scholarly journals Normative Model Of New-Woman: A Discourse Of Ten Female Protagonists Of Urdu TV Drama Serials (2010-2019)

2020 ◽  
Vol 20 (2) ◽  
pp. 123-138
Author(s):  
Saleem Abbas ◽  
Firasat Jabeen ◽  
Muhammad Askari
Keyword(s):  
Content Analysis ◽  
Middle Class ◽  
New Woman ◽  
Qualitative Content Analysis ◽  
Female Characters ◽  
Female Representation ◽  
Normative Model ◽  
Female Protagonists ◽  
Predominant Form ◽  
Cultural Conservatism

This paper examines the normative model of ‘new woman’ (Dutoya 2018) in Pakistani dramas from the perspective of gender, class, and culture. TV drama is a predominant form of entertainment in Pakistani media. In early Urdu dramas, female characters are infrequently depicted in a progressive way but now, educated, independent, and urban middle-class women can generally be observed in lead and supporting roles. Along with a shift of female representation in Pakistani Urdu dramas, the study discusses the construction of a Pakistani normative model of ‘new womanhood.’ Through a qualitative content analysis of ten female protagonists from Pakistani Urdu TV dramas of last decade (2010 through 2019), I argue that Dutoya’s socially permissible model of ‘new woman’ can be noticed in the majority of contemporary Urdu dramas. In other words, female protagonists are portrayed with diverse attributes of modesty and modernity. I further argue that the idea of ‘new woman’ is not a new phenomenon for the Pakistani society. Unlike a colonial idea of ‘super wife’ and Victorian concept of ‘super woman,’ my assertion is that Pakistani version of ‘new woman’ is a response to western wave of feminism, religious orthodoxy at home, and cultural conservatism prevalent in Pakistan.

scholarly journals The targets and linguistic expression of mockery in contemporary jokes on gender

2011 ◽  
pp. 1-12
Author(s):  
Salomėja Bandoriūtė
Keyword(s):  
Content Analysis ◽  
Qualitative Content Analysis ◽  
Social Groups ◽  
Female Characters ◽  
Linguistic Expression ◽  
To Come ◽  
Linguistic Means

  The article concentrates on the targets and linguistic expression on mockery in contemporary jokes on gender. The jokes have been collected from the humour websites www.cha.lt, www.anekdotai.us, www.linksmas.net, www.anekdotai.biz, www.anekdotai.org, www.che.lt. The aim of the research is to find out what types of characters are usually chosen as targets of jokes and what linguistic means are employed to create the comic effect in them. In addition, the article deals with the conception of humour and joke as a genre and provides the key theories of humour research. The study has been carried out applying the method of qualitative content analysis. The results of the study suggest that the choice of the target of mockery in the jokes is often determined by the stereotypes that are common in society and by the tendency to express aggressive emotions in them. Usually the targets of mockery in the jokes are female characters, such as blondes, wives and mothers-in-law. There are approximately three times fewer jokes about men in comparison to women. The most common linguistic means employed to express mockery in the jokes are sarcasm, ambiguity, absurd and irony. It is common to come across cases of a few linguistic means in one joke as well. There has been a connection found between the employed linguistic means and the target of mockery as well as the society's view to it. The article could be valuable to linguists, folklorists, sociologists and psychologists who investigate the linguistic expression of humour, the effect of emotions on humour and the image of social groups in contemporary jokes.

scholarly journals THE POWER OF BU TEJO AND DIAN? THE ANALYSIS OF FEMINIST POWER RELATION IN THE FILM TILIK

2021 ◽  
Vol 12 (2) ◽  
pp. 132-159
Author(s):  
Sonny Angjaya
Keyword(s):  
Socioeconomic Status ◽  
Qualitative Content Analysis ◽  
Contextual Analysis ◽  
Short Film ◽  
Power Relationship ◽  
Female Characters ◽  
Female Representation ◽  
Four Dimensions ◽  
Male Characters ◽  
Patriarchal Society

Tilik is a short film directed by Wahyu Agung Prasetyo. Given that the film's plot is primarily focused on the relationships of its female characters, the problem of female representation cannot be ignored. This article focuses on the power dynamic between the film's two central female characters, Bu Tejo and Dian, through the lens of Amy Allen's feminist perspective on power. The analysis identifies four dimensions of representation that contribute significantly to the development of their power relationship: physical appearance, marital status, gender role depiction, and socioeconomic status. The underlying significance of the power relationship between Bu Tejo and Dian in the film is analyzed through qualitative Content Analysis and Contextual Analysis approaches. This study reveals that the film portrays both women ambiguously, how patriarchal society creates an ecosystem that pits women against one another for power, and how the minor male characters in the film continue to exert signifficant influence over Bu Tejo and Dian in acquiring, maintaining, and exercising their power in a patriarchal society.

scholarly journals Deux figures féminines hors normes de la fin du XIXe siècle – Raoule de Rachilde et Selma de Benedictson

Nordlit ◽  
2012 ◽  
Vol 15 (2) ◽  
pp. 13
Author(s):  
Cecilia Carlander
Keyword(s):  
Gender Roles ◽  
Young Women ◽  
New Woman ◽  
Female Characters ◽  
Female Protagonists ◽  
Male Characters ◽  
The New Woman ◽  
Xixe Siecle ◽  
Xixe Siècle

A year after the French success scandal that Rachilde had with her decadent novel Monsieur Vénus, a novel by the Swedish writer Victoria Benedictsson, Money [Pengar], is published in Sweden in 1885. The two novels focus on young women having to find their identities within society's new possibilities, as well as the new gender roles; developed by the new society. In their relations with both conventional and non-conventional male characters, the two female characters transgress society's former established and given norms. In this article, the aim is to present how two female protagonists, the French Raoule and the Swedish Selma, are given different background conditions and qualities that finally can contribute to picture and explain their outstanding independence. Moreover, the new gender roles and their impact on the two female characters are discussed within themes and terms such as the "new woman", androgynity, sexuality and other explicite ingredients and symbols often discussed in a decadent context. Through the comparisons, this article shows how the two female portraits express the decadent transgressivity, in several aspects similarly, with individual voices, despite their two separate literary milieux.

scholarly journals Mobility Trope: Travelling as a Signature of the Afropolitan Female Quest for Existential Subjectivity in Chika Unigwe’s On Black Sisters’ Street

2020 ◽  
Vol 14 (2) ◽  
pp. 123-141
Author(s):  
Okwudiri Anasiudu
Keyword(s):  
Content Analysis ◽  
Subject Matter ◽  
Qualitative Content Analysis ◽  
Strong Sense ◽  
Individual Autonomy ◽  
Female Characters ◽  
Long Run ◽  
Sex Market ◽  
Cultural Mobility ◽  
Globalized World

Abstract The mobility trope is a key aesthetic feature in Afropolitan fiction and it crystalizes as the act of travelling which has become an important subject-matter in postnationalist African fictions by women such as Chimamanda Adichie, Noviolet Bulawayo or Chika Unigwe as a way of intervention on the debate of the Afropolitan female quest for existential subjectivity in 21st century African fiction. This is against the backdrop of negative essentialism and the exertions of patriarchy evident in the representation of African women’s in 20th century African fiction. Drawing from the foregoing, this paper interrogates Chika Unigwe’s On Black Sisters’ Street (Hence OBSS) to demonstrate how the writer deploys mobility trope which manifest as travelling as a signature of the Afropolitan female quest for existential subjectivity. I argue in this paper that, though existing studies on OBSS portray Efe, Sisi, Ama and Joyce as exported commodities in neoliberal sex market, their relocation however opens up a new vista to understanding their motivation and quest for new subjectivity, empowered fluid agency, individual autonomy and translation into Afropolitans. This is within Achille Mbembe’s phenomenological criticism of Afropolitanism and a methology that is based on qualitative content analysis of the text—OBSS. On the long run, the identity which travelling confers on the female characters is fluid, as they represent an African being in a globalized world and a strong sense of cultural mobility.

A Qualitative Content Analysis of Gender Transitions in the Workplace

2012 ◽  
Author(s):  
Melanie E. Brewster ◽  
Esther N. Tebbe ◽  
Brandon L. Velez
Keyword(s):  
Content Analysis ◽  
Qualitative Content Analysis

Problems of Marriage and Self Surrender in The Novels of Shashi Deshpande

2019 ◽  
Vol 7 (11) ◽  
pp. 18
Author(s):  
Dr. Indu Goyal
Keyword(s):  
Middle Class ◽  
The Other ◽  
Important Thing ◽  
Female Protagonists ◽  
Central Concern ◽  
Modern Age ◽  
The Family ◽  
Traditional Marriage ◽  
Shashi Deshpande ◽  
Middle Class People

Marriage is an important thing in the life of a woman. The importance that our society attaches to marriage is reflected in our literature and it is the central concern of Shashi Deshpade’s novels. In our society where girl learns early that she is ‘Paraya Dhan’, and she is her parents’ responsibility till the day she is handed over to her rightful owners. What a girl makes of her life, how she shapes herself as an individual, what profession she takes up is not as important as whom she marries. Marriage is the ultimate goal of a woman’s life. This paper attempts to probe into the problems of marriage through the protagonists of her novels where one enjoys the freedom of marriage and the other accepts the traditional marriage. Shashi Deshpade highlights the problems of marriage faced by middle-class people in finding suitable grooms for their daughters. This problem is well-illustrated through the characters of her novels. Since the girl’s mind over her childhood is tuned that she is another’s property, she tries to attach a lot of importance to it. it is indeed a tragedy that even in the modern age, Indian females echo the same sentiment where it was marriage which mattered most of them but not to the men. It is a beginning of females sacrifices in life that marriage brings to her. Shashi Deshpande encourages her female protagonists to rise in rebellion against the males in the family matters, instead she wants to build a harmonious relationship between man and woman in a mood of compromise and reconciliation.  

Gender Differences in Clothing Worn in Current Popular Comic Books

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Kyle Landon Jossy
Keyword(s):  
Gender Differences ◽  
Content Analysis ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Lower Body ◽  
Female Characters ◽  
Male And Female ◽  
Males And Females

This study looked at how males and females were portrayed, based on the amount of skin shown in the clothing worn.  A Content analysis was performed on a sample of 20 randomly selected popular comics from the last 3 years.  Both male and female characters were rated on how much skin they showed in three clothing categories; neck line, sleeve length, and lower body.  Results showed that in all 3 categories, women consistently wore more revealing clothing.  The findings demonstraetd that the comic book industry is comparable to other forms of media, in the sexualization of female characters, by having them wear more revealing clothing.

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