scholarly journals She lures, she guides, she quits : Femile characters in Tim Winton's "The Riders"

2010 ◽  
Vol 8 ◽  
pp. 7
Author(s):  
M.Pilar Baines Alarcos
Keyword(s):  
Cultural Context ◽  
Female Character ◽  
Traditional Concept ◽  
Female Protagonists ◽  
Male Characters ◽  
Female Archetypes

Tim Winton is an Australian writer whose male characters often defy the traditional concept of masculinity. As for the notion of femininity, however, this kind of defiance is not displayed. In this essay, I study the presentation of the female protagonists in The Riders in order to illustrate this point, bearing in mind the Australian social and cultural context that surrounds them. Winton’s fictional women, no matter whether they are strong or weak, are normally depicted according to female archetypes. This leads to their negative portrayal as ambivalent beings, thus making them unreliable and even dangerous, as is the case of Jennifer and Irma. In contrast, Billie is a positive female character. She, who is also significantly a child, combines both feminine and masculine qualities. It is precisely this characteristic that enables her to be her father’s protector.

scholarly journals Ibsen’s The Pillars of Society: Female Protest against Patriarchy

NUTA Journal ◽  
2020 ◽  
Vol 7 (1-2) ◽  
pp. 10-17
Author(s):  
Arjun Dev Bhatta
Keyword(s):  
Feminist Theory ◽  
Social Relationship ◽  
Status Quo ◽  
Human Beings ◽  
Female Characters ◽  
Female Protagonists ◽  
Male Characters ◽  
Patriarchal Power ◽  
The Voice

This study explores social relationship between male and female in Henrik Ibsen’s play “The Pillars of Society”. The first part of the study analyzes a sexist society in which male characters subjugate females through their hegemonic power. The female characters appear meek, submissive and voiceless. The second part of this study examines the revolutionary role of the female characters who raise their voice against all-pervasive patriarchal power. They protest against male formulated institutions which have kept women voiceless and marginalized. Being dissatisfied with the defenders of patriarchal status quo, Ibsen’s female protagonists come to the fore to challenge prevailing social conviction about femininity and domesticity. They lead a crusade to establish their position and identity as human beings equal to men. In this play, the female characters Lona, Martha and Dina hold a revolutionary banner to protest against male domination of female. In their constant struggle, they win while the male characters become loser. This study analyses the voice of these leading female characters in the light of feminist theory proposed by scholars such as Kete Millett and Sylvia Walby.

scholarly journals TRANSGRESI SEKSUAL DALAM NOVEL PARA PENEBUS DOSA KARYA MOTINGGO BUSYE (Sexual Transgression in Motinggo Busye’s “Para Penebus Dosa”)

2016 ◽  
Vol 7 (1) ◽  
pp. 35
Author(s):  
Ferry Fauzi Hermawan
Keyword(s):  
Social Norms ◽  
Gender Bias ◽  
Female Character ◽  
The Novel ◽  
Female Characters ◽  
Male Characters ◽  
Sexual Transgression ◽  
Descriptive Method

Artikel ini bertujuan untuk menggambarkan transgresi seksual yang terdapat dalam novel Para Penebus Dosa karya Motinggo Busye. Metode yang digunakan dalam artikel ini adalah metode deskriptif analitis. Data dari novel dideskripsikan untuk memperoleh gambaran transgresi seksual. Dalam novel tersebut pelanggaran terhadap kebiasaan seksual, norma, dan kelas digambarkan melalui peristiwa seksual yang dialami oleh para tokoh, terutama tokoh perempuan. Hasil analisis menunjukkan bahwa tokoh perempuan digambarkan banyak melakukan tindak transgresi dibandingkan dengan tokoh laki-laki. Analisis juga menunjukkan bahwa narator dalam novel memiliki sikap bias gender dan mendukung nilai-nilai patriarki dengan lebih banyak memberikan hukuman terhadap tokoh perempuan yang melakukan tindak transgresi seksual dibandingkan kepada tokoh laki-laki.Abstract:The paper aims at describing sexual transgression in Motinggo Busye’s “Para Penebus Dosa”.  The research applies descriptive method. The sexual transgressions elaborated in the novel are presented through the deviance of sexual affairs, social norms, and class experienced by the characters, especially female character. The result of the research shows that  female characters described in the story committed a lot of sexual transgressions compared to male characters. The study also reveals that the narrator in the novel  has a gender bias act. Moreover, he supports values of patriarchy by giving more punishment to the female committing sexual transgression act than to the male.

scholarly journals From the diasporic to the transnation: Catherine Temma Davidson’s The Priest Fainted

Ars Aeterna ◽  
2016 ◽  
Vol 8 (2) ◽  
pp. 1-12
Author(s):  
Jaroslav Kušnír
Keyword(s):  
Cultural Identity ◽  
Cultural Background ◽  
Female Character ◽  
Hybrid Identity ◽  
Female Protagonists ◽  
Three Generations ◽  
Patriarchal Society ◽  
Diasporic Identity ◽  
Conservative Values ◽  
Symbolic Formation

Abstract This paper analyses the depiction of the main female protagonists of Catherine Temma Davidson’s novel The Priest Fainted (1998) in the context of the symbolic formation of the hybrid identity of the main female character and narrator which is close to Bill Ascroft’s concept of the transnation. The author of this paper analyses Davidson’s depiction of three generations of female protagonists with a Greek cultural background and the way they symbolically represent the transition from a traditional diasporic identity (the narrator’s grandmother), through multicultural and transnational identity (her mother) up to the identity close to the concept of the transnation as defined by Bill Aschroft (the narrator herself). At the same time, the formation of such a cultural identity is understood as a symbolic formation of female independence and the rejection of a patriarchal society, religious bigotry and conservative values as represented, in the narrator’s and her mother’s view, by contemporary Greece.

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.

“Trust no one”: Narrative Complexity and Character Opacity in Damages

2019 ◽  
Vol 67 (2) ◽  
pp. 131-146
Author(s):  
Michael Butter
Keyword(s):  
Female Characters ◽  
Male And Female ◽  
Female Protagonists ◽  
Male Characters ◽  
The Relationship ◽  
Insight Into ◽  
Withholding Information

Abstract This article analyzes the first season of Damages (2007) as an early example of the representation of ‘difficult’ women on television. More specifically, I investigate the relationship between the show’s character conception and its complex narration. I argue that all the major male and female characters on the show are ‘difficult’ in the sense that the audience experiences close alignment but troubled allegiance to them. However, the two female protagonists – top-notch lawyer Patty Hewes and her young and initially idealistic associate Ellen Parsons – are also opaque characters about whose thoughts and plans the audience is largely left in the dark. This opacity is mirrored and enhanced by the narration, which constantly teases the audience by withholding information about the plot, suggests inferences that then turn out to be wrong, and generally provides far more insight into the male characters than into the female characters.

Schrader’s Women: Cat People and Patty Hearst

2020 ◽  
pp. 122-138
Author(s):  
Brian Brems
Keyword(s):  
Female Character ◽  
Taxi Driver ◽  
Female Characters ◽  
Existential Anxiety ◽  
Representation Of Women ◽  
Male Characters ◽  
Self Actualization ◽  
Spiritual Freedom ◽  
Robert Bresson

Paul Schrader’s connection with director Robert Bresson is often explored through his male characters, the ‘man in his room’ of Light Sleeper and American Gigolo, but Taxi Driver before them and First Reformed most recently. However, Schrader’s two primary experiments with female characters, Cat People (1982) and Patty Hearst (1988), also follow a similar Bressonian trajectory and end with each female character incarcerated, yet finding a kind of spiritual freedom that helps them realize their identities. This chapter explores Schrader’s women primarily through close examination of Cat People’s Irina (Nastassja Kinski) and Natasha Richardson’s eponymous heroine in Patty Hearst, but use his representation of women in the male-driven films for points of comparison and contrast. In addition, this chapter approaches Schrader’s women as reflections of his male characters, many of whom are driven by existential anxiety that motivates them to seek self-actualization in redemptive violence.

“I am not that I play” – The use of hypercorrection in the performance of gender by Shakespeare’s ‘breeches’ parts

2021 ◽  
Vol 7 (1) ◽  
pp. 27-59
Author(s):  
Alexandra Birchfield ◽  
Rolando Coto-Solano
Keyword(s):  
Young Male ◽  
Gender Performance ◽  
Female Character ◽  
Sociolinguistic Variation ◽  
Male And Female ◽  
Historical Sociolinguistics ◽  
Male Characters ◽  
Non Fiction ◽  
Using Data ◽  
Insight Into

Abstract This study uses variationist sociolinguistic methodology to explore the construction of gender in four of Shakespeare’s comedies. Gender performance is at issue in these plays specifically, not only because, in Shakespeare’s time at least, young male actors play the female roles, but also because each play contains a female character in male disguise. By analysing and comparing the patterns of variation used by Shakespeare’s female, male and “female as male” characters, this study provides further insight into Shakespeare’s construction and conceptualisation of gender. Further, by comparing the patterns of gender variation found in these plays with non-fiction data on the gendered variation of the period (Nevalainen, Terttu & Helena Raumolin-Brunberg. 2003. Historical sociolinguistics. Harlow: Pearson Education Ltd.), it is possible to investigate how accurately Shakespeare captures the sociolinguistic variation present in his society. This study hopes to provide support both for the validity of using sociolinguistic methods to study literature but also for using data from literature in studies of historical sociolinguistic variation and change.

scholarly journals Pro-Social Trickstars in Khaled Hosseini’s A Thousand Splendid Suns

2020 ◽  
Vol 24 (2) ◽  
pp. 556-576
Author(s):  
Paul Rüsse ◽  
Anastassia Krasnova
Keyword(s):  
Cultural Context ◽  
American Fiction ◽  
Ethnic Literature ◽  
Turn Of The Millennium ◽  
Folk Tale ◽  
Male Characters ◽  
Research Questions

Tricksters are usually defined as non-heroic male characters obsessed with food, sex, and general merrymaking, occasionally changing shape and even gender but eventually returning to their masculine self. But is this necessarily true in contemporary ethnic literature? The current essay explores the notion of the trickstar, or the female trickster, in Afghan- American fiction, analysing the three heroines in Khaled Hosseini’s 2007 novel A Thousand Splendid Suns, which is a mother-daughter story set in Kabul at the turn of the millennium. In order to place this text into a cultural context and underscore the significance of the trickstar figure, it is compared to a traditional Afghan folk tale, “Women’s Tricks.” Two research questions are at the centre of this article: (1) In what ways are trickstars from Afghan folklore similar to the heroines of Hosseini’s novel? and (2) What roles do his heroines perform as pro-social trickstars?

scholarly journals Otcovia, milenci a kamionisti: mužské postavy v prozaickom svete Ivany Dobrakovovej

2021 ◽  
Author(s):  
Zuzana Bariaková
Keyword(s):  
Short Stories ◽  
Specific Role ◽  
Female Characters ◽  
Intimate Partners ◽  
Female Protagonists ◽  
Male Characters ◽  
Strong Focus

The paper analyses the depiction of male characters in the select texts of the Slovak writer Ivana Dobrakovová. Although male protagonists are not rare in her prose, little attention is paid to them. This literary approach to their depiction is determined by the writer’s strong focus on the main female protagonists – the female characters make the majority in Dobrakovová’s short stories. However, men regularly appear as fathers or intimate partners of her female characters, and these relationships – ranging from informal to institutional – play a specific role in her works.

scholarly journals Коды «мужского» и «не-мужского» в художественном мире Morpho Eugenia А.С. Байетт

2021 ◽  
Author(s):  
Ирина Попова-Бондаренко
Keyword(s):  
Female Character ◽  
The Novel ◽  
Victorian England ◽  
Men And Women ◽  
Double Reading ◽  
Male Characters ◽  
Self Reliance ◽  
Harmonious World ◽  
Inner Strength

Morpho Eugenia is the first part of the postmodernist novel Angels and Insects by A.S. Byatt. The male world is represented here in abundance by numerous names of famous naturalists, philosophers and poets of the XVII-XVIII centuries and of Victorian England, as well as by the male characters of the novel. It is pointed out that the concepts of “masculine” and “non-masculine” in the novel presuppose double reading, namely, the traditional (Victorian) and posttraditional one (neo-Victorian). In the neo-Victorian interpretation, most of the male characters in the novel are devoid of traditional masculine qualities (honor and dignity, commitment to the cause, inner strength), they bear a stigma of vice (incest), while the “male organization” features of the central female character, non-typical for a Victorian woman (talent, efficiency, perseverance, energy, self-reliance), contribute to the formation of an integral harmonious world of men and women as friends, lovers, like-minded people.

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