scholarly journals MASKULINITAS DAN FEMININITAS DALAM ANIME KIMI NO NA WA KAJIAN RESPON PEMIRSA

KIRYOKU ◽  
2017 ◽  
Vol 1 (4) ◽  
pp. 10
Author(s):  
Fajria Noviana ◽  
Retno Wulandari
Keyword(s):  
Young People ◽  
Point Of View ◽  
English Department ◽  
Young Generation ◽  
Sex And Gender ◽  
Female Characters ◽  
Male And Female ◽  
Masculinity And Femininity ◽  
And Gender ◽  
Response Method

Masculinity and femininity are never-ending subjects. This research aims at observing young generation’s perception on masculinity and femininity in Japanese animee Kimi no Na wa. In addition this research also brings input on how young generation reacts on masculinity and femininity. By using viewer’s response method, this research is conducted among 15 (fifteen) Japanese Department students and 15 (fifteen) Engish Department students of Universitas Diponegoro.The finding shows that young generation generally view that there is no significant differences between sex and gender role. Meanwhile, in the relation with the movie, responden assert their agreement on the description of masculinity and femininity through the male and female characters, although generally respondents from English Department prefer East masculinity and West femininity. This view can be used as the basic how older people build relation with young people due to differences in age and point of view.

Femme Fatale or Lesbian Femme

2017 ◽  
Author(s):  
Chris Straayer
Keyword(s):  
Sexual Difference ◽  
Film Noir ◽  
Sex And Gender ◽  
Femme Fatale ◽  
Female Characters ◽  
Male And Female ◽  
Same Gender ◽  
And Gender ◽  
Creative Capacity ◽  
Double Cross

This chapter analyzes the neo-noir Bound (1996). It shows how the splitting of sex from gender liberates generic conventions in the service of protagonists who, enacting a lesbian romance in film noir, avail themselves of generic formulas to double-cross the villains. Analyzing the creative capacity of noir gender “to turn cartwheels on both male and female characters within a system of sexual difference,” the chapter shows how Bound—self-consciously playing on the debated identities of butch, femme, and feminine—generates different-sex erotics through same-gender protagonists. Through such playful manipulations, the film opens up flexible reimaginings of sex and gender across the spectrum of gay and straight as alternatives to rigidifying heterosexual and homosexual binaries.

Gender, Sexuality, and Youth in a Global Context

2020 ◽  
Author(s):  
Anoop Nayak
Keyword(s):  
Young People ◽  
Local Level ◽  
Peer Groups ◽  
Gender And Sexuality ◽  
Sex And Gender ◽  
Social Constructs ◽  
Global Context ◽  
Nation States ◽  
And Gender ◽  
Managing Risk

Gender and sexuality are slippery social constructs whose meanings vary across time and place. To capture some of the complexity of these relations, it is necessary to consider their mutable meanings in different parts of the world. This means understanding how gender and sexuality are regulated, produced, consumed, and embodied in young people’s lives transnationally. At a regulatory level, nation-states are found to disseminate different policies and approaches when it comes to young people’s gender and sexual learning. Alongside formal pedagogical approaches, young people’s peer groups and local friendship circles are critical to the production of sexual knowledge and gender practices. In what is a rapidly interconnected world, processes of cultural globalization evident in the spread of film, media, and music are providing new templates from which to transform more “traditional” gender and sexual relations. In consuming global images of gender and sexuality, young people are found to be active and discerning agents who experience and negotiate global processes at a local level, managing risk and carving out new opportunities as they see fit. Young people are seen to perform and embody gender and sexuality in a host of different ways. In doing so, they not only reveal the instability of sex and gender norms but also disclose the intense amount of “gender work” that goes into the performance of gender and sexuality.

“Reading Faulkner from a Writer’s Point of View”

2016 ◽  
Author(s):  
Kenzaburo Oe
Keyword(s):  
William Faulkner ◽  
Point Of View ◽  
The Other ◽  
Female Characters ◽  
Male And Female ◽  
Narrative Techniques ◽  
The Mansion ◽  
The Hamlet

In this chapter, the author offers a reading of William Faulkner from his point of view of as a writer. He begins by discussing one of Faulkner's unique narrative techniques, “reticence,” and explaining that when he reads Faulkner's novels, he always puts the translations beside the originals, whenever they are available. He claims that he experiences Faulkner through a triangular circuit for the transmission of verbal symbols—Faulkner; the translator, who is a specialist; and himself, a reader of the words of the other two. He also reflects on his response to Faulkner's attitude toward writing novels and to his way of activating the imagination. Finally, he considers Faulkner's way of manipulating his male and female characters by focusing on his novels The Hamlet, The Mansion, The Wild Palms, and Absalom, Absalom!.

Sex and Gender

2018 ◽  
pp. 54-69
Author(s):  
Ásta
Keyword(s):  
Cultural Meaning ◽  
Sex And Gender ◽  
Male And Female ◽  
Copernican Revolution ◽  
Subsequent Chapter ◽  
The Status ◽  
Gender Practices ◽  
And Gender ◽  
Set Up ◽  
The Relationship

A conferralist interpretation of the status of sex and gender on the post-Beauvoirean feminist picture is offered as well as an interpretation and critique of Judith Butler’s accounts of gender and sex. On the post-Beauvoirean picture sex is biologically given and gender is the cultural meaning of it. Butler offers a reorientation of the relationship between gender and sex, where what counts as sex and a sexed body is determined by gender practices. Male and female are regulative ideals masquerading as biological givens that justify gender practices. The author makes use of the notion of a game, Austinean exercitives, Hegel’s account of subjectification and objectification, and Kant’s Copernican revolution to flesh out the details of her interpretation of Butler before offering her critique of the position, which will set up her own account, offered in the subsequent chapter.

Adolescents' Perceptions of the Gendered Context of Depression: "Tough" Boys and Objectified Girls

2007 ◽  
Vol 29 (2) ◽  
pp. 144-162 ◽  
Author(s):  
Jennifer Wisdom ◽  
Amy Rees ◽  
Katherine Riley ◽  
Teresa Weis
Keyword(s):  
Gender Roles ◽  
Adolescent Depression ◽  
Sex And Gender ◽  
Male And Female ◽  
And Gender ◽  
Societal Expectations ◽  
Physical Changes ◽  
The Impact ◽  
Gender Specific ◽  
Socialization Influence

Gender-specific attributes and socialization influence the development of depression in adolescents, but little research has addressed adolescents' views on this topic. We interviewed 22 adolescents regarding their views on the impact of sex and gender role influence in depression. Male and female participants: (a) described societal expectations and cultural messages, including high and conflicting expectations for girls, and consistent messages of being "macho" and unemotional for boys, as related to adolescent depression; (b) perceived physical changes during puberty as contributors to depression for girls, but not for boys; and (c) associated loneliness and rejection with depression for both boys and girls. We discuss implications for treatment that include directly addressing gender roles with depressed adolescents.

scholarly journals Margaret Atwood in the Second and Third Waves of Feminism on the Basis of Julia Kristeva’s Theories

2014 ◽  
Vol 40 ◽  
pp. 13-21
Author(s):  
Sarieh Alaei ◽  
Zahra Barfi
Keyword(s):  
Margaret Atwood ◽  
Julia Kristeva ◽  
Second Phase ◽  
Third Wave ◽  
The Novel ◽  
Sex And Gender ◽  
Female Characters ◽  
The Third ◽  
And Gender ◽  
Second Wave

Although Margaret Atwood started writing in the second phase of feminism, some of her works show the features of the second and the third wave of feminism. It’s clear in Atwood’s Cat’s Eye. Elaine, protagonist of the novel, and other female characters indicate these features. Some of Atwood’s works imply Kristeva’s theories. Unlike the second wave of feminism, Julia Kristeva as a postmodern feminist rejects the distinction between sex and gender believing that these two terms respectively represent biology and culture which cannot be separated from each other. This idea can be examined in Margaret Atwood’s novel, Cat’s Eye, as a feature of the third wave of feminism. The authors of this article seek to analyze Atwood’s famous novel, Cat’s Eye, in the second and third waves of feminism based on Julia Kristeva’s theories.

scholarly journals An essay on individual self-determination

2019 ◽  
Vol 29 (2) ◽  
pp. 131-135
Author(s):  
Margarete Afonso ◽  
Ernane Pedro Matos Barros ◽  
Matheus Paiva Emidio Cavalcanti ◽  
Mariane Albuquerque Lima Ribeiro
Keyword(s):  
Scientific Field ◽  
Point Of View ◽  
Self Determination ◽  
Sex And Gender ◽  
Physiological Characterization ◽  
The Social ◽  
And Gender ◽  
Individual Self

There are several understandings about the role of human gender identity in the scientific field, this discussion correlates definitions of both social and biological basis. The current confusion in the conceptualization of “sex” and “gender” demonstrates the need for a comparative analysis of the scientific dynamic vocabulary, as well as the insertion of an interdisciplinary historical, social and cultural point of view together with the biological view outside the normative binary logic. The word “gender” can be defined as the social construction of sex, differing from the variable “sex” because it refers to a biological dimension of the anatomo-physiological characterization of humans, recognized as essential and innate in determining the distinctions between male and female. Therefore, the JHGD presents a thematic diversity that focuses on issues related to public health, demonstrating the need to develop knowledge to generate impact on public policy strategies, aiming at universality, equity and comprehensiveness in scientific research involving sexand gender and their impacts on health sciences.

scholarly journals Transvestites as Actors and Transactors

1981 ◽  
Vol 2 (1) ◽  
pp. 71-88
Author(s):  
Susan McLellan
Keyword(s):  
Social Order ◽  
South East Asia ◽  
Sex And Gender ◽  
Gender Assignment ◽  
Culturally Specific ◽  
Male And Female ◽  
Folk Drama ◽  
Males And Females ◽  
Other World ◽  
And Gender

In this essay I shall be dealing, first of all, with western categories of sex and gender and examining how these are dichotomised into a dualistic opposition of male and female. This dualism may even entail the surgical "correction" of bodies so as to·ensure a congruence of gender assignment, identity and role. Western dualism is opposed to 'anomalous' categories. It becomes evident that such classification rests on culturally specific views of both natural and social reality. Material will be presented here to show exactly how culturally relative these concepts are; in Bali for example, the religious and social order pivots on the unity of males and females which correlates with the unity and oneness of the Hindu gods. This oneness is also manifested by the important role that both male and female transvestites play as transactors between 'this world and the other world' in temple ritual and dances. With the decline of the Hindu pantheism and the rise of monotheistic Islam in Java, the former unity developed into a dichotomy of male and female. Here the only legitimate role for the transvetite is as a low status actor protraying old heroines and redundant gods. In Malaysia, the transvestite may be an actor or even a shaman dealing in 'unorthodox' religious categories which, somehow, equate with ambiguous roles in modern day society. Here again, with the rise of a theocentric Islam male and female roles became dichotomised in society, although both folk drama and shamanistic ritual performances are evocative and reminiscent of the former Hindu 'unity'. It is apparent that transvestites perform on the 'periphery' of society. A special 'liminal' niche is set aside and bounded, yet it is clear that the very context of "betwixt and betweeness" may also he functional for the wider society - be it of a religious, magical, dramatic or even a sexual nature. In South East Asia the recognised roles of the transvestite lends a legitimacy to potential ambiguity which contrasts, somewhat starkly, with the rigid insistence in western societies on the duality of gender, emphasis on conforminity, and a negation or intolerance of anomalous categories of gender.

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