scholarly journals Maskuliniti yang Diruntuhkan Feminiti: Satu Penelitian Stereotaip Gender dalam Novel Seri Dewi Malam Karya Affifudin Haji Omar

2021 ◽  
Author(s):  
Wan Hasmah Wan Teh
Keyword(s):  
Cultural Context ◽  
Female Gender ◽  
The Novel ◽  
Female Representation ◽  
Female Authors ◽  
Male Characters ◽  
Second Sex ◽  
Feminist Ideology ◽  
Female Stereotypes ◽  
And Gender

Ideologi feminis menyumbang kepada fahaman bahawa lelaki dan perempuan dipengaruhi oleh pengalaman kehidupan yang berbeza ketika menghasilkan sesebuah karya kreatif. Feminis percaya bahawa pengarang lelaki tidak dapat menampilkan dimensi kejiwaan perempuan kerana mereka tidak pernah merasai pengalaman sebagai seorang perempuan. Ideologi seperti ini muncul sebagai tindak balas terhadap kebanyakan karya yang dihasilkan oleh pengarang lelaki yang sering mempersembahkan watak perempuan sebagai the second sex, terpinggir, bisu dan lemah dalam sistem sosial yang didominasi oleh lelaki. Walau bagaimanapun, tindakan pengarang lelaki ini tidak boleh dihukum kerana kegagalan mereka memahami dimensi perempuan yang berbeza dari diri mereka. Pencitraan perempuan daripada perspektif pengarang lelaki harus dilihat daripada konteks masyarakat dan budaya yang meletakkan stereotaip tertentu mengikut jenis kelamin. Bertitik tolak daripada fahaman tersebut, makalah ini mengupas konsep gender yang dibentuk oleh masyarakat sosial serta meneliti imej stereotaip lelaki yang dikenali sebagai gender maskulin dan imej stereotaip perempuan yang dikenali sebagai gender feminin. Hasil dapatan makalah ini mendapati pengarang novel Seri Dewi Malam telah mengubah fahaman pembaca tentang pengarang lelaki dalam mencitrakan imej perempuan dan menolak stereotaip sedia ada dengan menonjolkan imej positif yang dimiliki oleh watak Rohana sebagai gender feminin yang meruntuhkan stereotaip gender maskulin watak-watak lelaki di dalam novel.   The feminist ideology argues that the production of a creative work amongst male and female authors is defined by their specific life and gender experience. Feminists believe that male authors are unable to tap into the thoughts and emotional dimension of female authors because they have never experienced the life of a female. This argument emerged as a form of reaction towards the production of novels by male authors who often portray the female characters as ‘the second sex’, forsaken, tacit and weak in the male-dominated social system. Understandably, these prejudiced portrayals reflect their failure in understanding the female gender as a whole. Narrating the female from the male perspective thus has to be approached from the social and cultural context that gives rise to these stereotypes. This paper addresses the notion of gender from the perspective of society and explores the conceptual division between the male representation as ‘masculine' and female representation as ‘feminine’ in the novel Seri Dewi Malam. It argues that the author of the novel has managed to transform the female stereotypes by instilling more positive representations to the protagonist Rohana and her femininity in challenging the masculinity of male characters.

Queering Time: The Temporal Body as Queer Chronotope in Virginia Woolf’s Orlando

2020 ◽  
Vol 138 (1) ◽  
pp. 38-61
Author(s):  
Pooja Mittal Biswas
Keyword(s):  
Gender Identity ◽  
Virginia Woolf ◽  
Cultural Context ◽  
Female Gender ◽  
The Novel ◽  
Gender Performativity ◽  
Biological Sex ◽  
The Past ◽  
Gender Binary ◽  
And Gender

AbstractThis paper studies how the novel Orlando by Virginia Woolf deconstructs the male / female gender binary by deconstructing the past / future time binary. The protagonist’s sex change disrupts the linearity of ‘straight time’, in which the causality of gender is monodirectional, queer agency is impossible, and a false equivalency is drawn between gender identity and biological sex. The text instead leads Orlando (and the reader) away from straight time and into queer time, which is multidirectional, non-linear and non-heteronormative, and which unhitches gender identity at least partially from biological sex through a process that I call ‘gender lag’. This lag grants queer agency to Orlando in terms of his / her own gender identity and gender performativity. In exercising queer agency, Orlando’s changing body becomes a queer ‘chronotope’, that is, a queer expression of time and space within the narrative. Explored in the paper are the various means employed within the text to queer time and gender. The cultural context within which Orlando was written is also considered as a contributing factor to the subtextuality of its queerness. Finally, the text’s transgender connotations are analysed.

scholarly journals The Reincarnation of Animated Film

2017 ◽  
Vol 65 (4) ◽  
pp. 331-344
Author(s):  
Eva Šošková
Keyword(s):  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Dominant Male ◽  
Narrative Art ◽  
Female Authors ◽  
Male Characters ◽  
Before And After ◽  
Animated Film ◽  
And Gender

Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.

La Malinche at the Intersection: Race and Gender in Down These Mean Streets

PMLA ◽  
1998 ◽  
Vol 113 (1) ◽  
pp. 117-128 ◽  
Author(s):  
Marta E. Sánchez
Keyword(s):  
Puerto Rican ◽  
Female Gender ◽  
Gender And Sexuality ◽  
The Novel ◽  
Chicana Literature ◽  
Race And Gender ◽  
La Malinche ◽  
Race Ethnicity ◽  
And Gender ◽  
The 1960S

Piri Thomas's Down These Mean Streets (1967) challenges binary notions of whiteness and blackness by valorizing a third term—mestizaje. And yet the novel enlists dominant views of female gender and sexuality to affirm the protagonist's ethnic male identity. In my Chicana feminist reading of this Puerto Rican text, I import the reinterpreted figure La Malinche and its companion figure La Chingada—prevailing tropes in Chicano and Chicana literature and discourse of the 1960s—to illuminate the complex intersections of race, ethnicity, gender, sexuality, and class. These intersections are key to social analyses that transcend binary conceptions of race and paradigms of dominant and subaltern.

scholarly journals Gender Exclusion in Textbooks: A Comparative Study of Female Representation in Provincial ELT Textbooks of Pakistan

2019 ◽  
Vol 9 (5) ◽  
pp. 377
Author(s):  
Sajid Waqar ◽  
Mamuna Ghani
Keyword(s):  
National Curriculum ◽  
National Level ◽  
Female Gender ◽  
Gender Representation ◽  
Female Representation ◽  
Comprehensive Comparison ◽  
Gender Based ◽  
And Gender ◽  
Gender Images ◽  
Analytical Tools

The focus of this study was female gender representation in secondary level ELT textbooks published by four different textbook boards of Pakistan, namely Baluchistan Textbook Board, Sindh Textbook Board, Khyber Pakhtunkhwah Textbook Board and Punjab Textbook Board. It targeted a comprehensive comparison between the female gender images as represented in four sets of textbooks and gender conceptions of their respective female readers. To achieve the objectives, the study was divided into two parts: In part 1, the textbooks by four state-run textbook boards were analyzed and in part 2, their respective female readers’ gender conceptions were collected and analyzed. The study employed multi-dimensional analytical tools like manifest, latent analysis and Fairclough (2001) CDA model for interpretation and explanation of textbook discourse. The study revealed a low representation share of female gender in four sets of textbooks. It brought out that female readership had stereotype conceptions regarding the attributes, professions and activities as appropriate for the female gender. It was also found that Sindh and Punjab Textbook Boards had improved female gender representation than other provincial textbook boards. The quantitative findings of part 2 proposed that textbooks could play a vital part in modeling gender conceptions of readership as Sindh and Punjab Textbook Boards’ female readership showed better gender conceptions. The study recommended a gender-based test of the textbooks at national level prior to publication to ensure gender equality as directed in National Curriculum.

scholarly journals Atwood's Men Meet the Screen

2020 ◽  
pp. 137-148
Author(s):  
Joe Montenegro Bonilla
Keyword(s):  
Gender Roles ◽  
The Novel ◽  
Television Version ◽  
Male Characters ◽  
And Gender

Margaret Atwood’s famous work, The Handmaid’s Tale, offers innovative and intriguing perspectives on gender and gender roles, as they are dramatized and problematized in the context of a dystopian society that in many ways is a projection of our own. Particularly interesting in the novel are the roles on men, represented by the principal male characters: the Commander, Nick, and Luke. As Atwood employs these personae to describe at least three different manifestations of masculinity —all with their own conflicts and possibilities—, the first season of the television version of the novel, created by Bruce Miller and resealed in 2017, explores, expands, and exploits various visions of manhood that help understand not only the protagonist’s but also the reader’s/viewer’s world. This paper is an attempt to establish a dialogue of sorts between Atwood’s and Miller’s viewpoints on masculinity through their portrayals of these three characters and their interactions with their protagonist and their context.

THE UNIVERSAL DIVINE PRINCIPLE, THE SPIRITUAL ANDROGYNE, AND THE NEW AGE IN SARAH GRAND'S THE HEAVENLY TWINS

2009 ◽  
Vol 37 (1) ◽  
pp. 177-196 ◽  
Author(s):  
Naomi Lloyd
Keyword(s):  
Cultural Context ◽  
New Woman ◽  
New Age ◽  
Religious Authority ◽  
The Novel ◽  
Divine Feminine ◽  
Male And Female ◽  
The New Woman ◽  
Religion And Gender ◽  
And Gender

In February 1893 the feminist journal Shafts published two articles by Mrs. A. Phillips the second of which provided an esoteric reading of the crucifixion in which Phillips, making recourse to Sanskrit, argued that Christ's death on the cross symbolized the “perfect marriage union of the male and female” (qtd. in Dixon, Divine Feminine 163). Feminist theosophists such as Phillips believed Christianity's neglect of the Divine Feminine to have resulted in a masculinist ordering of religious authority and in the concomitant subordination of women. The editor of Shafts, Margaret Shurmer Sibthorpe, agreed; she added a note to Phillips's second article urging her readers to work towards the formulation of a gospel that would facilitate women's emancipation. In the same issue of Shafts, Sarah Grand's The Heavenly Twins was reviewed. The reviewer cited at length a passage from the novel's Proem characterizing the divine as the union of the male and female principles and concluded with a discussion of the “heavenly twins” of the novel's title. The Shafts reviewer, however, did not explore the significance of religious allusions in The Heavenly Twins, nor did she examine the relation between the dual-sexed divine of the Proem and the story of the heavenly twins, Angelica and Diavolo Hamilton-Wells. Subsequent Grand scholars have not, for the most part, taken up these questions. The possibility that the novel might constitute an attempt to reconfigure dominant discourses of religion and gender, of the kind Sibthorpe had called for and Phillips undertaken, is largely unconsidered. The New Woman as a “modern maiden” is instead assumed to emerge from a predominantly secular cultural context.

scholarly journals Penyejajaran Diri Tokoh Perempuan Novel Cintaku di Kampus Biru Karya Ashadi Siregar

2020 ◽  
Vol 9 (2) ◽  
pp. 125-130
Author(s):  
Erisa Septianingrum ◽  
Nas Haryati Setyaningsih
Keyword(s):  
Popular Culture ◽  
College Student ◽  
Popular Literature ◽  
Female Gender ◽  
The Novel ◽  
Woman Character ◽  
Men 2 ◽  
Love Relationship ◽  
And Gender ◽  
Final Degree

Penelitian berjudul Penyejajaran Diri Tokoh Perempuan Novel Cintaku di Kampus Biru Karya Ashadi Siregar ini membahas feminisme dengan menguraikan kesejajaran gender dalam novel Cintaku di Kampus Biru. Penelitian ini dilakukan karena adanya pandangan kesejajaran gender tokoh perempuan sebagai bagian dari budaya populer yang menarik untuk dikaji. Selain itu, problematika asmara mahasiswa tingkat akhir sebagai ciri sastra populer memiliki keunikan yang tidak terdapat pada novel lain yaitu hubungan asmara mahasiswa dengan mahasiswa dan mahasiswa dengan dosen. Adapun teori yang digunakan untuk yang digunakan dalam penelitian ini adalah feminisme dan kesejajaran gender. Hasil penelitian ini berupa paparan mengenai: 1) penggambaran tokoh perempuan dalam novel Cintaku di Kampus Biru karya Ashadi Siregar sebagai upaya menyejajarkan diri dengan laki-laki, 2) reaksi tokoh laki-laki dalam novel Cintaku di Kampus Biru karya Ashadi Siregar melihat usaha penyejajaran diri yang dilakukan tokoh perempuan, dan 3) sikap pengarang terhadap feminisme berdasarkan penyajian cerita di dalam Novel Cintaku Di Kampus Biru.   A study entitled “Penyejajaran Diri Tokoh Perempuan Novel Cintaku di Kampus Biru Karya Ashadi Siregar” discussed the feminism by describing gender aligment in the novel entitled Cintaku di Kampus Biru. The study was aimed at showing the female gender alignment was a part of a popular culture that was interesting to explore. Moreover, the problematic of the final degree college student as the character in the popular literature which has uniqueness that wasn’t in other novel novels was the love relationship between college students and college student or college student and their lecturer. So the purpose of this study is to analyze feminism in the novel Cintaku on Kampus Biru by Ashadi Siregar, written in 1972. The theories used in this study were feminism and gender alignment. This study resulted in several findings which exposed about: 1) The description of the woman character in the novel entitled Cintaku di Kampus Biru karya Ashadi Siregar as an effort to align herself with men, 2) The reaction of the man character in novel entitled Cintaku di Kampus Biru karya Ashadi Siregar when he noticed the effort of gender alignment that the woman did, and 3) The author’s attitude with feminism based on the presentation of the story in the novel entitled Cintaku di Kampus Biru. The benefits of this research are revealing feminism in Ashadi Siregar's novel Cintaku on Kampus Biru as well as being a reference for other researchers in studying feminism.

scholarly journals Language and Gender Representation in Chinua Achebe’s Things Fall Apart

2019 ◽  
Vol 12 (11) ◽  
pp. 55
Author(s):  
Blessing U. Ijem ◽  
Isaiah I. Agbo
Keyword(s):  
Female Gender ◽  
Gender Representation ◽  
Chinua Achebe ◽  
The Novel ◽  
The Unconscious ◽  
Male And Female ◽  
Language And Gender ◽  
The Social ◽  
Things Fall Apart ◽  
And Gender

This article examines the linguistic construction of gender in Chinua Achebe’s Things Fall Apart. It shows how this reflects the social reality of the relationships between women and men in society, which is firstly structured in the unconscious mind. The examination of language use in constructing genders in the novel is important as it unveils the relationships between the male and the female in society. This is because gender representation is influenced by unconscious and hidden desires in man. This study specifically examines Achebe’s use of grammatical categories in the construction of the male and female genders in Things Fall Apart. To this end, it reflects the pre-colonial Igbo society in its socially stratified mode, which language served as the instrument for both exclusion and oppression of women. This article shows that the male and female genders dance unequal dance in a socially, politically and economically stratified society where the generic male gender wields untold influence over women in that pre-colonial Igbo society. The study further shows that Achebe used language in Things Fall Apart to glorify masculine gender while portraying the female gender as docile, foolish, weak and irresponsible second-class citizen.

scholarly journals Andean Female Representation in Peruvian Films from the Internal Armed Conflict

MEDIACIONES ◽  
2018 ◽  
Vol 14 (21) ◽  
pp. 1-16
Author(s):  
James Dettleff
Keyword(s):  
Armed Conflict ◽  
Armed Forces ◽  
Female Representation ◽  
Peruvian Andes ◽  
Race And Gender ◽  
Internal Armed Conflict ◽  
Male Characters ◽  
Terrorist Groups ◽  
And Gender ◽  
Women's Role

This paper focuses on the representation of Andean female characters (indigenous) in Peruvian films set in the Internal Armed Conflict (IAC 1980–1999) and their relationship with male characters from the coast and from the Peruvian Andes. Using the discourse analysismethod, the paper shows how this is an uneven power representation, where the female indigenous character is portrayed as the lowest step of the social-economic scale, with no agency or any self-powerto free herself from her own situation. This work analyzes La boca del lobo (1988), the first Peruvian film set during the iac, in which Andean women have a secondary role, stripping away from them any possibility of being empowered subjects. This way of portraying the Andean women answers to a patriarchal and racist structure, which not only shows Andean females as powerless, as subaltern subjects, victims of psychological and sexual violence, but also makes invisible the role that they had during the iac. Women’s role mainly consisted in confronting both the abuses performed by the terrorist groups and by the Peruvian armed forces. This powerless portrayal was maintained in other audiovisual Peruvian productions—as analyzed in my ongoing PhD research—and has established a vision of the Andean female as a diminished subject and also contributed to build the Andean people—mainly women—as the “other” in the iac. To understand how non-indigenous people of Lima have built an image of the main victims of the IAC may help rebuild this war-torn nation, since race and gender differences are still problems Peru must resolve.

scholarly journals IDENTITAS DAN POSISI PEREMPUAN DALAM ROMAN L’ENFANT DE SABLE KARYA TAHAR BEN JELLOUN

SUAR BETANG ◽  
2018 ◽  
Vol 12 (1) ◽  
pp. 59
Author(s):  
Nfn Sunahrowi ◽  
Gandis Prastiwi Damayanti
Keyword(s):  
Third World ◽  
World Society ◽  
The Novel ◽  
Tahar Ben Jelloun ◽  
Human Beings ◽  
The Third ◽  
Male Characters ◽  
And Gender ◽  
The Third World ◽  
Sensitive Issues

Identity and gender are sensitive issues in the third world. This issue has always clashed with the cultural nature of human beings and also become a foreign territory for them. Both men and women become opposite positions. They occupy different places in third world society. Women are culturally stereotyped less favourable for existence in the presence of men. Tahar Ben Jelloun, a French-born Moroccan author, was able to take quite a careful situation in his neighbourhood. He, in the novel L'Enfant de Sable is able to provide a clear picture of the position and identity of Algerian women and at the same time also posing with male characters. He who was born of a third world society was able to draw these themes into postcolonial issues, primarily on the themes of women and their existence in society.

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