scholarly journals To Lose My Mind And Find My Soul.1 The Masculine and Feminine in Films Set in the Forest

Author(s):  
Josef Steiff

In the past few years, there has been a proliferation of films and television series around the world that are set in forests. These stories’ structures often differ depending on the gender of the protagonist: If the protagonists are men, the forest is usually a site of horror, but when the protagonists are women, the forests become sites of transformation. Looking at Maureen Murdock’s The Heroine’s Journey, Joseph Campbell’s The Hero’s Journey, and Catherine Addison’s model for how the forest is represented in classical literature, this paper considers how the internal journey of female characters is reflected in or resonates with the woods. Films discussed range across multiple genres (drama, survival, crime, horror, science fiction) and include Leave No Trace, Deliverance, The Grey, Destroyer, Zone Blanche, The Ritual, The Hallow, Without Name, Dans la foret, The Blair Witch Project, The Forest, Mad Max: Fury Road, Annihilation, and Aeon Flux. The temptation to talk about these films in dichotomies, such as Hero/Heroine, Masculine/Feminine, illustrates our need for new terminology to reflect even newer ways of thinking about the complexity of gendered protagonists in stories.

M/C Journal ◽  
1998 ◽  
Vol 1 (1) ◽  
Author(s):  
Joseph Crawfoot

Cities are an important symbol of our contemporary era. They are not just places of commerce, but are emblems of the people who live within them. A significant feature of cities are their meeting places; areas that have either been designed or appropriated by the people. An example of this is the café. Cafés hold a unique place in history, as sites that have witnessed the growth of revolution, relationships great and small, between people and ideas, and more recently, technology. Computers are transcending their place in the private home or office and are now finding their way into café culture. What I am suggesting is that this is bringing about a new way of understanding how cafés foster community and act as media for social interaction. To explore this idea further I will look at the historical background of the café, particularly within Parisian culture. For W. Scott Haine, cities such as Paris have highly influential abilities. As he points out "the Paris milieu determined the consciousness of workers as much as their labor" (114). While specifically related to Paris, Haine is highlighting an important aspect in the relationship between people and the built environment. He suggests that buildings and streets are not just inanimate objects, but structures that shape our habits and our beliefs. Towards the middle of the nineteenth century, Paris was developing a new cultural level, referred to as Bohemia. Derived from the French word for Gypsy (Seigel 5) it was used to denote a class of people who in the eyes of Honoré de Balzac were the talent of the future (Seigel 4). People who would be diplomats, artists, journalists, soldiers, who at that moment existed in a transient state with much social but little material wealth. Emerging within this Bohemian identity were the bourgeois. They were individuals who led a working class existence, they usually held property but more importantly they helped provide the physical environment for Bohemian culture to flourish. Bourgeois society had the money to patronize Bohemian artists. As Seigel says "Bohemian and bourgeois were -- and are -- parts of a single field: they imply, require, and attract each other" (5). Cafés were a site of symbiosis between these two groups. As Seigel points out they were not so much established to create a Bohemian world away from the reality of working life, but to provide a space were the predominantly bourgeois clientèle could be entertained (216). These ideas of entertainment saw the rise of the literary café, a venue not just for drinking and socialization but where potential writers and orators could perform for an audience. Contemporary society has seen a strong decline in Bohemian culture, with the (franchised) café being appropriated by the upper class as a site of lattes and mud cake. Recent developments in Internet technology however have prompted a change in this trend. Whereas in the past cafés had brought about a symbiosis between the classes of Bohemian and bourgeois society they are now becoming sites that foster relationships between the middle class and computer technology. Computers and the Internet have their origins within a privileged community, of government departments, defence forces and universities. It is only in the past three years that Internet technology has moved out of a realm of expert knowledge to achieve a broad level of usage in the average household. Certain barriers still exist though in terms of a person's ability to gain access to this medium. Just as Bohemian culture arose out of a population of educated people lacking skills of manual labor and social status (Seigel 217), computers and Internet culture offer a means for people to go beyond their social boundaries. Cafés were sites for Bohemians to transcend the social, political, and economic dictates that had shaped their lives. In a similar fashion the Internet offers a means for people to explore beyond their physical world. Internet cafés have been growing steadily around the world. What they represent is a change in the concept of social interaction. As in the past with the Paris café and the exchange of ideas, Internet cafés have become places were people can interact not just on a face-to-face basis but also through computer-mediated communication. What this points to is a broadening in the idea of the café as a medium of social interaction. This is where the latte and mud cake trend is beginning to break down. By placing Internet technology within cafés, proprietors are inviting a far greater section of the community within their walls. While these experiences still attract a price tag they suggest a change in the idea that would have seen both the café and the Internet as commodities of the élite. What this is doing is re-invigorating the idea of the streets belonging to the middle class and other sub-cultures, allowing people access to space so that relationships and communities can be formed. References Haine, W. Scott. The World of the Paris Cafe: Sociability amongst the French Working Class 1789 - 1914. Baltimore: Johns Hopkins UP, 1996. Seigel, Jerrold. Bohemian Paris: Culture, Politics and the Boundaries of Bourgeois Life, 1830 - 1930. New York: Penguin Books, 1987. Citation reference for this article MLA style: Joseph Crawfoot. "Cybercafé, Cybercommunity." M/C: A Journal of Media and Culture 1.1 (1998). [your date of access] <http://www.uq.edu.au/mc/9807/cafe.php>. Chicago style: Joseph Crawfoot, "Cybercafé, Cybercommunity," M/C: A Journal of Media and Culture 1, no. 1 (1998), <http://www.uq.edu.au/mc/9807/cafe.php> ([your date of access]). APA style: Joseph Crawfoot. (1998) Cybercafé, cybercommunity. M/C: A Journal of Media and Culture 1(1). <http://www.uq.edu.au/mc/9807/cafe.php> ([your date of access]).


Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 85-94
Author(s):  
Margarita Estévez-Saá

The purpose of this contribution is to study three young writers who have offered, in the past three years, in a distinctively new voice, further instances of the Irish writers’ endless ability to experiment with the form of the novel. Sara Baume’s "A Line Made by Walking" (2017), Anna Burns’s "Milkman" (2018), and Eleanor O’Reilly’s "m for mammy" (2019) are three representative instances of the potential of the form of the novel in the hands of Irish women writers. Each of these novels deserve a study in its own due to their complexity and interest, but analysing them together offers us a unique opportunity to assess the thriving state of novel writing in Ireland, especially in the hands of Irish women writers.The three novels object of our study deal with identity crises, and they similarly represent their protagonists as struggling against society and its structures, be it the family, local communities, the world of art, nature or politics. Furthermore, the three authors have been able to devise alternative narrative styles, techniques and even endings that enabled them to render the complexities of the topics dealt with as well as to represent the unstable condition of their protagonists. In addition, Baume, Burns and O’Reilly have significantly chosen as protagonists female characters with artistic or intellectual aspirations who allow the authors to endow their respective narratives with metaliterary meditations on the possibilities as well as limits of language, words and wordlessness.


2018 ◽  
Vol 6 (2) ◽  
pp. 112-149

The Dacian Fortresses of the Orăştie Mountains are a series of six monuments dating back to the period of the Dacian Kingdom (1st century BC – beginning of the 2nd century AD) and located in Transylvania. They have been included into the World Heritage List since 1999. Unfortunately, at present only one of them has a site manager. The issues that all six are facing are highly difficult: they have a poor state of conservation, they are being affected by vandalism and poaching (even if at a lower level than in the past), and they are not promoted. There is a complex bundle of factors that has brought them into this situation. Some of them will be discussed in this paper, in order to identify the main causes and to provide room for reflection and finding solutions.


Author(s):  
Juan A. Barceló

We have already argued that an automated archaeologist cannot understand past social actions by enumerating every possible outcome of every possible social action. The need to insert all the world within the automated archaeologist’s brain and then maintain every change about is impossible. However, if we cannot introduce the world inside the robot, we may introduce the robot inside the world. What the automated archaeologist would need then is to be situated in the past, and then using observation and attention to learn from human action, because of the complexities of the past, which resist modeling. It leads to a modification of the aphorism espoused by Rodney Brooks (1989): “the past itself should be its own best model.” Consequently, the automated archaeologist must travel to the past to be able to understand why it happened. Only by being situated directly in the past, the automated archaeologist would understand what someone did and why she did it there or elsewhere.


Author(s):  
Magdalena Fizgał-Janikowska

The article attempts to depict the experience of melancholy in family dramas by an Israeli playwright Hanoch Levin. With regard to their themes Levin’s domestic comedies can be divided into dramas of ‘lonely hearts’, ‘family relationships’, and ‘neighborhood’. What is common to these three groups of dramas is the gallery of the same personae – melancholy men: depressed, detached subjects, deprived of any possibility of symbolization. Firstly, melancholy appears to be a general condition of the depicted world; secondly, it is deeply related to the inner dramas of personae of the drama – their embodiment and their perception of the world. The condition of male and female characters in Levin’s domestic comedies is determined by the longing for the past and the sadness of passive existence. The basic purpose of the article is to provide an analysis of the selected issues in the context of psychoanalytical readings of melancholy, especially Sigmund Freud’s as well Julia Kristeva’s works. This perspective allows to elucidate the melancholic condition of dramatis personae, and also to describe some complicated relationships between them (especially the relation between mother-figure and the son).


Author(s):  
Michelle Yates ◽  
Susan Kerns

The Chicago Feminist Film Festival aims to decenter and destabilize Hollywood norms, including Hollywood’s tendency to place cis-gendered white male protagonists at the center of films structured according to the hero’s journey. Thus, The Fits (2016) was a natural opener to the inaugural festival, embodying many of the festival’s values in destabilizing what constitutes “normal” ways of seeing the world. In particular, in centering black girlhood, The Fits subverts the white and male gaze. Main character Toni takes on the active gaze usually reserved for white and/or male characters, subverting the objectified status generally prescribed to female characters. The Fits also unsettles the heroine’s journey by troubling Toni’s transformative return. While it may seem that through “the fits” Toni is assimilated into normative gender relations, it is also possible to read Toni’s transformation in the film as form of insubordination, a resistance to this assimilation.


Porównania ◽  
2021 ◽  
Vol 30 (3) ◽  
pp. 167-177
Author(s):  
Justyna Jajszczok

The paper aims to show how the traditions of science fiction and, above all, invasion literature provide the ideological background for reading Andrew Hunter Murray’s The Last Day as a novel about Brexit. As it draws on anxious visions of the future, in which the enemy lurks around every corner, and the only salvation is complete isolation from the world, Murray’s work is read here as a Brexit dream come true, in which Britain is once again great, independent and uncontaminated by foreign elements. By evoking the myths that focus only on glory and conveniently “forget” the dark sides of the empire, the novel demonstrates that the fantasies of the past are as distant as the fantasies of the future; the loss of the world that never was is reworked in The Last Day into the loss of ecologically viable planet.


Neophilology ◽  
2020 ◽  
pp. 557-565
Author(s):  
Ilya V. Kozlov

The science fiction works of the Strugatsky brothers are considered as a common artistic world undergoing a certain evolution over time. One indicator of this change is the correlation of male and female characters in character systems of works. A similar change is traced (starting from the early works – “The Way to Amalthea”, “From Beyond” – to the later ones – “Beetle in the Anthill”, “Snail on the Slope”). At first, it can be seen in the quantitative transformation (the appearance of female images in character systems), and then in the influence they have on the plot, narration (including the “author's”digressions), in general – on the image of the world in the works of the Strugatsky. At the same time, an attempt is made to distract from the correlation of the Strugatskys’ work with political and feminist theories, the conclusions are formulated on the basis of an analytical consideration of the artistic form of literary works themselves. Heroines appear in their traditional roles. But then they from “helpers” become opponents in the character system, acquiring traits hostile to male characters. Such a change, in turn, affects the plots of the works, transforming the adventurous plot (now not just a plot-study, but conquest and transformation) and deepening the internal conflict of the Strugatsky brothers’ artistic world.


2020 ◽  
Vol 287 (1936) ◽  
pp. 20201081
Author(s):  
Jean-François Doherty

In an era where some find fake news around every corner, the use of sensationalism has inevitably found its way into the scientific literature. This is especially the case for host manipulation by parasites, a phenomenon in which a parasite causes remarkable change in the appearance or behaviour of its host. This concept, which has deservedly garnered popular interest throughout the world in recent years, is nearly 50 years old. In the past two decades, the use of scientific metaphors, including anthropomorphisms and science fiction, to describe host manipulation has become more and more prevalent. It is possible that the repeated use of such catchy, yet misleading words in both the popular media and the scientific literature could unintentionally hamper our understanding of the complexity and extent of host manipulation, ultimately shaping its narrative in part or in full. In this commentary, the impacts of exaggerating host manipulation are brought to light by examining trends in the use of embellishing words. By looking at key examples of exaggerated claims from widely reported host–parasite systems found in the recent scientific literature, it would appear that some of the fiction surrounding host manipulation has since become fact.


sjesr ◽  
2021 ◽  
Vol 4 (2) ◽  
pp. 438-443
Author(s):  
Dr. Shahid Abbas ◽  
Dr. Ijaz Asghar ◽  
Qamar Hussain

The paper aims at investigating the critical opinions about Bernard Shaw’s ambivalent relation to feminism. In this regard, the researchers highlight the emerging role of postfeminism and its overlapping elements with the Islamic portrayal of womanhood. Shaw differs from his predecessors drastically – he portrays independent female characters as compared to the invisible and submissive females of the past. Thus, one of the striking features of Shaw’s drama is the depiction of liberated women. The Shavian women do not consider men folk as their rivals. There is a shift from powerless to empowered women in academia. The researchers find out that there is an ideological conflict between feminism and Islam but as far as postfeminism is concerned, there is none. Rather, postfeminism propagates and supports the Islamic concept of womanhood thoroughly. It is also worth noting that feminist ideas and ideology have greatly dented the social and political fabric of mankind and human civilization in general. Whereas, postfeminism propagates in favor of maintaining a balanced position for womanhood in life which is a balance between social and individual life, and a balance between professional and family life. The purpose of this article is to promote a better understanding of the status of women in Islam and its overlapping and common areas with postfeminism, that is, God has equated female folk at par with their male folk. The research is significant as it challenges the western notion of women in Islam and dispels the erroneous notions of suppression of women in Islam. The prime finding of this research is that postfeminism proclaims equal footing for men and women in life, as enshrined in the Holy Quran.  Further, the researchers lament that just because of myopic-minded people, the world is not making any progress intellectually. The researchers recommend that there is a dire need to promote liberal intellectuals like Shaw who harbor no bias against Islam and Muslims to maintain peace and order in the world.


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