfth/Youngest Princess of Grimm’s The Worn-Out Dancing Shoes into a brave and sensible figure. She challenges the oppression of patriarchal rules by taking control of her household in her father’s absence, securing her four sisters’ welfare, and keeping secret of their nocturnal dancing trips in the Other Kingdom despite being threatened by her domineering male cousin. In this way, Gerard Genette’s Hypertextuality strives to investigate the underlying patterns manifested in both literary works by applying the Re-vision element. Through it, Jena’s and the Twelfth/Youngest Princess’ sensibility trait and the socio-cultural settings surrounding them are highlighted in order to determine the importance of the overall hypertextuality process that takes place between the two. Later, Jena emerges as the more influential heroine than her predecessor character because she does not stop struggling to be regarded as an independent young woman who can always give advice and make decisions for her family affairs sensibly. Also, it is eventually proven that sensibility is indeed a strong weapon to be possessed by women in order to empower themselves against the conventions of a patriarchal world.