scholarly journals Irishness, Female Subjectivity, Domestic Relation, and Landscape as manifested in Carr's The Mai & Ariel

2021 ◽  
Vol 32 (32) ◽  
pp. 149-186
Author(s):  
Haitham Mohamed Yehia Abd Elrahman
Keyword(s):  
Female Subjectivity ◽  
Domestic Relation

Tanaka Kinuyo

2018 ◽  
Keyword(s):  
Industrial Development ◽  
Japanese Woman ◽  
Cultural Construction ◽  
Public Image ◽  
Special Focus ◽  
Japanese History ◽  
Female Subjectivity ◽  
Japanese Cinema ◽  
Close Analysis ◽  
History Of

This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.

Female Christian prose today: A failed search for new women’s subjectivity?

2020 ◽  
Vol 1 (1) ◽  
pp. 132-149
Author(s):  
E. Chelpanova
Keyword(s):  
Social Context ◽  
Social System ◽  
Family Values ◽  
The State ◽  
Current Work ◽  
Conservative Approach ◽  
Female Subjectivity ◽  
Female Characters ◽  
The Social ◽  
History Of

In her analysis of books by Maya Kucherskaya, Olesya Nikolaeva, and Yulia Voznesenskaya, the author investigates the history of female Christian prose from the 1990s until the present day. According to the author, it was in the 1990s, the period of crisis and transformation of the social system, that female Christian writers were more vocal, than today, on the issues of the new post-Soviet female subjectivity, drawing on folklore imagery and contrasting the folk, pagan philosophy with the Christian one, defined by an established set of rules and limitations for the principal female roles. Thus, the folklore elements in Kucherskaya’s early works are considered as an attempt to represent female subjectivity. However, the author argues that, in their current work, Kucherskaya and other representatives of the so-called female Christian prose tend to choose different, objectivizing methods to represent female characters. This new and conservative approach may have come from a wider social context, including the state-imposed ‘family values’ program.

Nina Simone as Poet and Orchestrator

2021 ◽  
Vol 33 (2) ◽  
pp. 130-147
Author(s):  
Marcus R. Pyle
Keyword(s):  
Semantic Content ◽  
Black Body ◽  
Black Female ◽  
The Self ◽  
The Other ◽  
Female Subjectivity ◽  
The Gaze ◽  
Nina Simone

How do you fashion an identity in a society that, at every turn, tries to snuff you out? In this article, I address Nina Simone's praxis of renaming and reinvention to demonstrate strategies of resistance. To this point, I analyze the musico-poetic setting of Nina Simone’s songs “Images” (1964) and “Four Women” (1965) to argue that her artistic musical choices sonically orchestrate varying issues of Black female subjectivity, identity, and self-making. In Simone’s songs, she refuses to discount the materiality of the Black body; instead, she envelops the Black body with signifiance and significance. The sonic bearers of semantic content become extensions of the Self—transmutable and heterodox. The compositional and poetic subtleties in these songs claim that the gaze of the Other can potentiate exteriority and freedom—what I term the “exo(p)tic.”

scholarly journals ‘The Theatre of the Family’: An Irish Approach to Gender Awareness in Catherine Dunne’s Fiction

2017 ◽  
Author(s):  
Auxiliadora Pérez Vides
Keyword(s):  
Identity Formation ◽  
Family Relations ◽  
Female Subjectivity ◽  
Social Psychological ◽  
Irish Family ◽  
The Social ◽  
The Family ◽  
Gender Awareness ◽  
Las Mujeres ◽  
Family Ideology

Abstract:Catherine Dunne’s fiction masterly portrays ordinary themes like family relations and the process of identity formation, and she criticises the constraining elements that thwart female subjectivity in Ireland. However, as I intend to argue in this article, by bringing to the fore the diverse ways whereby women transcend the social, psychological or material barriers that the Irish family ideology and the rhetorics of maternity have traditionally set upon them, Dunne emphasizes the need to re-think the social and individual implications that these obstacles entail, insofar as the rearticulation of their conventional significance constitutes a catalyst for women’s attainment of selfdiscovery.Keywords: Catherine Dunne; contemporary Irish women’s ction; female subjectivity; divorce in Ireland; gender awareness.Title in Spanish: “El teatro de la familia”: una aproximación irlandesa a la conciencia de género en la narrativa de Catherine DunneResumen:La narrativa de Catherine Dunne describe temas cotidianos como las relaciones familiares y la construcción de la identidad, y critica los elementos que delimitan la subjetividad femenina en Irlanda. Sin embargo, como intentaré demostrar en este artículo, al resaltar cómo las mujeres trascienden los obstáculos sociales, psicológicos y materiales que la ideología de la familia y la retórica de la maternidad les han impuesto tradicionalmente en Irlanda, Dunne enfatiza la necesidad de cuestionar las implicaciones sociales e individuales de dichas barreras, dado que la rearticulación de su signi cación convencional constituye un elemento de cambio hacia la consecución de la plena conciencia femenina.Palabras clave: Catherine Dunne; narrativa irlandesa contemporánea de mujeres; subjetividad femenina; el divorcio en Irlanda; conciencia de género

scholarly journals “HEY, I LIKE YOUR VIDEOS. RELATE MUCH!”LOCATING SISTERHOOD IN A POSTCOLONIAL PUBLIC ON YOUTUBE

2019 ◽  
Vol 2019 ◽  
Author(s):  
Earvin Charles Borja Cabalquinto ◽  
Cheryll Soriano
Keyword(s):  
Digital Media ◽  
Female Subjectivity ◽  
Mutual Support ◽  
Foreign National ◽  
Youtube Videos ◽  
Media Channels ◽  
Interracial Relationship ◽  
Media Practices ◽  
Government Benefits

As part of a broader project that seeks to investigate the brokering of digitally-mediated intimacies through matchmaking platforms and social media channels, this paper unpacks the formation of ‘online sisterhood’ in a postcolonial intimate public, as evinced in the comments of viewers on selected YouTube videos of Rhaze, a Filipina YouTuber who is married to an Australian man. With a massive following of over 450 thousand followers, Rhaze’s videos typically receive diverse comments from her viewers and subscribers. This exposition is facilitated by collecting, categorising and analysing selected comments from Rhaze’s top videos. The comments were analysed through discourse analysis, paying special attention to the factors that influence digital media practices. The findings reveal that competing comments are shaped by postcolonial views on a gendered, racialized and class-based body in an interracial relationship. We then coin the term ‘online sisterhood’, reflecting the shared support that women nurture with other women through online practices. Ultimately, online sisterhood displays how Filipino women married to a white foreign national generate and negotiate spaces of mutual support in a neoliberal state. Paradoxically, a neoliberal government benefits from such cross-border and mediated mobility of Filipina migrants through the commodification of their everyday life. It is through this point that we argue for a closer evaluation of the role of ‘online sisterhoods’ in the construction of female subjectivity and imaginaries of mobility in the Global South.

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