On Witches and Chic Evil

2021 ◽  
pp. 76-87
Author(s):  
Octav Sorin Candel
Keyword(s):  
Gender Roles ◽  
The Other ◽  
American Film ◽  
Main Character

The Love Witch is a 2016 American film directed by Anna Biller. It tells the story of Elaine, a witch whose lovers happen to die one after the other. The film presents itself as a feminist view on gender roles and the dichotomy of femininity/masculinity. In this chapter, the author discusses the idea of evil and how it is portrayed in the film. Sociological and psychological perspectives are presented. The analysis shows that the main character can be viewed as a societal deviant or as a person struggling with a traumatic past, thus explaining her behavior that can be attributed to evil. Nevertheless, the film presents a novel view on feminine evil, showing that it is different, and it should not be compared with the masculine one.

Designs for Living: Female Designers, the Designing Female, Modernism and the Middlebrow

2011 ◽  
Vol 6 (1) ◽  
pp. 155-177
Author(s):  
Chiara Briganti ◽  
Kathy Mezei
Keyword(s):  
Gender Roles ◽  
Interwar Period ◽  
The Other ◽  
Urban Modernity ◽  
Other Hand ◽  
Sexual Ambiguity

During the interwar period, the artistic endeavour of the female interior decorator was dismissed as old-fashioned, nostalgic, and, tainted by its association with commerce; it was excluded from the rarefied circle of the higher arts of painting and sculpture and architecture; in the novels and plays of middlebrow authors of the same period, on the other hand, the female interior decorator, mocked for her edgy modernity, became a disturbing icon of urban modernity and a controversial advocate for new designs in living. This essay proposes to demonstrate how the representation in fiction and drama of the interwar period of the female interior decorator, a magnet for anxieties about changing gender roles, class distinctions, sexuality and sexual ambiguity and the ‘sanctity’ of the home, complicates the complexity and mutability of the middlebrow and its fraught relationship with modernism.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

Kecakapan Hidup Abad Ke-21 dalam Tokoh Utama Dongeng Jawa Timur Kajian Antropologi Sastra

2020 ◽  
Vol 13 (2) ◽  
pp. 168
Author(s):  
Rian Damariswara
Keyword(s):  
Critical Thinking ◽  
21St Century ◽  
Fairy Tales ◽  
Life Skills ◽  
Fairy Tale ◽  
Good Life ◽  
The Other ◽  
Main Character ◽  
Data Source ◽  
Creativity And Innovation

ABSTRAKTokoh utama dalam dongeng Jawa Timur memiliki sisi lain yang perlu diungkap. Sisi lain tersebut, yakni kecakapan hidup yang dimiliki tokoh utama dalam menyelesaikan masalah yang dihadapinya. Kecakapan hidup tersebut, memiliki relevansi dengan kecakapan hidup di abad ke-21. Jadi, dengan menganalisis kecakapan hidup tokoh utama secara otomatis peneliti dan pembaca dapat mengetahui bahwa tokoh-tokoh dongeng yang terdapat di Jawa Timur memiliki budaya hidup yang baik untuk dijadikan contoh dan motivasi.Untuk mengungkap kecakapan hidup abad ke-21 pada tokoh utama dongeng Jawa Timur menggunakan kajian antropologi sastra.Penelitian ini termasuk deskriptif kualitatif. Sumber data adalah teks dongeng Jawa Timur. Teknik yang digunakan adalah studi dokumenter. Kecakapan hidup abad ke-21 yang ditemukan pada dongeng Jawa Timur sebagai berikut. Pertama, berpikir kritis dan pemecahan masalah. Semua tokoh utama dalam dongeng memiliki pemikiran kritis sehingga dapat memecahkan masalah. Kedua, kreativitas dan inovasi yang ditemukan yakni jenis pengembangan dan sintesis. Inovasi pengembangan yang ditemukan adalah adanya alat bajak sawah dari batu menjadi kayu dan ditarik sapi serta dapat dipergunakan sebagai sarana hiburan. Alat tersebut diberi nama karapan sapi.  Inovasi sintesis adalah menggabungkan segala sesuatu yang dimiliki untuk dijadikan sesuatu yang baru. Seperti pada dongeng Asal Mula Reog Ponorogo,yakni menggabungkan kepala tokoh Singabarong dengan burung merak sehingga dinamakan reog ponorogo. Ketiga, kolaborasi antaranggota dan pemimpin dengan bawahan. Keempat, komunikasi yakni berupa diskusi, pengarahan, berkeluh kesah, dan perintah.Kata kunci: Kecakapan hidup abad ke-21, Tokoh utama, DongengABSTRACTThe main character in the East Java fable has another side that needs to be revealed. The other side, namely the life skills possessed by the main character in solving the problems they face. Life skills, have relevance to 21st century life skills. Therefore, by analyzing the life skills of the main characters automatically the researcher and reader can find out that the fairy tale figures in East Java which have a good life culture to be used as an example and motivation. To uncover 21st century life skills in the main characters of the East Javanese fable, the study of literary anthropology is used. This research is descriptive qualitative. The data source is the text of a fairy tale in East Java. The technique used is documentary study. The 21st century life skills found in the East Java fable are as follows. First, critical thinking and problem solving. All the main characters in fairy tales have critical thinking so they can solve problems. Second, the creativity and innovation found are types of development and synthesis. Development innovation that was found was the existence of a rice plow from stone to wood and pulled by cows and could be used as a means of entertainment. The tool is named Karapan Sapi. Synthesis of innovation is to combine everything that is owned to be something new. As in the fable of Reog Ponorogo, which combines the head of the Singabarong character with a peacock so it is called Reog Ponorogo. Third, collaboration between members and leaders with subordinates. Fourth, communication in the form of discussion, direction, complaints, and orders.Keyword: 21st century life skills, The main character, Fairy tale

scholarly journals ANALISIS GENERASI X DALAM FILM TURAH

2018 ◽  
Vol 10 (1) ◽  
pp. 1
Author(s):  
Muhammad Yunus Patawari
Keyword(s):  
Generation X ◽  
The Other ◽  
Young Generation ◽  
Main Character ◽  
Modern Life ◽  
Generation Z ◽  
Research Material ◽  
Generation Theory ◽  
The Media ◽  
Changing Times

<p>The film is one of the media that can describe a generation of speech in an era. The stuttering of the older generation is often described as conservative-minded actors facing the changing times. On the other hand, the uncertainty of the young generation facing their own times is loaded with inherited values which are always in conflict with the principles of modern life. This paper tries to analyze how these generations are presented into the film. Taking the film Turah as a research material, the author wants to analyze further how the character of the figures in this film represents his generation. The author uses two sets of analysis, that is generation theory David and Jonah Stillman to identify generations and their characteristics. Secondly, the analysis of Christian Metz's shot to examine the relations of generation in the film Turah. Turah is the main character in the film representing the generation of X (middle aged). Generation X has a role as a bridge between the generations above it and the generation below it (millennial). The generation X's ability to absorb its predecessor values to be inherited to the millennials generations will shape the character of the generation Z, the farthest generation of its predecessors.</p><p><br /><strong>Keywords : Film, Turah, Generation X, and Millennial.</strong></p>

scholarly journals Образ материнской любви в фильме Трясина Григория Чухрая*

2018 ◽  
Vol 166 ◽  
pp. 99-107
Author(s):  
Shino Maeda
Keyword(s):  
National Identity ◽  
Gender Roles ◽  
Reproductive Function ◽  
The Other ◽  
The Public ◽  
Other Hand ◽  
Female Image ◽  
Great Patriotic War ◽  
Soviet Russia ◽  
The Military

Image of maternal love in Grigory Chukhray’s The QuagmireMemories of the Great Patriotic War contributed to the making of a national identity in Soviet Russia, and clear gender roles are evident in Soviet propaganda war art. The image of male soldiers demonstrates the obligation to defend the fatherland against the outside enemy. On the other hand, there are images of a mother cheering for her son or a mother lamenting over a fallen soldier. It is clear that the female image belongs to the reproductive function of motherhood. The establishment presents an ideal and urges the public to internalize it by themselves. Grigory Chukhray’s film The Quagmire’s 1977 mother, however, hides her young son, who was conscripted to the front. The  film casts doubt on the Soviet war myth and asks “Why do mothers have to be reconciled to lose their sons in order to defend the fatherland?” That’s why the military purged the film from the screen. Obraz miłości macierzyńskiej w filmie Grigorija Czuchraja TrzęsawiskoWspomnienia i obrazy Wielkiej Wojny Ojczyźnianej odegrały ważną rolę w kształtowaniu tożsamości obywateli Rosji Radzieckiej. W sowieckiej propagandzie wojennej wyraźnie widać hierarchię genderową. Wizerunek żołnierza mężczyzny odnosi się do obowiązku obrony ojczyzny przed zewnętrznym wrogiem. Natomiast wizerunek matki wiwatującej na cześć zwycięstwa syna lub rodzicielki lamentującej nad poległym żołnierzem kojarzony jest z macierzyństwem. Film Grigorija Czuchraja Trzęsawisko Трясина opowiada historię matki ukrywającej powołanego do wojska i wezwanego na front syna. Film, który wkrótce po premierze wycofano z  dystrybucji, stawia pytania dotyczące funkcjonowania radzieckich mitów wojennych oraz sytuacji kobiet, które nie chcą się pogodzić ze śmiercią swych synów broniących ojczyzny.

scholarly journals The Rainbow Land: Exploring How Children Accept Diversity

K ta Kita ◽  
2018 ◽  
Vol 6 (2) ◽  
pp. 165-172
Author(s):  
Jossy Vania Christiani
Keyword(s):  
Point Of View ◽  
The Other ◽  
Creative Work ◽  
Main Character ◽  
Only Children

For years, cases related to intolerence of races, religions, and ethnicities have been used for political weapons in Indonesia. This cases has affected children's point of view and behaviour on diversity around them. In order to help not only children, but also parents and educators to be aware of it, I created a 70 minute play for children that discusses how children tolerate differences. I use Indonesia's folktales characters as my characters, and also use Indonesia as the setting. The first main character of the story, Nawang Wulan, struggles on how she tries to be accepted by her new friends who are different from her. While the other main character, Bawang Merah, insisting on excludes Nawang Wulan from her groups because she feels insecure of Nawang Wulan's differences. At the end of the story, Nawang Wulan finally learns that she has to accept her friends' differences first to be accepted. While Bawang Merah finally learns that even though Nawang Wulan is different, her differences are not a threat for her. I use theory of Diversity and Differences in childhood stageand also the theory of inferiority to justify my characters' behavior towards the conflicts. Through this creative work, I want to raise an awareness that diversity is inevitable, even around children. Therefore, it is better for them to learn how to tolerate it so they can accept it rather than misused it. 

Sex Differences in Conformity: Status and Gender Role Interpretations

1986 ◽  
Vol 10 (3) ◽  
pp. 203-220 ◽  
Author(s):  
Alice H. Eagly ◽  
Carole Chrvala
Keyword(s):  
Sex Differences ◽  
Gender Roles ◽  
Gender Role ◽  
The Other ◽  
Group Pressure ◽  
Status Characteristics ◽  
Group Members ◽  
Older Subjects ◽  
And Gender ◽  
Older Males

The experiment examines status and gender role explanations of the tendency for women to conform more than men in group pressure settings. Subjects believed they were assigned to groups containing two males and two females in addition to themselves and received these other group members' opinions, which were represented as deviating from the opinions that subjects had given earlier. Subjects then gave their opinions with the other group members either having or not having surveillance over these opinions. In addition, subjects were required to form impressions of each other's likability or expertise. The findings indicate that subjects' sex and age affected the extent of their conformity. Among older (19 years and older) subjects, females conformed more with surveillance than without it, whereas surveillance did not affect males' conformity. Among younger (under 19 years) subjects, surveillance had no effects. Analysis of sex differences revealed that older females were significantly more conforming than older males when under surveillance as well as when subjects formed impressions of one another's likability. Among younger subjects, there were no sex differences. These findings are discussed in terms of the theories that (a) both sex and age function as status characteristics and (b) gender roles determine conformity.

Compositional premises in approaching Suor Angelica role in the homonymous work of Puccini

2021 ◽  
Vol 14 (63) (1) ◽  
pp. 31-40
Author(s):  
Paula DUCA ◽  
◽  
Roxana PEPELEA ◽  
Keyword(s):  
The Other ◽  
Main Character ◽  
Complex Type ◽  
Dual Approach

This article proposes to summarise some of the defining compositional and interpretive elements on which approaching Suor Angelica role from the lyrical artist perspective is based. Suor Angelica role is a vocal challenge of a complex type, with an extreme difficulty that is often underestimated, requiring a diversity of interpretive resources at the same time. Through this article, we aim to discover the elements on which the interpretation via compositional conception is based, on the level of the musical – vocal and orchestral – discourse of the text and the libretto. The building of the main features of Suor Angelica character is pursued via a dual approach. The article correlates the assessment of the solo parts – like ‘Senza mamma, o bimbo, tu sei morto’ – by following the music and scenic interaction of the main character with the other characters in the homonymous opera.

Deconstructing the Other’s Other: Analyzing the Chinese Female Image in the Film Saving Face

Film Matters ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 93-100
Author(s):  
Chuyi Zhang
Keyword(s):  
Chinese Women ◽  
Postcolonial Studies ◽  
The Other ◽  
American Film ◽  
Female Characters ◽  
Global Order ◽  
The Past ◽  
Female Image ◽  
Saving Face ◽  
International Status

The image of Chinese women portrayed in American films is essentially the West’s imagination of China, conveyed by the female body and constructed in the Orientalist discourse. Over the past one hundred years, Chinese women have been primarily depicted as docile, weak, submissive, voiceless, and in need of being rescued and guided by Occidentals. With the evolution of the global order and the rise of China’s international status, the silent Orient has taken the initiative to resist and reshape this voiceless, “other-ed” image. This article aims to focus on the female characters in Saving Face, an American film directed by Chinese American director Alice Wu in 2004, and analyzes how the director reverses the stereotyped Chinese female image based on the theoretical framework of Orientalism and postcolonial studies, not only “the other” with regards to men, but also “the other” as to the Occident, thus dismantling long-held misreadings of China.

María de Zayas’s Good Friends

2020 ◽  
pp. 137-157
Author(s):  
Donald Gilbert-Santamaría
Keyword(s):  
Gender Roles ◽  
The Other ◽  
Don Juan ◽  
Female Friendship ◽  
Traditional Gender Roles

María de Zayas’s La traición en la amistad stands out for its representation of female friendship and for its development of a new archetype within the tradition of writing friendship: the figure of the “bad” friend. Through an innovative use of theatrical hybridity, María de Zayas contrasts the false hyperbole of Fenisa, the bad friend, with the quiet intimacy that grows up around her rivals, Laura and Marcia. Through an inversion of traditional gender roles, the figure of Fenisa emerges as a female heir to Tirso de Molina’s Don Juan who is finally condemned less for her irrepressible desire than for her failure as a friend. Her lack of solidarity with the other women in the play functions as a point of contrast to a clearly gendered representation of good female friendship that is closely associated with the rhetoric of verisimilitude and intimacy.

Sign in / Sign up

Export Citation Format

Share Document