‘Flat pieces of cardboard stamped with a conventional design’

2020 ◽  
pp. 101-126
Author(s):  
Anna Watson
Keyword(s):  
Female Characters ◽  
Social Construct ◽  
Conventional Design

Women are both central and marginalized in Maurice. Symbolically, they are central to the ideals of respectable heterosexual life that Maurice struggles against as he grows up, but their experience is frequently pushed to the margins of the narrative. Certainly, the novel’s female characters seem at first glance to be drawn from stereotypes; on the edge of the narrative, we notice mothers, sisters and their friends. Women symbolize, for Maurice and Clive, the banality of the conventional, heterosexual masculinity that they would like to reject yet cannot help being drawn to. Nevertheless, Forster implies that Maurice and Clive do not see the female characters ‘for what they really [are]’, but instead misinterpret them due to prejudices that are just as limited as those that they are rejecting. This chapter suggests that Forster’s characterization of women in Maurice encourages the reader to imagine depths of experience, suffering and frustration that exist at the margins of the novel’s narrative. In a novel that so boldly portrays the marginalized subject of homosexual masculinity, Forster more subtly enacts the oppression and marginalization that women face within a social construct of gender and family that purports to put them at the centre.

scholarly journals Elia Saneleuterio. La agencia femenina en la literatura ibérica y latinoamericana. Iberoamericana-Vervuert, 2020

2021 ◽  
pp. 879
Author(s):  
Rocío López-García-Torres
Keyword(s):  
Latin American ◽  
Female Characters ◽  
Literary Works ◽  
Teresa De Cartagena ◽  
Sor Juana

<p><strong>La agencia femenina en la literatura ibérica y latinoamericana</strong></p><p>Autora: Elia Saneleuterio (ed.)</p><p>Editorial: Iberoamericana-Vervuert, 2020, ISBN: 978-84-9192-187-5, 346 pp.</p><p><strong>Resumen</strong></p><p><em>La agencia femenina en la literatura ibérica y latinoamericana</em> responde al interés científico y educativo de los estudios sobre obras literarias escritas o protagonizadas por mujeres en el ámbito español e hispanoamericano. El libro consta de veinte capítulos que abordan la caracterización de diversos caracteres femeninos en la literatura, su capacidad de elección y sus maneras de resistir en circunstancias adversas. Se seleccionan obras de todos los géneros sin excluir autoría masculina. Algunos de los autores y autoras analizados son Teresa de Cartagena, sor Juana, Pérez Galdós, Unamuno, De la Parra, Medina Onrubia, Laforet, Vitale, Martín Gaite, Matute, Aldecoa, Ferré, Allende, Porzecansky, Sierra i Fabra, Montes, Puértolas, Esquivel, Montero, Moscona, Carranza, Vallvey, Bollaín, Susana Vallejo, Baquero Cruz y Laura Gallego. </p><p><strong>Abstract</strong></p><p><em>La agencia femenina en la literatura ibérica y latinoamericana</em> responds to the scientific and educational interest of studies on literary works written or carried out by women in the Spanish and Latin American sphere. The book consists of twenty chapters that address the characterization of various female characters in literature, their capacity for choice and their ways of resisting in adverse circumstances. Works of all genres are selected without excluding male authorship. Some of the authors analyzed in the volume are Teresa de Cartagena, Sor Juana, Pérez Galdós, Unamuno, De la Parra, Medina Onrubia, Laforet, Vitale, Martín Gaite, Matute, Aldecoa, Ferré, Allende, Porzecansky, Sierra i Fabra, Montes, Puértolas, Esquivel, Montero, Moscona, Carranza, Vallvey, Bollaín, Susana Vallejo, Baquero Cruz and Laura Gallego. </p>

scholarly journals "Who is Severe Upon the Ladies Now?": The Tri-Tiered Construction of Female Agency in Frances Burney's 'Evelina'

2020 ◽  
Vol 6 (3) ◽  
Author(s):  
Sophia Eve Rink
Keyword(s):  
Social Interactions ◽  
Upper Class ◽  
The Novel ◽  
Female Characters ◽  
Social Situations ◽  
Female Agency ◽  
Women's Agency ◽  
Class Mobility ◽  
Women’S Agency

Frances Burney’s novel Evelina follows a young woman through a series of mortifying social interactions, all of which point to a layered concept of women’s agency and the popular perceptions of autonomy during the eighteenth century. Women’s agency in Evelina can be classified as physical agency, emotional agency, or elite agency. Each form of agency is then characterized by the female characters of the lower, middle, or upper classes within the novel. Burney’s uncouth characterization of the lower classes corresponds with physical agency, or the physical ability to create agency outside of social expectations, while elite agency allows upper-class and aristocratic women to act as they wish without public censure. Middle-class Evelina’s emotional agency, accessible to readers through the epistolary format of the novel, relies on her understanding of propriety, sensibilities, and interpersonal connections as a means of navigating social situations and class mobility. Burney’s tiered construction of women’s agency reinforces the importance of sensibility and emotional honesty across highly gendered class lines.    

scholarly journals Taxonomía de las series de televisión españolas en la era digital (2000-2020)

2021 ◽  
Author(s):  
Javier Mateos-Pérez ◽  
Rebeca Sirera-Blanco
Keyword(s):  
Economic Crisis ◽  
Video On Demand ◽  
Complete Characterization ◽  
Channel Number ◽  
Digital Television ◽  
Female Characters ◽  
Television Series ◽  
On Demand ◽  
Digital Era

This article analyzes all fiction series and miniseries produced and broadcasted in Spain on linear and digital television channels as well as video-on-demand platforms in the period 2000–2020. The aim is to collect, quantify, classify, and characterize Spanish-produced television series. A methodology with a mixed, quantitative–qualitative design is proposed to quantify, classify, and categorize the 545 identified fictional works. The resulting database includes fields for the year of first broadcast, format, genre, platform, channel, number of episodes and seasons, duration, and rating. This taxonomy is the first to present a complete characterization of all fictional series produced and broadcasted in Spain during the digital era. Based on the results, three periods can be distinguished: the development of the series, the economic crisis of 2008, and the arrival of video-on-demand platforms in Spain. It is concluded that comedies have been overwhelmed by other major genres, such as dramas or police series. Television series are adapting to the new society that consumes them, portraying its social debates, fears, and aspirations through new themes while also reducing their length, mixing some genres with others, and with an increasing presence and prominence of female characters to the detriment of men. Resumen Se recopilan, cuantifican, clasifican y caracterizan las 545 series y miniseries de ficción de producción española, emitidas por los canales de televisión lineal, digital y las plataformas de vídeo bajo demanda, en el período 2000-2020. Se propone una metodología con un diseño mixto: cuantitativa y cualitativa. Se ha creado una base de datos que incluye los campos: año de estreno, formato, género, plataforma, canal, número de episodios y temporadas, duración y valoración. De esta manera se propone, por vez primera, una taxonomía que considera la caracterización completa del total de las ficciones seriadas españolas emitidas en España durante la era digital. Los resultados distinguen tres periodos por: el desarrollo de la ficción televisiva, la crisis económica de 2008, y la llegada de las plataformas de vídeo bajo demanda al país. Se concluye que las comedias han sido desbordadas por otros géneros mayoritarios, como los dramáticos o los policiales. La ficción de televisión se adapta a la nueva sociedad que las consume, retratando a través de temáticas novedosas sus debates sociales, sus miedos y sus aspiraciones. Se ha reducido su duración, mezclando unos géneros con otros y concediendo cada vez más presencia y protagonismo a personajes de mujeres en detrimento de los hombres.

scholarly journals A influência de Shakespeare em Grande sertão: veredas – as Três Mulheres e os Três Metais / Shakespeare’s Influence in Grande sertão: veredas – The Three Women and the Three Metals

2021 ◽  
Vol 30 (2) ◽  
pp. 100
Author(s):  
Daniel Cavalcanti Atroch
Keyword(s):  
William Shakespeare ◽  
Precious Metals ◽  
King Lear ◽  
The Novel ◽  
Female Characters ◽  
Gold Silver ◽  
True Love ◽  
Joao Guimaraes Rosa ◽  
The Right

Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.

Frozen in the Glassy, Bluestreaked Air

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
Twentieth Century ◽  
Central Character ◽  
Male Gaze ◽  
Female Characters ◽  
Modern City ◽  
Early Twentieth Century ◽  
Female Bodies

This chapter interprets the serialized narration and characterization of John Dos Passos’s Manhattan Transfer (1925) in line with the figuring of female bodies through the photographic apparatus of advertisement and celebrity that was ancillary to popular Broadway entertainments in the early twentieth century. Unpacking the image of Ellen Thatcher, Dos Passos’s central character, as a photograph at the end of the multilinear novel, it accounts for Dos Passos’s critique of the patriarchal, white-centric specular economy of the modern city. The photographic freezing of the wealthy, white Ellen registers her imprisonment to the male gaze and her resistance to those who are ethnically and socially other to her. Yet by the additive construction of its female characters, Manhattan Transfer undercuts Ellen’s sense of her essentialized difference from the novel’s other women.

scholarly journals Unveiling Women Marginalization in Our Lady of Alice Bhatti by Mohammed Hanif

2021 ◽  
Vol VI (I) ◽  
pp. 84-89
Author(s):  
Saira Siraj ◽  
Muhammad Tahir Anjum ◽  
Abdus Samad
Keyword(s):  
Textual Analysis ◽  
The Novel ◽  
Female Characters ◽  
The West ◽  
Class Differences ◽  
The Status ◽  
Theoretical Foundations ◽  
Status Of Women ◽  
Better Than

The present study pursues the primaeval customs of patriarchy and its tormenting effects happening in the lives of women in Pakistan. The purpose of this research is to explore how patriarchal traditions, class differences, and their triple marginalization in the novel played chaos in the lives of females. Though the existing status of women is traditionally much better than that of women in the West but still they are not empowered and are deprived of basic rights. GC Spivak provides the theoretical foundations for this research through her theory, can the subaltern speak (1988). This research is based on qualitative textual analysis. The present study explores the status of women in Pakistan through the characterization of various female characters in the novel. This study concludes that they are portrayed as compliant and deserted beings deprived of every kind of individualism.

scholarly journals GENDER ROLES OF MAIN CHARACTERS IN DANIELLE STEEL’S “FRIENDS FOREVER”

2020 ◽  
Vol 2 (15) ◽  
pp. 30-36
Author(s):  
Galyna Tsapro ◽  
Olha Chorna
Keyword(s):  
Gender Roles ◽  
Working Women ◽  
Communication Styles ◽  
Female Characters ◽  
Social Image ◽  
Gender Expectations ◽  
Best Friends ◽  
Traditional Gender Roles ◽  
Staying At Home

The research is devoted to the study of protagonists’ gender roles created by Danielle Steel in her book about five best friends. The corpus and discourse analyses have been applied to examine verbal characterization of main characters. Appearance, traits of character, relationships with others, moral values as well as communication styles have been studied. Gender roles have been perceived mostly as prescribed stereotypical norms of social behavior. Gender roles presented in literary works reflect social male and female portrayals but concurrently main characters’ gender portraits shape readers’ images and concepts about gender. Danielle Steel assigns traditional gender roles to her characters sketching their vivid images from childhood till later years. The female characters Izzie and Gabby correspond to traditional gender expectations about girls but still Gabby turns out to have bossy nature that is reflected in her behavior and speech. Three male protagonists, Andy, Billy and Sean, in general possessing quite traditional gender roles, are depicted as completely different personalities with some deviation from gender expectations about men. The main characters’ fathers in general represent an established social image of successful professionals, family providers, most of them being loving and supporting fathers, while the protagonists’ mothers form two contrastive groups of staying at home and working women. The portraits of two working mothers differ greatly, depicting the woman devoting all her time to work and ignoring her daughter’s needs and the other despite being busy at work still being able to take care of her son. Other three women are ideal pictures of affectionate mothers and wives.

“All That Glitters …”: Problematizing Golden-Age Narratives in Vergil’s Aeneid and the Western Film Genre

2018 ◽  
pp. 157-174
Author(s):  
Kirsten Day
Keyword(s):  
World War Ii ◽  
Civil Wars ◽  
Golden Age ◽  
Latin Literature ◽  
Female Characters ◽  
World War ◽  
Film Genre ◽  
Trojan War ◽  
Western Film

In the first of two chapters that treat promises of an imperial golden age in Aeneid Book 6 in relation to American expansionism as portrayed in the Western film genre, Kirsten Day compares the production contexts of Vergil’s epic, during the “golden age of Latin literature” in the wake of epochal civil wars, to the Westerns produced after World War II during the “golden age” of Hollywood. So too the dramatic settings of the Aeneid, after the Trojan War, and of Westerns, after the American Civil War, enshrine these trailblazing pioneers in the pantheon of founding heroes whose struggles (re)built the nation of the narrative’s audience. Through a wide-ranging survey of many of the genre’s most famous films, such as Red River and The Man Who Shot Liberty Valance, Day examines several key themes, including nation-building as divinely driven labor; the laconic characterization of the Western male hero and his troubling resemblance to the villain; and the sacrificial role assigned to female characters. Day concludes that these ancient and modern texts also share an undercurrent of anxiety about the moral ambiguities of these projects, which belies their superficial optimism.

scholarly journals Evaluative Adjectives in the Portrayal of Victorian Women

Linguaculture ◽  
2018 ◽  
Vol 9 (1) ◽  
pp. 85-97
Author(s):  
Lyudmyla Gryzhak
Keyword(s):  
Negative Attitude ◽  
Female Characters ◽  
Wuthering Heights ◽  
Vanity Fair ◽  
Bleak House ◽  
Victorian Women ◽  
Time Period ◽  
Personal Qualities ◽  
The 19Th Century

The focus of this paper is the analysis of evaluative adjectives used in the description of physical appearance, clothing, personal qualities, intelligence and manners of female characters in the English prose fiction of the 19th century. Four novels written by the Victorian writers, approximately in the same time period, served as the source material for the research, namely E. Bronte’s “Wuthering Heights” (1847), W. M. Thackeray’s “Vanity Fair” (1847), E. Gaskell’s “Cranford” (1851), and C. Dicken’s “Bleak House” (1852). Evaluative adjectives are regarded in this paper as the ones that carry in their use an implication of a positive or negative attitude or evaluation on the part of the writer (beautiful, awful, etc.). They give an emotive or subjective characterization of the qualities of the referent, revealing the writer’s or speaker’s peculiar attitude towards the object described. The present paper has two aims. The first is to study what evaluative adjectives were mostly employed by the authors in the portrayals of women in each of the mentioned novels and whether the authors prefer positive or negative characterisation of female characters. The second one is to examine if there are any gender specific peculiarities in the use of evaluative adjectives in the portrayal of women in the novels.

PENDIDIKAN KARAKTER KEMANDIRIAN BAGI PEREMPUAN DALAM NOVEL LOVE SPARKS IN KOREA KARYA ASMA NADIA (Pendekatan Analisis Gender)

2017 ◽  
Vol 6 (2) ◽  
pp. 253-272
Author(s):  
Helda Lendari
Keyword(s):  
Character Education ◽  
Everyday Life ◽  
Cultural Values ◽  
Religious Education ◽  
The Novel ◽  
Female Characters ◽  
Education Material ◽  
Library Research ◽  
The Social

Women have similarities between humans in the main teachings of Islam. However, in today’s society women are still regarded as weak creatures compared to men, women have only a role as a wife and mother. Women can not develop their potential because of the phenomenon of gender inequality that occurs in society. Love’s novel Love Sparks in Korea by Asma Nadia has an idea or idea that conveys women’s struggles in facing the problem of Gender, leading to the characterization of female heritage. With their weaknesses, the character of independence has been embedded in them so that they are able to deal with the phenomenon of gender justice that occurs in the community in various areas of life, such as social, economic, educational, cultural and religious fields.Using the method of gender analysis, ie the differences between men and women in roles, functions, rights, responsibilities, and behaviors that are shaped by the social, cultural and cultural values of the research community groups that will be undertaken in the novel Love Sparks in Korea by Asma Nadia, aims to find some quotes that show the character of independence education for women. This research is research library or library research that is qualitative. The intended literature research is to make library materials in the form of books, scientific magazines, documents and other materials that can be used as a source of reference in research. This study also uses a literary approach to gender literature using feminist literary criticism.The results of this study indicate that the independence character education for women in Love’s novel Love Sparks in Korea by Asma Nadia is found in several female characters in the novel which is able to have the character of politics independence independence, education independence, cultural independence and religious independence. The education of women’s independence character in the female characters of Love Sparks in Korea novel by Asma Nadia has relevance to Islamic Religious Education material in SMA / SMK / MA 2013 curriculum in everyday life. The value of Islamic Education should be applied in everyday life, especially Faith and Taqwa of Muslim women today, because a Muslim woman is required to be a smart, independent, creative woman and always keep her faith and devotion to face modern life.

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