scholarly journals Dysfunctional Gaze and the Representation(s) of Women in Nuala Ní Chonchúir’s “As I Look”

2019 ◽  
Vol 27 ◽  
pp. 247-258
Author(s):  
Máximo Aláez Corral
Keyword(s):  
Short Story ◽  
Female Body ◽  
Theoretical Framework ◽  
Male Gaze ◽  
Literary Representation ◽  
Representation Of Women ◽  
The Gaze

In this article I intend to analyse Nuala Ní Chonchúir’s short story “As I Look,” from her 2009 collection Nude, in relation to the concept of dysfunction, the representation of the nude female body, and the deconstruction of the conventional male gaze. My analysis will be backed up by a theoretical framework on objectification and will focus on dysfunction in the gaze and representation, and also in narration. I aim at highlighting dysfunction as an instrument to convey a new meaning around the visual/literary representation of women, a more positive and desirable connotation than the “functional” order of the visual norm.

scholarly journals Escaped from the Harem, Trapped in the Orient: An analysis of the multiple gazes in Nadine Labaki’s movie Where Do We Go Now?

1970 ◽  
pp. 87-92
Author(s):  
Anna Kokko
Keyword(s):  
Visual Culture ◽  
Sexual Desire ◽  
Male Gaze ◽  
Modern Times ◽  
Representation Of Women ◽  
The Gaze ◽  
Feminist Discourse ◽  
Broad Array

Throughout history, the majority of artists have been men, and quite often the women in their works have been featured as passive objects of male sexual desire. This sort of one-sided dynamic is ubiquitous; it can be detected in the vast majority of Western nude paintings, and even modern advertisements tend to conform to the same pattern (Berger, 1977). As a consequence, feminist discourse of the representation of women in visual culture has focused on the concept of male gaze. However, the proliferation of images in modern times has given rise to a “broad array of gazes and implied viewers” (Sturken, 2005, p. 87). Women are no longer simply objectified, nor is the business of directing the gaze relegated to solely a male domain.

scholarly journals Kamera Sebagai Alat Operasi Male Gaze: Analisis Male Gaze dalam Film Horor “Pacar Hantu Perawan”

2016 ◽  
Vol 12 (1) ◽  
pp. 19
Author(s):  
Diyah Ayu Karunianingsih
Keyword(s):  
Female Body ◽  
Horror Film ◽  
Male Gaze ◽  
The Gaze ◽  
The People ◽  
Visual Pleasure

Abstrak Kehadiran perempuan dalam sebuah film horor dapat dilihat dari bagaimana perempuan direpresentasikan dan diposisikan. Film yang dianalisis adalah film horor berjudul Pacar Hantu Perawan. Menurut Lauretis teknik sinematik mengonstruksi perempuan sebagai objek hasrat pandangan bagi penonton dengan menggarisbawahi representasi tubuh perempuan sebagai sisi utama seksualitas dan kesenangan visual. Dalam tulisan ini dianalisis teknik sinematik terutama kamera dengan berbagai pilihan tipe pengambilan gambar (type of shot) yang digunakan. Analisis juga dilakukan terhadap teknik pencahayaan (lighting) dan pilihan kostum. Dari hasil analisis diketahui bahwa teknik sinematik baik teknik pengambilan gambar (type of shot) maupun pencahayaan digunakan untuk melancarkan hasrat memandang laki-laki (male gaze)  dan mengeksploitasi tubuh perempuan demi kesenangan visual. Kamera digunakan sebagai alat beroperasinya hasrat memandang (voyerist gaze).  Perempuan diposisikan sebagai objek bagi pandangan laki-laki yang patuh terhadap tatapan mata kamera (tatapan mata laki-laki). Teknik sinematik mengonstuksi perempuan sebagai objek hasrat pandangan bagi orang-orang di balik produksi dan penonton.Kata kunci: male gaze, teknik sinematik, perempuan, objek seksualitas  AbstractCamera as a Tool of Male Gaze Operations: The Analysis of Male Gaze in Horror Film “Pacar Hantu Perawan”. The presence of women in a horror movie can be seen from how women are represented and positioned. The title of The film being analyzed is ‘Pacar Hantu Perawan’. According to Lauretis, cinematic technique is used to construct women as an object of eyeing desire for the audience by highlighting the representation of the female body as the primary side of sexuality and visual pleasure. In this paper the cinematic techniques were analyzed, especially the camera with its various types of shooting.  Analyses were also conducted on the technique of lightings and costume selection. The result of the analyses shows that the cinematic techniques, either the types of shots or the lightings were used to expedite the male gaze and exploit the female body for the sake of visual pleasure. The camera is used as an operating means of eyeing desire (voyeur gaze). Women were positioned as the objects of the male gaze adherent to the gaze of the camera (male gaze). Cinematic techniques constructed women as objects of male gaze for the people behind the production as well as the audience.Keywords:

scholarly journals Virginia Woolf’s Representation of Women: A Feminist Reading of “The Legacy”

2017 ◽  
Vol 7 (1) ◽  
pp. 120
Author(s):  
Hussien AlGweirien
Keyword(s):  
Gender Inequality ◽  
Short Story ◽  
Perspective Taking ◽  
Intellectual Ability ◽  
Male Dominance ◽  
Representation Of Women ◽  
Women's Identity ◽  
Feminist Perspectives ◽  
The Relationship ◽  
Shed Light

Over the centuries women have been struggling to gain recognition, calling their independent voice to be heard in patriarchal and racist societies. As they follow the standards and the values of their societies, women tend to break the stereotypical and submissive images that degrade their position in their societies. Thus, this paper will scrutinize thoroughly women’s intellectual ability from a Gynocriticism perspective taking Virginia Woolf’s short story “The Legacy” (published posthously in 1944) as an example. The present paper provides an analytical view of the four models of gynocriticism; i.e., biological, linguistic, cultural, and psychological. It also attempts to shed light on some common feminist themes such as the theme of marriage and how oppressed marriage motivates male dominance. The paper addresses the relationship between wife and husband in terms of gender inequality and women’s identity. It also tackles women’s trapped position as distinct from the liberty of men and oppressed by husband in an unhappy marriage. It relies heavily not only on feminist perspectives as gynocriticism, gender inequality, and the theme of marriage; but also on the authors’ personal life. The paper concludes that being unable to speak their voice freely, women view writing as their salvation for their voice to be heard.

scholarly journals The Criteria of Ideal Man as Seen from Female Gaze in Free!

K ta Kita ◽  
2019 ◽  
Vol 7 (2) ◽  
pp. 165-172
Author(s):  
Dita Berlian
Keyword(s):  
Personality Traits ◽  
Sex Role ◽  
Point Of View ◽  
Male Gaze ◽  
The Gaze ◽  
Female Gaze ◽  
Male Sex ◽  
Definition Of ◽  
Female Audience ◽  
The Ideal

Japanese animations (anime) are worldwide known. They are targeted to various kinds of audience. A drama-sport anime entitled Free! is rarely found as the targeted audience is female audience. Because Free! targets female audience, the definition of the ideal men is defined from the point of view of the female audience. Therefore, the gaze which is used to identify the male protagonists is female gaze. By using the theory of male gaze and traditional male sex role themes, I found that there is a combination of masculinity and femininity in the male protagonists in Free!. The combined characteristics are shown in the physical appearance, personality traits, and roles. The appearance of this type of an ideal man leads to a new concept in Japan which is called bishōnen. Keywords: Anime, ideal man, masculinity, femininity, female gaze, bishōnen.

scholarly journals STRATEGI PENARASIAN DAN PEMOSISIAN SUBJEK PEREMPUAN DALAM MEREKA BILANG, SAYA MONYET! KARYA DJENAR MAESA AYU: PERSPEKTIF POSFEMINISME (Narration Strategic and Woman's Positioning as Subject on Mereka Bilang, Saya Monyet! Karya Djenar Maesa Ayu: Postfeminism's Perspective)

Kandai ◽  
2019 ◽  
Vol 15 (1) ◽  
pp. 101
Author(s):  
Ahmad Zamzuri
Keyword(s):  
Short Stories ◽  
Data Analysis ◽  
Short Story ◽  
Theoretical Framework ◽  
And Behavior ◽  
As If ◽  
Female Subjects

Penelitian ini membahas 6 (enam) cerita pendek dalam kumpulan cerita pendek Mereka Bilang, Saya Monyet! karya Djenar Maesa Ayu melalui perspektif posfeminisme. Tujuan penelitian adalah mengungkap strategi penarasian perempuan yang dilakukan oleh Djenar Maesa Ayu. Untuk mencapai tujuan, penelitian dilakukan dalam beberapa tahap, yaitu penentuan objek penelitian dan kerangka teori, pengumpulan dan analisis data, dan simpulan. Objek penelitian ini terdiri dari 6 (enam) cerita pendek karya Djenar Maesa Ayu, antara lain Mereka Bilang, Saya Monyet!, Lintah, Durian, Melukis Jendela, Wong Asu, dan Namanya…. Melalui cerita pendek tersebut, data kemudian dianalisis menggunakan metode analisis wacana kritis dengan menafsirkan seluruh perangkat kebahasaan dan menghubungkannya dengan perspektif posfeminisme. Selain merelasikan dengan perspektif posfeminisme, teori sudut pandang menurut Tzevetan Todorov akan digunakan untuk mengungkap strategi penarasian perempuan yang dilakukan oleh Djenar Maesa Ayu. Hasil penelitian menunjukkan bahwa perempuan seakan-akan menjadi objek dalam ruang dominasi patriarki, melainkan sejatinya menjadi sentral subjek yang melakukan resistensi terhadap wacana dominan (patriartki) melalui penyebutan laki-laki dengan nama kepala hewan yang disesuaikan dengan sifat dan perilakunya, antara lain Si Kepala Gajah, Si Kepala Sapi, Si Kepala Anjing. Selain itu, wujud resistensi perempuan dilakukan juga melalui penyayatan pipi dan pemotongan pusat keperkasaan (kuasa) laki-laki (penis). Penarasian dalam cerita pendek karya Djenar Maesa Ayu menunjukkan sindiran (satire) bagi bahwa laki-laki tidak lebih cerdas dari perempuan yang disebut monyet.(This study discusses six short stories in the anthology of Djenar Maesa Ayu's work entitled Mereka Bilang, Saya Monyet! through a post feminism perspective. The problem in this study relates to the narration of women as victims in the patriarchal space. The aim of the study was to reveal the narration of women, the position of female subjects, and the discourse embedded in the short stories. To achieve the goal, this research was conducted in several stages, such as choosing object of research and the theoretical framework, collecting data, analysis, and conclusions. The object of this study consist of six short stories by Djenar Maesa Ayu, including "Mereka Bilang, Saya Monyet! "Lintah", "Durian", "Melukis Jendela", "Wong Asu", and "Namanya ....". Data is collected through in-depth reading and quoting words, phrases, sentences, paragraphs, and dialogues which are then described analytically. The data is then analyzed by interpreting all linguistic tools and connecting them with the postfeminism perspective. The results showed that women were narrated as if they were objects in the space of patriarchal domination, but instead they became a central subject who carried out resistance to patriarchal discourse by giving calls in the form of names of animal heads according to the nature and behavior of men, including Si Kepala Gajah, Si Kepala Sapi, dan Si Kepala Anjing. Other resistance carried out by women, through slashing the cheek and cutting penis, the symbol of man’s power. The narration in the short story of Djenar Maesa Ayu's works shows satire that men is not smarter than women whose called monkeys by them.)

scholarly journals Proměna literární reprezentace stáří skrze postavu staré ženy v povídkové tvorbě autorů 80. a 90. let 19. století

2017 ◽  
Vol 163 ◽  
pp. 499-510
Author(s):  
Jana Vrajová
Keyword(s):  
Nineteenth Century ◽  
Short Stories ◽  
Old Age ◽  
Short Story ◽  
Vertical Stratification ◽  
Literary Representation ◽  
Specific Position ◽  
Literary Movements

Forms of literary representation of age through changes in characters of old women in Czech short stories of 80s and 90s of the 19th centuryThe study deals with different representations of the character of old women in Czech literature of the second half of the nineteenth century. It focuses mainly on three short stories which show exceptof the literary image of old age also the proof of the vertical stratification of Czech literature of the end of the nineteenth century. The study also shows the literary controversy related to literary movements and intertextual relations. The latest short story which the study refers to is called Babiččin pohřeb and was written by Rudolf Karel Zahrádka. It has a specific position in the context of thinking about the use of motifs associated with old age: not only could it be characterized as a subversive text due to the intertextual passages referring to Babička by Božena Němcová, but it can be also identified as a proof of the penetration of the modernistic tendency in Czech literature.Obrazy literackich reprezentacji starości na podstawie postaci starej kobiety w opowiadaniach autorów z lat 80. i 90. XIX wiekuArtykuł dotyczy sposobu reprezentacji postaci starej kobiety w literaturze czeskiej drugiej połowy XIX wieku. Autorka skupia swoją uwagę zwłaszcza na opowiadaniach, które, oprócz literackiego obrazu starości, są również wertykalną stratyfikacją czeskiej literatury końca XIX wieku, jej wewnętrznych dyskursywnych polemik i związków intertekstualnych. Jako najbardziej interesujące jawi się opowiadanie Rudolfa Karla Zahálki Babiččin pohřeb, które można, biorąc pod uwagę związki intertekstualne, oznaczyć za tekst subwersyjny i pokazać na jego podstawie przenikanie do literatury czeskiej tendencji naturalistycznych.

scholarly journals صورة البطولة في قصة "في أحراج يعبد" لروضة الهدهد: دراسة تحليلية / The Image of Heroic figures in the Story of ‘Aḥrāj Ya‘bud by Wardah al-Hudhud: An Analytical Study

2016 ◽  
Vol 7 (3) ◽  
Author(s):  
Rahmah Binti Ahmad Haji Othman
Keyword(s):  
Key Words ◽  
Short Story ◽  
Analytical Approach ◽  
Analytical Study ◽  
Theoretical Framework ◽  
Contemporary Life

ملخص البحث: هذه المقالة تُعْنى بدراسة صورة البطولة في قصة "أحراج يعبد" بقلم روضة الهدهد، فمشاهدُ القصة مستوحاة من الواقع وبطلُها عزّ الدين القسَّام الذي قام بأدوار بطولية متعدّدة؛ أمّا مكانُ الحَبْكة ففلسطين وزمانُها بين عام 1920-1935م، والحَبْكةُ نفسها تتمثل في سلسلة من دراما المقاومة والتضحية وبذل الغالي والنفيس في سبيل تحرير الأرض والوطن والشعب من اليهود والصهاينة المغتصبين. وترمي هذه المقالة إلى وضْعِ عرضٍ تحليلي لقصة بطولية معاصرة واقعية بين أيدي القراء وخاصةً الأطفال منهم، والغرض من ذلك ربطُ القراءِ بواقعهم الذي يُعاينونه؛ وتربيةُ وغرسُ عنصر التضحية في نفوس أطفالنا منذ نعومة أظفارهم من جهةٍ، وتوعيةُ شبابنا في بذل المُهج والأموال في سبيل الحفاظ على الكرامة واسترداد الحقوق وخاصة ً الأراضي المحتلة في فلسطين من جهة أخرى. تُعنى المقالةُ أيضاً بالإطار النظري للقصة. توصلت الدراسة إلى أن هناك نقصاً في نماذج الأبطال الذين نتمثل بهم في مؤلفاتنا، وأن الشهيد عزّ الدين القسَّام قد نال شهادته، وأظهر بطولته في القتال ضدّ اليهود وإخوانه الذين كانوا أمثلة حيّة يحتذى بهم، كل الأبطال في هذه القصص العشرة يتصفون بالبطولة الجهادية، وهم الأبطال المجاهدون. الكلمات المفتاحية: البطولة- الشهيد – المجاهد – المثقّف -  القروية.   Abstract: This article investigates the images of heroic figures in Rawdah al-Hudhud’s short story, entitled The Forest of Yaʿbud. Izzedine al-Qassam, the protagonist in the story performs the heroic roles of a martyr, combatant, intellectual, countryman, nationalist and educator who feed the minds of his disciples and followers with knowledge and their souls with love of sacrifice. The plot of the story whose setting is Palestine and which occurred between 1920 -1935 consists of a series of drama replete with resistance, sacrifice, and dedication of the most precious thing for the sake of liberating one’s homeland and people from the Jews and Zionist occupation. Thus, the article presents the readers with an analytical presentation of a heroic-driven story taken from facts of our contemporary life insofar as to bring the readers closer to the reality they live. This article is also concerned with the theoretical framework of the story whereby the researcher sets to define some concepts contained in it. To fulfill this, the researchers apply the analytical approach whereby all heroic scenes in the story are analyzed. The study found that there is a shortage in the Champions models who represents them in books, and the Martyr Izzedine al-Qassam had obtained his testimony, showed heroism in the fight against the Jews with his brothers, whom were living examples to follow them, all the heroes in these ten stories are characterized tournament jihadist, they are heroes Mujahideen.   Key words: Heroic - Martyr - Mujahid - Dducator - Rural.   Abstrak: Makalah ini merupakan kupasan terhadap gambaran watak-watak keperwiraan di dalam cerpen nukilan Rawdah al-Hudhud berjudul ‘Aḥrāj Ya‘bud (Hutan ya‘ud). ‘Izuddīn al-Qassām protagonis cerita menonjolkan kepelbagaian watak yang meliputi seorang shahid, pejuang, cendiakiawan, negarawan, pejuang nasionalis dan juga seorang pendidik menyemaikan jiwa-jiwa murid dan pengikutnya dengan pengetahuan serta kecintaan terhadap pengorbanan. Plot penceritaan berlatarkan Palestin sekitar tahun-tahun 1920 sehingga 1935 yang mengandungi beberapa drama yang penuh dengan penentangan, pengorbanan dan dedikasi kepada tanahair tercinta untuk memerdekakan penduduknya daripada pendudukan Yahudi dan regim Zionis. Oleh itu, makalah ini bertujuan untuk menganalisa cerita yang penuh nilai keperwiraan ini dengan memberikan kerangka yang berteraskan kepada fakta-fakta semasa untuk mendekatkan pembaca kepada realiti kehidupan mereka. Kajian ini juga mengambil kira kerangka teoretikal cerita tersebut untuk tujuan mentakrifkan beberapa konsep yang terkandung di dalamnya. Untuk mencapai tujuan ini, pendekatan analitikal digunapakai dengan menganalisa keseluruhan babak keperwiraan cerita. Kajian mendapati terdapat kekurangan dalam model-model perwira yang ditampilkan oleh penulis; Izzudin al-Qaasam adalah seorang wira yang telah mendapat shahid, menunjukkan keberanian bersama dengan rakan-rakan perjuangannya dalam menentang  Yahudi sehingga menjadi ikon yang menjadi inspirasi perjuangan generasi seterusnya; kesemua wira-wira di dalam kesepuluh-sepuluh cerita tersebut mempunyai watak wira yang berjihad oleh itu mereka dianggap sebagai wira-wira jihad.   Kata kunci: keperwiraan –shahid – pejuang jihad – pendidik – pendalaman.

Zinovieva-Annibal, Lydia Dmitrievna (1866–1907)

2018 ◽  
Author(s):  
Brian James Baer
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Russian Literature ◽  
Male Gaze ◽  
Nature And Culture ◽  
Female Bildungsroman ◽  
Literary Salon

A Russian prose writer and dramatist, Zinovieva-Annibal (with her second husband, Viacheslav Ivanov) hosted the influential literary salon known as The Tower. Born in St Petersburg into an aristocratic family, Zinovieva-Annibal was a rebel and nonconformist throughout her life and in her work. She was known for her intensity and eccentricity. Writing in various genres, she produced Symbolist plays, such as The Rings [Kol’tsa] (1904) and The Singing Ass [Pevuchii osel], the novels Thirty-three Abominations [Tridtsat’-tri uroda] (1907) and The Tragic Menagerie [Tragicheskii zverinets] (1907), and other short stories, many of which were published only posthumously in the collection entitled No! [Net!] (1918). Zinovieva-Annibal is perhaps best known for Thirty-three Abominations, the first work of Russian literature to deal openly with the theme of lesbianism, which is portrayed in a decadent, tragic light. Like the short story ‘The Head of the Medusa,’ Thirty-three Abominations critiques the objectifying male gaze. The semi-autobiographical Tragic Menagerie, considered by critics to be her strongest work, is a female Bildungsroman, which traces the evolution of the heroine, Vera, from childhood to adulthood, when Vera is able ultimately to reconcile nature and culture on the Italian seashore.

Sign in / Sign up

Export Citation Format

Share Document