From ‘the New Man’ to care‐leaver activists—Communist and contemporary discourses shaping 50 years of leaving care in Romania

2021 ◽  
Vol 26 (2) ◽  
pp. 258-269
Author(s):  
Roxana Anghel
Keyword(s):  
New Man ◽  

2015 ◽  
Vol 5 (2) ◽  
pp. 105-121
Author(s):  
Margaret D. Stetz

The New Man was a crucial topic of discussion and a continual preoccupation in late-Victorian feminist writing, precisely because he was more often a wished-for presence than an actual one. Nevertheless, creators of neo-Victorian fiction and film repeatedly project him backwards onto the screen of literary history, representing him as having in fact existed in the Victorian age as a complement to the New Woman. What is at stake in retrospectively situating the New Man – or, as I will call him, the ‘Neo-Man’ – in the nineteenth century, through historical fiction? If one impulse behind fictional returns to the Victorian period is nostalgia, then what explains this nostalgia for The Man Who Never Was? This essay will suggest that neo-Victorian works have a didactic interest in transforming present-day readers, especially men, through depictions of the Neo-Man, which broaden the audience's feminist sympathies, queer its notions of gender relations, and alter its definition of masculinity.



2017 ◽  
Vol 7 (3) ◽  
pp. 274-276
Author(s):  
Dominique Gracia
Keyword(s):  




2020 ◽  
Vol 13 (1) ◽  
pp. 43-63
Author(s):  
Elizabeth Al-Jbouri ◽  
Shauna Pomerantz

Representations of boys and men in Disney films often escape notice due to presumed gender neutrality. Considering this omission, we explore masculinities in films from Disney’s lucrative subsidiary Pixar to determine how masculinities are represented and have and/or have not disrupted dominant gender norms as constructed for young boys’ viewership. Using Raewyn Connell’s theory of gender hegemony and related critiques, we suggest that while Pixar films strive to provide their male characters with a feminist spin, they also continue to reify hegemonic masculinities through sharp contrasts to femininities and by privileging heterosexuality. Using a feminist textual analysis that includes the Toy Story franchise, Monsters, Inc., Finding Nemo, The Incredibles, and Coco, we suggest that Pixar films, while offering audiences a “new man,” continue to reinforce hegemonic masculinities in subtle ways that require critical examination to move from presumed gender neutrality to an understanding of continued, though shifting, gender hegemony.



Al-Risalah ◽  
2018 ◽  
Vol 8 (2) ◽  
pp. 1-10
Author(s):  
Ilyas Ismail

The paper is titled, "Becoming True Learners in a New Era of Globalization." This title is important for two reasons. First, internal cause, that is the tendency in society where people only attach importance to degree, certificate or diploma, not science or competence. Second, external cause, that is arising from the digital revolution that gave rise to global competition, where everyone was expected to become true learners. Otherwise, he will be marginalized, as a human being, which according to Michael Fullan, is not feasible, morally, socially, and economically. True learners, as James R. Davis and Adelaide B. Davis point out, refer to people who love new things, new thinking, and new skills. He learned not only to know (learning toknow), but more than that to think (learning to think) and solve (learning to solve) the problem. Human learners try to learn and develop knowledge not only from college, formal learning, and from the text book, but from experiences and from the real world or reality of life. True learners have 5 (five) prominent characters. First, they have a high curiosity that makes them passionate and studying diligently. Second, they like to share knowledge and experience to others. Third, they like to develop and expand knowledge. Fourth, they have contributions to the progress of culture, civilization, and humanity. Fifth, they have a humbleattitude and the open to thoughts of others. The new century, globalization, requires a new man, a true learner.



Author(s):  
Olive Schreiner

Lyndall, Schreiner's articulate young feminist, marks the entry of the controversial New Woman into nineteenth-century fiction. Raised as an orphan amid a makeshift family, she witnesses an intolerable world of colonial exploitation. Desiring a formal education, she leaves the isolated farm for boarding school in her early teens, only to return four years later from an unhappy relationship. Unable to meet the demands of her mysterious lover, Lyndall retires to a house in Bloemfontein, where, delirious with exhaustion, she is unknowingly tended by an English farmer disguised as her female nurse. This is the devoted Gregory Rose, Schreiner's daring embodiment of the sensitive New Man. A cause célèbre when it appeared in London, The Story of an African Farm transformed the shape and course of the late-Victorian novel. From the haunting plains of South Africa's high Karoo, Schreiner boldly addresses her society's greatest fears - the loss of faith, the dissolution of marriage, and women's social and political independence.



Author(s):  
Jules Verne

Having assured the members of London’s exclusive Reform Club that he will circumnavigate the world in 80 days, Fogg – stiff, repressed, English – starts by joining forces with an irrepressible Frenchman, Passepartout, and then with a ravishing Indian beauty, Aouda. Together they slice through jungles, over snowbound passes, even across an entire isthmus – only to get back five minutes late. Fogg faces despair and suicide, but Aouda makes a new man of him, able to face even the Reform Club again. Around the World in Eighty Days (1872) contains a strong dose of post-Romantic reality plus extensive borrowing from the author’s own Journey to England and Scotland – but not a shred of science fiction. Its modernism lies instead in the experimental literary technique, with parallel plots, a narrator constantly made to look foolish, four characters in search of their own unconscious, and a unique twisting of space and time. Verne's classic, a bestseller for over a century, has never appeared in a critical edition before. William Butcher's stylish new translation moves as fast and as brilliantly as Fogg’s own journey.



2021 ◽  
Vol 28 (2) ◽  
pp. 265-282
Author(s):  
Mariaconcetta Costantini
Keyword(s):  


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