La traduction au prisme du genre et de la pensée islamique

The main objective of this article is to make the female voice heard in an area of the world where women are discriminated against and prejudiced, despite the progress made regarding their status in status in society. The aim is to demonstrate that the translation of the male discourse produced undergoes fundamental transformations that are the result of choices studied by the translator. She intervenes She intervenes and rewrites the text in her own way, even in the way that allows her to represent herself as a full human being in her own right, not relegated to the background. Through the analysis of samples taken from the work of the Algerian thinker Malek Bennabi “Les conditions de la renaissance” as well as the questioning of the first translation by the Egyptian thinker Abdel Sabbour Chahine, considered reductive and ‘religiously oriented’, we are in line with the feminist approach to translation feminist approach to translation, which advocates taking a stand on the dominant discourse. By invoking some of the methodological tools of Giles' IDRC Model and by referring to the notion of subjectivity developed in the framework of feminism of colour, we proceeded to the analysis of the source and target texts. We found that the doubly masculine discourse (the author and her (the author and his translator) was reproduced differently in the target language by taking into consideration elements that are absent from the source text. The invisibility of the woman in the process since she is considered an object, she passes to the status of visibility through the translational choices, the positions taken, and thus the decisions made.

The Poetics of Female Resistance in Eugene O’Neill’s Long Day’s Journey into Night

The present paper is an attempt to study the female quest for freedom in Eugene O’Neill’s Long Day’s Journey into Night from a French feminist perspective. Indeed, Mary Tyrone resorts to body language as a form of resistance against gender and cultural confinement. French feminism will be deployed to understand female non-verbal subversive strategies. Luce Irigaray argues that language is male-dominated and male discourse misrepresents women. Accordingly, body language can be interpreted as a silent form of female resistance against patriarchal hegemony. It is the case of Mary who is irritated because of the male gaze and she uses madness as a silent language of resistance against female and ethnic stereotypes. Mary is a rebellious woman who defies her three men for being indifferent about her dilemma of disillusionment with the institution of marriage. She is treated as a wife, a mother or a daughter and she is often assigned the role of ‘the Angel in the House.’ French feminism will be used to understand the way O’Neill reshapes female identity and he calls for not linking female identity to the social roles. The aim is to study the non-verbal communication, the behavioural, kinetic, gestural and psychological profile of Mary. The paper will also focus on the hardships Mary faces and the ways she reconstructs female identity. The paper draws on the French feminist arguments about female madness as a form of resistance and it criticizes the conventional claim about madness as s form of weakness.

The Poetics of Female Resistance in Eugene O’Neill’s Long Day’s Journey into Night

The present paper is an attempt to study the female quest for freedom in Eugene O’Neill’s Long Day’s Journey into Night from a French feminist perspective. Indeed, Mary Tyrone resorts to body language as a form of resistance against gender and cultural confinement. French feminism will be deployed to understand female non-verbal subversive strategies. Luce Irigaray argues that language is male-dominated and male discourse misrepresents women. Accordingly, body language can be interpreted as a silent form of female resistance against patriarchal hegemony. It is the case of Mary who is irritated because of the male gaze and she uses madness as a silent language of resistance against female and ethnic stereotypes. Mary is a rebellious woman who defies her three men for being indifferent about her dilemma of disillusionment with the institution of marriage. She is treated as a wife, a mother or a daughter and she is often assigned the role of ‘the Angel in the House.’ French feminism will be used to understand the way O’Neill reshapes female identity and he calls for not linking female identity to the social roles. The aim is to study the non-verbal communication, the behavioural, kinetic, gestural and psychological profile of Mary. The paper will also focus on the hardships Mary faces and the ways she reconstructs female identity. The paper draws on the French feminist arguments about female madness as a form of resistance and it criticizes the conventional claim about madness as s form of weakness.

How Damsels Love: The Transgressive Pleasure of Romance

In this article, I look at contemporary romances as a source of transgressive pleasure that may inspire its audience to reject patriarchy. I focus solely on romances between a man and a woman with emphasis on the psychological dimension of the female character upon her trajectory from an object of desire to the man’s ideal partner. I argue that the pleasure of romance is, indeed, a means towards the dismissal of patriarchy. Drawing on feminist theory, I contend that romance constitutes a nucleus of a feminine ideal that women may use as a comparative reference point for their real-life relationships, revealing any problematic and inadequate behavior of real-life partners. Even though romance pertains to the prescripts of patriarchy, I argue that it can be seen as an intertext: a product of the interlanguage used to translate the male discourse to the female bodily experience. In producing and consuming the romance, women can contrast this experience of the feminine ideal with the lack of pleasure patriarchy entails for them. In this respect, the romance possesses a transgressive power that may facilitate women’s realization of their dissatisfaction and the refusal of their role as emotional labor.

Daughter of Saul, or Saul Leanya: The Gendered Place of Atrocity in László Nemes's Son of Saul

László Nemes's 2015 production, Son of Saul (Saul fia), is one of the most critically acclaimed Holocaust movies to date. The film disrupts canonical notions of visual representation of the special squads of Jewish inmates, or Sonderkommando, forced to work in the crematoria. Simultaneously, it radically re-genders an exceptional survival scene recorded as autobiographical truth by witness testimony. A young Hungarian girl's survival of a Zyklon B gassing became exceptional among other incidents of survival in Auschwitz-Birkenau due to the medical assistance offered and the resuscitation administered by the Hungarian medical doctor of the crematoria, Miklos Nyiszli. Son of Saul effectively swaps the body of this teenage girl with the body of a boy in order to re-create a foundational patrilineal story of powerful ideological impact and legitimating force. Pursuing a project of reestablishing a hegemonic male discourse over the Holocaust, the film also portrays a female inmate as one of the four women who made the 7 October 1944 Sonderkommando revolt in Auschwitz-Birkenau possible by smuggling in the explosives for the insurgents. Ella's disconcerting neediness in the film seems uniquely misplaced onto a woman tortured by the Gestapo and hanged without having betrayed her accomplices. While Son of Saul offers its own remarkably successful solutions and modes of cinematic transcendence portraying the ultimate sites of extermination, it does not convey an adequate understanding of gender relations transformed by the historical context of the Final Solution and the vital role of women in the Jewish resistance to the Nazi-orchestrated genocide.

Questions of Female Gaze: Males Through Eyes of Females in Vijay Tendulkar’s Select Plays

Gaze, as defined by Oxford Advance learner’s Dictionary, “is an interested steady look at something or somebody” (642). The privilege of gazing presupposes or attributes some power in the onlookers. So, gaze is an expression of power, a way of looking, a point of view or a medium to establish and extend dominance. In a patriarchal set-up of society, the role of the onlooker is played most of the times by males, and according to Laura Mulvey, women are generally made to appear as the visual sex objects of male desire and pleasure. Here, my question is, do the females dare to return the male gaze in one way or another? I want to dwell upon the possibility of a reversed or altered picture of male gaze in the context of Tendulkar’s plays. So, let the females be the gazers and males be the gazed in the context of Tendulkar’s selected plays and let me make an attempt to study certain male characters as looked by certain female figures. Champa and Laxmi in Sakharam Binder, Leela Benare and Mrs. Kashikar in Silence! the Court is in Session and Sarita and Kamala in Kamala represent a polarity of ‘female eyes’. Champa, Leela Benare, and Sarita take guts to have a gaze at the body, activity, and position of their chauvinistic male counterparts and often, put a question mark to the so-called vanity of masculinity. But Laxmi, Mrs. Kashikar, and Kamala look at men in the way men want to be looked at with all of his power over them. In view of the above, I shall try to show whether there is a scope for an active female gaze? If yes, to what extent? Do they transgress their traditional roles imposed on them in returning the male gaze and open up a space for anti-male discourse?

WOMEN ARTISTS OF THE LATE 19TH CENTURY: CONTINUITY AND CHANGE AT THE SUNSET OF IMPERIAL CHINA

Increasing attention to the history of Chinese women artists gives further impetus to re-evaluation of their artistic contribution. Here I focus on developments in women’s art in the later part of the 19th century, entering into an interrogation of the assumption that the century had witnessed its decline in tandem with the decline of the Imperial China itself. A focus of the article is the 2017 Zhejiang exhibition, which has served to further intensify the imperative for research. Adopting a perspective based on gender and class, this paper examines the work of the female Chinese artists of the late 19th century both in the traditional Jiangnan area, which had been the epicentre of culture and economy, and in the newly developing trade areas, most notably Shanghai. There a vibrant art market emerged, bringing significant opportunities for women artists from broader social strata. This dynamic is illustrated by the particular example of Ren Xia. In these circumstances significant changes took place in the context of the presence of continuity in women’s aesthetic production, while a traditional male discourse remained hegemonic.

ГЕНДЕРНІ АСПЕКТИ ПЕРЦЕПЦІЇ ГОЛОСУ ТА ЇЇ ВЕРБАЛІЗАЦІЇ В АНГЛОМОВНОМУ ХУДОЖНЬОМУ ДИСКУРСІ: ПРЕЛІМІНАРНЕ ДОСЛІДЖЕННЯ

Purpose. This study is devoted to the gender differences in voice perception and their reflection in the English belles-lettres discourse. The purpose of the study is to make a comparative analysis of voice prosodic characteristics and their verbalization means in female and male authors’ and to study how gender differences (if any) in voice perception are reflected in the English belles-lettres discourse.Methods. On the basis of our previous research of voice prosodic parameters verbalization in the modern English language the lexical units nominating voice prosodic characteristics (melody, loudness, voice quality, tempo) and their combinations were singled out in female and male belles-lettres discourses. Qualitative and linguistic analyses highlight the main peculiarities of female and male author’s voice perception verbalization in the novels “Bridget Jones’ diary” by H. Fielding and “Never let me go” by K. Ishiguro.Results. The results of the study show that in the male belles-lettres discourse the most significant verbalized voice prosodic characteristics are loudness and combinations of melody and loudness, to be more precise, of low pitch and decreased loudness. Thus, the prosodic characteristic of loudness goes first in the reflection of the voice perception in the male discourse. In the female belles-lettres discourse verbalized voice quality and combinations of two and three prosodic characteristics proved to play a leading role. Verbalized combinations of high pitch and increased loudness as well as of slurred voice quality and decreased loudness appear to be pivotal in the female author. This fact sustains the idea that the female writer favours a more detailed description of the voice prosodic characteristics meanwhile the male author tends to a general reflection of voice perception, foregrounding one prosodic parameter of loudness.Conclusions. These results allow to conclude about female higher accuracy in voice perception and its verbalization. Melody and tempo seem to be the least important in voice perception and its reflection for both female and male authors. Мета. У статті представлено результати аналізу гендерних аспектів перцепції голосу та їх реалізації в англомовному художньому дискурсі. Здійснено порівняльний аналіз засобів вербалізації просодичних параметрів голосу у фемінному та маскулінному худож-ньому дискурсах. Досліджено деякі гендерні аспекти перцепції голосу та її віддзеркалення в англомовному художньому дискурсі.Методи. З огляду на результати наших попередніх досліджень, із фемінного та маскулінного художніх дискурсів було виокремлено лексичні одиниці, що вербалізують просодичні характеристики голосу (гучність, мелодійний компонент, темп, якість голосу) та їх комбінації. За допомогою кількісного та лінгвістичного аналізів було висвітлено основні особливості пер-цепції голосу автором-жінкою Х. Філдінг і автором-чоловіком К. Ісігуро в творах “Bridget Jones’s diary” та “Never let me go”.Результати. Pезультати дослідження доводять, що в маскулінному художньому дискурсі найбільш значущими виявилися вербалізовані просодичні характеристики гучності та комбінації гучності та мелодики, точніше, низького рівню голосового тону та пониженої гучності. Таким чином, параметр гучності відіграє найголовнішу роль в відображенні слухової перцепції в маскулінному художньому дискурсі. Що стосується фемінного художнього дискурсу, то тут провідна роль належить якості голосу та комбінаціям двох або навіть трьох просодичних характеристик. Серед комбінацій просодичних параметрів голосу найбільш вагомими є вербалізовані комбінації високого рівня голосового тону й підвищеної гучності разом із комбінаціями недбалої якості голосу й пониженої гучності. Цей факт підтверджує припущення про те, що авторові-жінці притаманний більш детальний опис сприйнятого на слух голосу, а саме його просодичних характеристик, в той час як автор-чоловік тяжіє до більш загального відображення слухової перцепції, висуваючи на перший план одну просодичну характеристику гучності.Висновки. Отримані прелімінарні результати дають змогу зробити висновок про те, що авторам-жінкам притаманна біль-ша точність та детальність слухової перцепції й її відображення, на відміну від авторів-чоловіків. Мелодика разом із темпом та їх вербалізація виявилися найменш значущими як для фемінного, так і для маскулінного художнього дискурсів.

Lady Mary Wroth : The Countesse of Mountgomeries Urania and Pamphilia to Amphilanthus

Mary Wroth’s major literary works, The Countesse of Mountgomeries Urania and the poetry collection Pamphilia to Amphilanthus, are distinctively Baroque: Wroth repeatedly, obsessively, demonstrates a fascination with multiple narratives, the blurring of fiction and history, and eruptions of magical or miraculous interventions. She establishes the contours of a female Baroque subject, who has to absorb and attempt to transcend enculturation by the dominant male discourse. What happens when a woman enters the predominantly male discursive poetical playground of Petrarchism? Could a woman envisage anything more than her own fragmentation? Would hers be the ‘same’ anguish as that articulated on behalf of the dominant male subject position? What cultural forces speak through her in addition to those she attempts to control?