scholarly journals The Play of Gender Roles in Sheeba Shah’s Facing My Phantoms

2020 ◽  
pp. 125-135
Author(s):  
Asmita Bista
Keyword(s):  
Gender Roles ◽  
Gender Stereotypes ◽  
The Novel ◽  
Historical Document ◽  
Traditional Gender Roles ◽  
Male Characters ◽  
The Social ◽  
Time Periods ◽  
Maoist Movement ◽  
Human Attributes

Setting the novel in different time-periods (Rana regime, Panchayat System and Maoist movement), Sheeba Shah’s Facing my Phantoms has depicted the condition of Nepali males and is considered a historical document. This article aims to examine the factors that constrain the male characters to traditional and anti-traditional gender roles. It also studies the consequences faced by the characters while performing and defying gender stereotypes. To address this objective, Butler’s and Connell’s ideas have been used as they have claimed that masculinity and femininity like any other human attributes are fluid; in fact, it is constantly reconstructed in response to socio-political changes under the pressure of social norms. According to Butler, gender is something that is not a corporeal thing, but it is reproducing, changing, and moving. The significance of this article is to find insights in understanding the condition of males in the Nepali society. It concludes that the male characters of Shah’s novel oscillate between traditional and anti-traditional gender roles. Under the social pressure, they perform the roles of an assertive and authoritative father, aggressive and ruthless lover/husband, and rational and responsible son. Likewise, when they get influenced by socio-political changes, they fail to stick to stereotypical gender roles. Consequently, they appear in the emotional, docile, dependent, confused, and unassertive roles.

“Cinderella” Vs “Timun Mas”: Exploring Gender Stereotypes and Culture as Learning Material Purposes

2021 ◽  
Vol 11 (1) ◽  
pp. 10-19
Author(s):  
Cynantia Rachmijati ◽  
Sri Supiah Cahyati
Keyword(s):  
Gender Roles ◽  
Gender Stereotypes ◽  
Social Order ◽  
Learning Material ◽  
Learning Materials ◽  
Male Characters ◽  
The Social ◽  
Cultural Content ◽  
And Gender

Gender roles are an important part of culture. How the genders are portrayed in the literature contributes to the image young adults develops of their gender roles and the role of gender in the social order. This research entitled  “Cinderella VS Timun Mas : Exploring gender stereotypes and culture as learning materials purposes” aimed to analyze the content of both “Cinderella” and “Timun Mas” which cover: 1. Occupations and Gender Stereotypes; 2 Centrality of Female and Male Characters; 3. Culture Content ; and 4 Suitability as learning material purposes. This research is a qualitative study using content analysis. It was carried out with procedures: collecting, analyzing, and presenting data. Based on research questions it is revealed that for occupation and gender types showed that “Timun mas” has varieties of gender with 66,67% reference whereas “Cinderella” only has 50% references. For the centrality of male and female character, “Cinderella’ has more varieties in 37,5% male and 62,5% female whereas in “Timun Mas” showed 50% for both genders”. For the cultural content, in “Timun Mas” the cultural content found was 60% and in “Cinderella” was 80%. And the suitability to be used as learning materials showed that “Timun Mas” checked with 16 points whereas “Cinderella” checked with 20 points. It can be concluded that both can be used as authentic learning materials for gender references, but “Cinderella” has more varieties and cultural content compared to “Timun Mas”.

scholarly journals Students’ Gender-Related Choices and Achievement in Physics

2017 ◽  
Vol 7 (2) ◽  
pp. 71-95
Author(s):  
Ivana Jugović
Keyword(s):  
Gender Roles ◽  
Gender Stereotypes ◽  
Educational Outcomes ◽  
Practical Implication ◽  
Self Concept ◽  
Hierarchical Regression ◽  
School Students ◽  
School Grades ◽  
Traditional Gender Roles ◽  
Educational Domain

The goal of the research was to explore the role of motivation, gender roles and stereotypes in the explanation of students’ educational outcomes in a stereotypically male educational domain: physics. Eccles and colleagues’ expectancy-value model was used as a theoretical framework for the research. The research sample included 736 grammar school students from Zagreb, Croatia. The variables explored were expectancy of success, selfconcept of ability and subjective task values of physics, gender roles and stereotypes, and educational outcomes: academic achievement in physics, intention to choose physics at the high school leaving exam, and intention to choose a technical sciences university course. The results showed that girls had a lower self-concept of ability and lower expectancies of success in physics compared to boys, in spite of their  higher physics school grades. Hierarchical regression analyses showedthat self-concept of physics ability was the strongest predictor of physics school grades, whereas the utility value of physics was the key predictor of educational intentions for both genders. Expectancy of success was one of the key predictors of girls’ educational intentions, as well. Endorsement of a typically masculine gender role predicted girls’ and boys’ stronger intentions to choose a stereotypically male educational domain, whereas acceptance of the stereotype about the poorer talent of women in technical sciences occupations predicted girls’ lower educational outcomes related to physics. The practical implication of the research is the need to create gender-sensitive intervention programmes aimed at deconstructing the gender stereotypes and traditional gender roles that restrain students from choosing gender-non-stereotypical careers.

THE SOCIAL TERMINOLOGY IN THE NOVEL “THE SQUIRRELS DANCING” HUMAN RELATIONS AS A MODEL

2021 ◽  
Vol 03 (03) ◽  
pp. 241-246
Author(s):  
Aas Akeel Kadhum AL MOUSAWI ◽  
Hanan Fadil JUBAIR
Keyword(s):  
Social Relations ◽  
Personal Relationships ◽  
The Novel ◽  
Human Relations ◽  
Ideal Model ◽  
Clear View ◽  
The Social ◽  
Social Novel ◽  
Time Periods

The Squirrels Dancing is considered a social novel in all its details because their temporal movements and personal relationships vary with them, making them an ideal model for tracking these terms. The study of social expressions in a novel that represents a diverse period to give a clear view of the terms development used in these different time periods, the change of their significance, their discursive requirements, and the depth of social relations according to the terms used in the novel. Accordingly, the novel's enriching with many social terms will identify the research in general human relations and family in particular. From the secondary title of the novel (Tales of the Shahbandar's Grove of Mustafa Khan, from which the memory is not lost), the importance of relations is evident in telling the stories and mentioning the orchard, and that the Shahbandar is one of the well-known and prestigious figures in society. So we find the father, mother, grandfather, friend, and some characters featured in the details of the novel.

scholarly journals “Other” Characters: The Gendering and Racialization of “Disability” Within Newbery Award-Winning Books, 1922-2012

2016 ◽  
Vol 8 (1) ◽  
pp. 73-101
Author(s):  
Adie Nelson ◽  
Veronica (Ronnie) Nelson
Keyword(s):  
Racial Identity ◽  
Gender Roles ◽  
Cultural Representations ◽  
Disability Rights ◽  
Persons With Disabilities ◽  
Newbery Award ◽  
Traditional Gender Roles ◽  
Male Characters ◽  
Children's Picture Books ◽  
Award Winning

Disability rights activists have long urged recognition of the import of cultural representations and their salience in the Othering process. Previous research on children’s picture books and novels has noted that persons with disabilities are commonly depicted in stereotypic and dehumanizing ways. This article explores the extent to which stereotypes of disability may be gendered and/or racialized by examining children’s books that won the American Library Association’s Newbery Medal between 1922-2012. It notes that the crafting of female and male characters with disabilities within these books pays homage to traditional gender roles, images and symbols and, most notably, reiterates an active-masculine/passive-feminine dichotomization. In addition, these representations suggest how racial essentialism is implicated in the production of “disability” within children’s literature, with non-white “racial” identity equated with various forms of impairment.

scholarly journals GE Big Boys Appliances: Towards a Multimodal Discourse Analysis of the SNL Fake Commercial

2021 ◽  
Vol 4 (1) ◽  
pp. 1-14
Author(s):  
Karina Clemente-Escobar
Keyword(s):  
Discourse Analysis ◽  
Gender Roles ◽  
Critical Discourse Analysis ◽  
Gender Stereotypes ◽  
Systemic Functional Linguistics ◽  
Critical Discourse ◽  
Multimodal Discourse Analysis ◽  
Traditional Gender Roles ◽  
Multimodal Discourse ◽  
Saturday Night Live

Nowadays, comedy shows like Saturday Night Live (SNL) have become popular and entertain many people around the world. For this study, a fake commercial for GE Big Boys Appliances, aired on YouTube in 2018 is analyzed to explore how discourse is used to represent gender roles and stereotypes. To conduct this multimodal discourse analysis, some elements of Systemic Functional Linguistics (SFL) proposed by Halliday (1978), some notions of critical discourse analysis, and some features of the Machin’s (2010) visual semiotic framework are employed. The findings portray that the sketch shows a change concerning gender roles through time, but it still promotes the transmission of some classical gender stereotypes. Therefore, it is valuable to study comedy sketches to understand how traditional gender roles and stereotypes are still transmitted in social media.

scholarly journals Female Authority And The Representation of Womanhood In H. Rider Haggard’s Ayesha

2020 ◽  
Vol 7 (4) ◽  
pp. 322-332
Author(s):  
Shokhan Rasool Ahmed
Keyword(s):  
Gender Roles ◽  
English Department ◽  
The Novel ◽  
Femme Fatale ◽  
African Culture ◽  
Postgraduate Students ◽  
Traditional Gender Roles ◽  
Sequential Structure ◽  
History Of ◽  
The New Woman

Haggard’s Ayesha is the continuation of the Victorian dream novel She. H. Rider Haggard's She, subtitled A History of Adventure, is figured to be among top rated books at any point distributed: it had sold exactly 83 million duplicates by 1965. Ayesha (really articulated 'Assha'), subtitled The Return of She, who takes after She in the book, is an amazing and puzzling white sovereign who administers the African Amahagger individuals. Ayesha has enchantment controls and is undying, which makes She a dream experience book. Despite the fact that She and Ayesha were distributed almost twenty years separated, H. Rider Haggard stated that Ayesha was a decision to a two-section book, not a continuation. There is likewise a "prequel," She and Allan (1921). In the two books, an imaginary manager shows an original copy portrayal by Ludwig Horace Holly. In Haggard’s She, considering that some parts of the novel are so comfortable, readers might feel compelled into thinking that they are going through Haggard’s tour in Africa. Fortunately, in any event, when the plot eases back to a nearly gastropod pace, the way Haggard's depicts the African culture and scene conveys the reader along. Ayesha, known as She-Who-Must-Be-Obeyed, first showed up in sequential structure from 1896 to 1897 in the novel She. Ayesha is one of the marvelous, kick-ass lady characters in Victorian writing who represents the misogynist construction of femininity and embodies the femme fatale. This paper is principally concerned about the representation of feminine power and the representation of womanhood in Haggard’s Ayesha. Some questions will be investigated here. Can one consider Ayesha as a “conclusion” or a “sequel” to She since the whole novel replicates the same thematic and structural maneuvers of She? Does Haggard revive Ayesha, the “new woman”, in The Return of She respond to the threat to traditional gender roles? The findings of this study will be beneficial for the researchers, and all the undergraduate and postgraduate students of English department. 

scholarly journals Exploration of Gender Role in Bisheswar Prasad Koirala's Tinghumti

2019 ◽  
Vol 10 (1) ◽  
pp. 12-24
Author(s):  
Asmita Bista
Keyword(s):  
Gender Roles ◽  
Gender Role ◽  
The Novel ◽  
Gender Theory ◽  
Traditional Gender Role ◽  
Traditional Gender Roles

Bisheshwar Prasad Koirala’s novel Tinghumti is always tempting for the reader as it still reflects the relevant picture of Nepali society. In this novel the characters defy as well as define the gender roles. Influenced with revolutionary thought they defy the prescribed gender roles; but chained in age old thought they, time and again, define the traditional gender role. This article aims to identify the reasons that drive these characters to defy and define the traditional gender roles. For that Judith Butler’s and Connell’s idea of gender theory has been used. The significance of this study is to contribute a different perspective for the reader to see the novel Tinghumti showing that traditional gender roles are meddled and confirmed in it. The study concludes that in the novel, the characters defy as well as define the socially prescribed gender role because gender is socio-political construction that achieves legitimacy and naturality via perpetual observation and repetition.

scholarly journals Gender projections in the novel Soul in A Mask by N. V. Nedobrovo

2021 ◽  
Vol 60 ◽  
pp. 188-200
Author(s):  
Marianna V. Kaplun
Keyword(s):  
Opposite Effect ◽  
Identity Crisis ◽  
Turn Of The Century ◽  
The Novel ◽  
Gender Discourse ◽  
Male Characters ◽  
The Social ◽  
Feminine Discourse ◽  
Basic Ideas ◽  
Modern Era

The prose novel by N. V. Nedobrovo Soul in A Mask, written in 1914, incorporates basic ideas of the writer’s work and continues development of gender (feminine) discourse of the modern era. To a large extent, the search for a “soul in a mask”, the ability to express a lyrical “I”, coupled with the theatricality of being, the need for a social masquerade, are characteristic of the majority of modernist works. The theme of masks is equally present in the lyrics of symbolism and close to Nedobrovo acmeism (for example, in the work of A. A. Akhmatova, Nedobrovo’s closest friend). The masquerade performs two functions in the novel — plot-forming and philosophical. Having made the center of the story of the reflecting heroine Olga, Nedobrovo displays a number of male characters, a collision which meant to reveal the title female character. Male / female opposition (masculinity / femininity) informs the main conflict of the novel, related to the inability of an intelligent woman of expressing herself in a male society without wearing a mask. The paper shows that the mask serves as a kind of gender projection and represents an attempt to overcome the social masquerade, which is always associated with an identity crisis. Mask, as applied to the heroine and her ready-made social mask gives an opposite effect, only emphasizing the gender difference and, accordingly, leading to the disclosure of the heroine’s femininity. Based on this, “female issue” raised in the story is resolved in compliance with patriarchal ideas of the conservative gender discourse of the turn of the century.

Age and Gender in the European Contact Improvisation Community

2017 ◽  
Vol 8 (2) ◽  
pp. 70-81
Author(s):  
Hilde Rustad
Keyword(s):  
Gender Roles ◽  
Research Interest ◽  
European Countries ◽  
Social Hierarchies ◽  
Age And Gender ◽  
European Contact ◽  
Traditional Gender Roles ◽  
Contact Improvisation ◽  
The Social ◽  
And Gender

Abstract This article examines issues related to age and gender within the European contact improvisation community (ECIC). In particular, my research interest is to find out more about experiences related to values in the dance genre of contact improvisation (CI), and how they relate to the values associated with democracy understood to be embedded in CI. From 2014 to 2017, I conducted interviews with seven persons who are CI dancers and teachers from different European countries. The interview material shows that a double set of values is communicated in the ECIC: one that is taught, spoken, written and understood to be holding on to and embodying ’the social ideologies of the early ’70s which rejected traditional gender roles and social hierarchies’ (Novack, 1990, 11) and a second set in which traditional gender roles and social hierarchies are active and experienced by European CI dancer-teachers and dancers when participating in CI events.

Socio-Cultural Barriers of Female Ex-Combatants' Social Re-Integration in Sri Lanka

2020 ◽  
pp. 213-223
Author(s):  
Kana Takamatsu
Keyword(s):  
Sri Lanka ◽  
Gender Roles ◽  
Cultural Barriers ◽  
Social Barriers ◽  
Social Reintegration ◽  
Traditional Gender Roles ◽  
Post Conflict ◽  
The Social ◽  
The Government ◽  
High Level

This chapter identifies the post-conflict social barriers to the social reintegration of female ex-combatants. This study refers to the case of Sri Lanka concerning the conflict between the government of Sri Lanka and the Liberation Tigers of Tamil Eelam (LTTE) that ended in 2009. During the conflict, the LTTE actively recruited female combatants, and women consisted of a significant number of the entire LTTE combatants. However, after the end of the conflict and even today, many of them are rejected by the community. First of all, the LTTE was fighting for Tamil's independence, but Tamil's community has expressed mixed opinions toward the LTTE. Second, female ex-combatants were then and are now a divergence from the gender norms of their society. Third, from their roles in the conflict, female ex-combatants experienced an indelible change in their ideas through the conflict and observed themselves as capable of being independent women. Consequently, they felt a high level of resistance to returning to traditional gender roles.

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