“I am Even I”: Rossetti and Alcott Resisting Male Authority

2021 ◽  
pp. 28-56
Author(s):  
Azelina Flint
Keyword(s):  
Male Authority

Murder with Impunity: The Construction of Arab Masculinities and Honor Crimes

1970 ◽  
pp. 38-45
Author(s):  
May Abu Jaber
Keyword(s):  
Violence Against Women ◽  
Social Boundaries ◽  
Religious Institutions ◽  
The Social ◽  
The Family ◽  
The Media ◽  
The One ◽  
Male Authority ◽  
Cultural Networks ◽  
Gender Specific

Violence against women (VAW) continues to exist as a pervasive, structural,systematic, and institutionalized violation of women’s basic human rights (UNDivision of Advancement for Women, 2006). It cuts across the boundaries of age, race, class, education, and religion which affect women of all ages and all backgrounds in every corner of the world. Such violence is used to control and subjugate women by instilling a sense of insecurity that keeps them “bound to the home, economically exploited and socially suppressed” (Mathu, 2008, p. 65). It is estimated that one out of every five women worldwide will be abused during her lifetime with rates reaching up to 70 percent in some countries (WHO, 2005). Whether this abuse is perpetrated by the state and its agents, by family members, or even by strangers, VAW is closely related to the regulation of sexuality in a gender specific (patriarchal) manner. This regulation is, on the one hand, maintained through the implementation of strict cultural, communal, and religious norms, and on the other hand, through particular legal measures that sustain these norms. Therefore, religious institutions, the media, the family/tribe, cultural networks, and the legal system continually disciplinewomen’s sexuality and punish those women (and in some instances men) who have transgressed or allegedly contravened the social boundaries of ‘appropriateness’ as delineated by each society. Such women/men may include lesbians/gays, women who appear ‘too masculine’ or men who appear ‘too feminine,’ women who try to exercise their rights freely or men who do not assert their rights as ‘real men’ should, women/men who have been sexually assaulted or raped, and women/men who challenge male/older male authority.

Woman the Gatherer

2018 ◽  
pp. 133-142
Author(s):  
Erika Lorraine Milam
Keyword(s):  
Human Evolution ◽  
Animal Behavior ◽  
Field Research ◽  
Human Origins ◽  
Male Authority

This chapter considers the research of women anthropologists during this period. It shows how many anthropologists had fought to refute the picture of universal male authority implied by common narratives of human evolution were women, often at the very beginning of what turned out to be long, notable careers. Their research gave fuller form to a rhetorically powerful alternative to Man the Hunter in reconstructions of human origins—Woman the Gatherer. Like her partner, Woman the Gatherer found intellectual support in research on long-extinct human ancestors, studies of human cultures today, and animal behavior, with a new emphasis on field research among primates.

Was the Traditional East European Jewish Family in the Recent Past Patriarchal?

2010 ◽  
pp. 121-142
Author(s):  
Shaul Stampfer
Keyword(s):  
Eastern Europe ◽  
Jewish Family ◽  
East European ◽  
The Family ◽  
Male Head ◽  
Minor Children ◽  
European Jewish ◽  
Eighteenth And Nineteenth Centuries ◽  
Male Authority ◽  
Jewish Families

This chapter assesses whether the traditional Jewish family in eastern Europe in the eighteenth and nineteenth centuries was patriarchal. In traditional east European Jewish families, authority over children was not monopolized by fathers; mothers also had a great deal of authority over minor children. Fathers often spent more hours a day out of the house than did mothers, and often they had to work far from their homes. As such, mothers usually determined what went on at home, and even when this was in accordance with their husbands' wishes, it does not imply that it was under their husbands' authority. Perhaps the greatest potential for paternal authority can be found in the marital patterns of their children. Meanwhile, in the area of relations between the male head of the family and his wife in traditional east European Jewish families, male authority could not be taken for granted and male heads of families could not simply force wives to do their bidding. The chapter then defines patriarchy, arguing that the dynamics of the traditional Jewish families in eastern Europe complicate the utility of the term.

Visualising and Re-Membering Disability Body Politics in Filmic Representations of the ‘War on Terror’

2020 ◽  
pp. 131-180
Author(s):  
Stuart Murray
Keyword(s):  
War On Terror ◽  
Body Politics ◽  
Media Images ◽  
Disabled Veterans ◽  
Contemporary Life ◽  
War And Conflict ◽  
Points Of View ◽  
Male Authority ◽  
Made In ◽  
Sophisticated Technology

This chapter focuses specifically on film and visualising depictions of the connections between disability and posthumanism as they are manifest in a set of contemporary narratives about war and conflict. I use a broad conception of prosthetics to read these intersections, claiming that their articulations of embodiment are disability stories even as they appear to be narratives of hyperability, scientific strength and male authority. The chapter juxtaposes a series of Hollywood features exploring the wars in Iraq and Afghanistan with films made in Iraq and Iran that narrate the conflict from alternative points of view, ones that often lack the kinds of sophisticated technology that so marks American storytelling. In each, the power of the visual, of seeing disabled bodies, is paramount. Seeing the weaponized soldier, as well as the disabilities such technologies produce through the disasters they create, creates a powerful identification that reaches across many aspects of contemporary life, from media images of refugees to stories of disabled veterans. The chapter claims that fiction film, again often full of the messy contradictions that define the meeting of disability and posthumanism, offers opportunities to unpick the terms of this power and the reach of its meanings.

The Romance

2021 ◽  
pp. 63-92
Author(s):  
Nerina Rustomji
Keyword(s):  
Nineteenth Century ◽  
Jane Eyre ◽  
Jewish Women ◽  
Christian Women ◽  
Nineteenth Century Literature ◽  
Oriental Tale ◽  
Male Authority ◽  
Century Literature

This chapter demonstrates how nineteenth-century literature transcended religious frameworks and questioned the nature of male authority and feminine purity. Although the houri may have been based on assumptions about Islam, the term “houri” eventually was applied to Jewish and Christian women. The chapter surveys mentions of the houri in the form of the “Oriental tale” and argues that writers made use of the figure of the houri to present their own ideas of idealized Christian and Jewish women. Texts in the chapter include poems by Byron, Ivanhoe, Jane Eyre, Algerine Captive, Book of Khalid, engravings, and American monthly magazines for ladies.

Public Masculinities at the Feast

2020 ◽  
pp. 138-168
Author(s):  
Alyssa Maldonado-Estrada
Keyword(s):  
Gay Men ◽  
Life Stage ◽  
Ritual Spaces ◽  
Male Authority

This chapter takes readers on processions through Williamsburg, focusing on a trio of ritual spaces in feast geography: the Questua, the Line of the March, and the parish’s shrine. It explores the hierarchy of masculinities within this Catholic community and how those are performed in how men navigate neighborhood space. Manhood, masculinity, and male authority are contingent on props, stuff, clothing, and setting but are also institutionally granted and achieved in the eyes of other men. Men aspire to and achieve manhood through lifelong involvement with the feast. This chapter examines how life stage matters to ideals of manhood and masculinity and how fatherhood represents the promise of new generations dedicated to the feast and parish. It argues that heterosexuality is central to the community’s vision of a thriving feast and examines the marginalization and excision of gay men from that vision.

Theatre Audiences, Redux

2006 ◽  
Vol 47 (2) ◽  
pp. 225-230 ◽  
Author(s):  
Susan Bennett
Keyword(s):  
Working Class ◽  
Performance Studies ◽  
Literary Studies ◽  
Critical Position ◽  
Class A ◽  
Explicit Recognition ◽  
And Performance ◽  
Male Authority ◽  
Performance Frame ◽  
Death Of The Author

In retrospect, that Roland Barthes's insistence on “the death of the author” should have provoked an emergent interest in theatre audiences is hardly surprising. As, in literary studies, this brought about a new privilege for and investment in the reader, so too, in theatre and performance studies, there was an explicit recognition that what went on in the theatre was qualitatively and quantitatively more complicated and more exciting than the study of the playtext in the classroom. At the same time, the move to challenge a universalized (and thus male) viewing subject created new readings of the audience and new understandings of both individual and collective spectatorship across a range of subjectivities. So, Jill Dolan could argue that the “feminist spectator viewing such a representation is necessarily in the outsider's critical position.” Dolan continued:She cannot find a comfortable way into the representation, since she finds herself, as a woman (and even more so, as a member of the working class, a lesbian, or a woman of color), excluded from its address. She sees in the performance frame representatives of her gender class with whom she might identify—if women are represented at all—acting passively before the specter of male authority.1

scholarly journals Bad Witches: Gender and the Downfall of Elizabeth Holmes of Theranos and Disney’s Maleficent

2019 ◽  
Vol 8 (6) ◽  
pp. 175 ◽  
Author(s):  
Lauren Dundes ◽  
Madeline Streiff Buitelaar ◽  
Zachary Streiff
Keyword(s):  
Gender Bias ◽  
Sleeping Beauty ◽  
Male Dominance ◽  
Blood Testing ◽  
Male Power ◽  
Gender Hierarchy ◽  
Male Authority ◽  
The Way

Female villains, both fictional and real, are subject to unconscious gender bias when part of their iniquity involves the disruption of male authority. Disney’s most popular animated villain, Maleficent, from Sleeping Beauty (1959) and Elizabeth Holmes of the now-disgraced blood testing startup, Theranos, reveled in their power, deviating from idealized feminine propriety. An analysis of scenes featuring Maleficent, the “mistress of all evil”, and coverage of Elizabeth Holmes, once the first self-made female billionaire, illustrate how powerful women with hubris are censured beyond their misdeeds. Elizabeth Holmes’ adoption of a deep voice and other masculine characteristics parallels Maleficent’s demeanor and appearance that signal female usurpation of traditional male power. Both antagonists also engage in finger pricking that penetrates the skin and draws blood, acts associated with symbolic male potency. The purported ability to bewitch, in conjunction with the adoption of patterns associated with male dominance, suggest that Maleficent and Elizabeth Holmes wield power over men and wield the power of men. Discomfort with the way in which magical powers were allegedly employed by these women echo historical fears of witches accused of appropriating male power. Furthermore, powerful women who encroach on male authority but ultimately fail to upend the gender hierarchy trigger schadenfreude beyond that expected from their wrongdoings. In the end, the stories of Maleficent and Elizabeth Holmes celebrate the downfall of women who brazenly embrace power, without showing women how to challenge the gender hierarchy.

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