Girl Talk: The Postmodern Female Voice in Chick Flicks

2016 ◽  
Author(s):  
Heidi Wilkins
Keyword(s):  
Female Voice ◽  
Male Character ◽  
Female Characters ◽  
Representation Of Women ◽  
Screwball Comedy ◽  
Chick Flicks

In this final chapter, I revisit my discussion of the female voice in mainstream cinema to explore the aural representation of women in contemporary chick flicks. In examining this category of films, it is clear they have some evolutionary links with the screwball comedy genre discussed in Chapter 1. This is evident in the female characters we encounter in modern chick flicks who, like their screwball predecessors, are often strong, confident and quick-witted, engaging in verbal battles to achieve their ‘happily ever after’ either with their lead male character or with fellow female characters, or sometimes with both.

Chapter I. The British Economy to End-1972

1973 ◽  
Vol 63 ◽  
pp. 9-33
Keyword(s):  
Full Employment ◽  
Annual Review ◽  
Short Term ◽  
Term Forecast ◽  
Recent Developments ◽  
Detailed Assessment ◽  
Employment Potential ◽  
Economic Developments

Chapter I presents a general review of economic developments in 1972 including an attempt to assess the position of the economy in relation to its full employment potential. Chapter II includes the usual short-term forecast of likely developments over the next eighteen months together with a less detailed assessment of prospects over the rather longer term. Recent developments in and short-term prospects for various industries within the industrial production index are dealt with in some detail in Chapter III, while the final chapter contains our annual review and forecasts for the World Economy.

scholarly journals Voices and Vacancies in Verse: Metamorphoses and Gendering the Ovidian Soliloquy

2020 ◽  
pp. 1-10
Author(s):  
Khushi Jain
Keyword(s):  
Female Voice ◽  
Female Characters ◽  
Literary Traditions ◽  
Author Keywords ◽  
Difficult Position ◽  
Open Question

Abstract Ovid’s Metamorphoses is a poem saturated with stories and heavy with the most colourful narrative elements. One such is the soliloquy, which Ovid bequeathed to poets and dramatists like Chaucer, Faustus and the Bard. Metamorphoses houses five soliloquies, all, interestingly, in the mouth of female characters. This essay attempts to understand the ‘gendering’ of the soliloquy through its aetiology and implications on the characters, narrative, themes and audiences. Medea, Scylla, Byblis, Myrrha and Atlanta are the only Ovidian soliloquists of Metamorphoses. This puts them in a difficult position, for they are a granted agency and comprehensive selfhoods and characterhoods through the expression of complex psychological interiorities. But at the same time, their identities are suffocated with erroneous rationales, moral didacticisms and tragic endings. The soliloquies operate within the liminality of gender and gendered literary traditions. The essay culminates in an open question: how authentic is the female voice narrated by a male author? Keywords: monologue, gendering, aetiology, characterhood, narrative, Ovid, Metamorphoses

Does Queer Political Theory Have a Future?

Shame ◽  
2017 ◽  
Author(s):  
Bogdan Popa
Keyword(s):  
Political Theory ◽  
Political Thinking ◽  
Recent Scholarship ◽  
The Future ◽  
Eve Sedgwick ◽  
Lauren Berlant

In this final chapter I reflect upon the possibilities unleashed by recent scholarship in queer political theory. First, I discuss the future of queer political thinking by insisting that the act of interpretation has to draw on how one becomes both irritated by and surprised by scholarly arguments. As an affective practice, irritation offers the incentive to challenge what is already known while the surprise opens up a new territory for investigation. Second, to enact my interpretative method, I critically engage with the work of Eve Sedgwick, Leo Bersani, José Esteban Muñoz, and Lauren Berlant to argue that queer practices can articulate an equality-oriented vision of politics.

Conclusion

2021 ◽  
pp. 241-262
Author(s):  
M.I. Franklin
Keyword(s):  
Case Studies ◽  
Music And Politics ◽  
And Performance ◽  
Politics Of Race ◽  
Political Economic

The Conclusion draws on the empirical findings of each chapter in order to theorize—reflect on—our way “out” of these case studies. It follows on from the conceptual and methodological themes laid out in Chapter 1, challenges presented to scholarship across the disciplinary spectrum that looks to locate and track where, and how, “politics” (of race, class, gender, and religion) are now being rendered as and through music. Chapter 7 recapitulates the main themes from each chapter as references to audio clips, suggested listening, in order to underscore the findings of this study: how music-and-politics and, or music-as-politics sound within, and between sociocultural and political economic settings. Getting closer to how these practices and sound archives work means taking into account creative practices and performance cultures not only of music making but also of music taking. This final chapter can also function as an introduction for the book as the flipside of Chapter 1.

Translating Identity-Based Motivation to Intervention: Pathways to Success from School to Jobs and Life

2015 ◽  
Author(s):  
Daphna Oyserman
Keyword(s):  
Academic Outcomes ◽  
Control School ◽  
Educational Success ◽  
The Third ◽  
The Core ◽  
Identity Based ◽  
Own Name ◽  
Made In

In this chapter I describe the school-to-jobs intervention, a brief inter¬vention that translates the components of identity-based motivation (IBM) into a testable, usable, feasible, and scalable intervention for use in schools and other settings to improve academic outcomes. To develop the intervention, I took the core IBM principles and translated them into a framework and set of activities that have coherence and meaning. These core principles, as detailed in Chapter 1, are that identities, strategies, and interpretations of difficulty matter when they come to mind and seem relevant to the situation at hand. Because thinking is for doing, context matters, and identities, strategies, and interpretations of difficulty can be dynamically constructed given situational constraints and affordances. Therefore the framework and set of activities I developed were sensitive to the context in which education and educational success or failure occurs, the processes by which children succeed or fail to attain their school-success goals, and the action children need to take if they are to succeed. The intervention was fully tested twice (Oyserman, Bybee, & Terry, 2006; Oyserman, Terry, & Bybee, 2002), using random assignment to control (school as usual) and intervention conditions so that it would be possible to know whether the effects were due to the intervention and not to other differences in the children themselves. Importantly, the tested intervention was manualized and fidelity to both manual and underlying theorized process was also tested. In these ways, the intervention stands as a model for development. STJ is currently being used in England and in Singapore. Each country gives the intervention its own name to fit the context. This chapter is divided into three parts. In the first part, I outline the choices I made in developing the intervention. In the second part, I outline the sequenced activities that constitute the intervention (they are detailed in the manual that forms Chapter 4). In the third part, I describe the evidence that the intervention succeeded in changing academic outcomes and that changes occurred through the process predicted by IBM.

scholarly journals Conceptual Complexity and the Evolution of the Lexicon

2017 ◽  
Author(s):  
Molly Lewis
Keyword(s):  
Language Use ◽  
Language Evolution ◽  
Cognitive Systems ◽  
Natural Languages ◽  
Language Structure ◽  
Corpus Studies ◽  
Parsimonious Explanation

Natural languages are filled with regularities. Where do these regularities come from? A parsimonious explanation is that these regularities emerge as a consequence of pressures within the broader context in which language is used: Communication among many cognitive systems. In this dissertation, I consider one particular regularity as a case study in how the dynamics of language use might shape language structure. Specifically, I focus on a bias in natural language to map long words on to conceptually complex meanings and short words on to conceptually simple meanings, or a complexity bias. Across a series of experimental and corpus studies, I explore whether languages and their speakers have a complexity bias, what conceptual complexity is, and what pressures might have lead to this bias over the course of language evolution. In the final chapter, I consider a broader range of linguistic phenomena and examine how aspects of language use might influence these structures.

scholarly journals Double-Voiced Discourse in Susan Glaspell's "Trifles"

2020 ◽  
Vol 10 (2) ◽  
pp. 234
Author(s):  
Yulistiyanti Yulistiyanti ◽  
Agnes Widyaningrum ◽  
Endang Yuliani Rahayu
Keyword(s):  
Sexual Politics ◽  
Male Character ◽  
Female Characters ◽  
Personal Power ◽  
Male And Female ◽  
Feminist Thought

This research reveals double-voiced discourse in dialogues of Susan Glaspell’s Trifles. This research is categorized as a qualilative study. The data was taken from Glaspell’s Trifles text and indentified by applying Bakhtin’s double-voiced discourse (1981) and Baxter’s double-voiced discource functions (2014). It also applied Kate Millet’s Sexual Politics (2000) and Putnam Tong’s Feminist Thought (2009) to interpret the ideologies found in the text. There are thirteen double-voiced discourses found in Trifles. They represent two opposite ideologies; patriarchy and feminism delivered by the male and female characters. The discourses show personal power, debate ideas, and building solidarity. The male character uses the discourse to display personal power. Meanwhile, the female characters use the discourses to debate ideas and build their solidarity as women.

‘Make My Image but an Alehouse Sign’

2013 ◽  
Author(s):  
Alison Findlay
Keyword(s):  
Corpus Linguistics ◽  
Female Voice ◽  
Female Characters ◽  
Richard Iii ◽  
Henry V ◽  
Poetic Discourse ◽  
Henry Vi ◽  
Lady Macbeth

Queen Margaret’s words ‘Make my image but an alehouse sign’ in 2 Henry VI (III. ii. 81) offer an appropriate metaphor for the female voice in Shakespeare’s texts because they advertise the ways female characters strive to speak out within a discursive environment that silences them as images. The chapter explores how women in Shakespeare’s plays negotiate a space to speak within a poetic discourse that repeatedly objectifies them as signs, focusing on Catherine’s role in Henry V and the blason, and the Jailer’s Daughter’s self-inscription into a ballad tradition in Two Noble Kinsmen. A second section uses the analytic tools provided by corpus-linguistics to explore the poetic voices of tragic female characters: Lady Macbeth, Cleopatra, and the women of Richard III. The essay concludes by tracing the growth of an independent, poetic female voice in the role of Queen Margaret who offers an ironic commentary on Shakespeare's growing sense of his own identity as national bard.

Pearl S. Buck: The Final Chapter (review)

1989 ◽  
Vol 35 (4) ◽  
pp. 756-757
Author(s):  
Dennis W. Petrie

Amplifications of Subjectivity: Aleksandr Zel’dovich’s The Target (2010)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
The Self ◽  
Subject Formation ◽  
The Sublime ◽  
Self Recognition ◽  
Key Points ◽  
The Subject ◽  
The Moment ◽  
Fallen World

In the final chapter, I am concerned with the confirmation of the subject as a transcendent category in the moment of self-recognition whereby the finite identity is rejected in favour of the infinite Self. Zel’dovich’s The Target employs the sublime as a drama of subject-formation—both as a story of emergence and obliteration—whereby the limits of the self are conceived as a movement away from the self into the topography of solitary subjectivity confronted with open-ended being. The subject becomes an excess of discourse itself, that is, it centres on self-preservation which ensures infinity in stasis. The subject enters the divine state of amnesia after cataclysmic disruptions: the subject is no longer a tyrannous architect of the fallen world but a pre-eminent observer of the unfolding universe. I am particularly interested in the cinematic materiality of the sublime and the immateriality of subjectivity existing outside the temporal framework of history. I centre on issues of scale and amplification as matters of cultural vibration in a post-apocalyptic world. I conclude by demonstrating how Zel’dovich’s The Target with focuses on transient spaces and the epiphany of the universal monad. Thus, this chapter summates the key points presented in the book.

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