The Metamorphoses of the Femme Fatale in H. Rider Haggard’s She and John Fowles’s The French Lieutenant’s Woman

2020 ◽  
pp. 1-16
Keyword(s):  
Gender Roles ◽  
British Literature ◽  
Victorian Novel ◽  
The Other ◽  
Cultural Appropriation ◽  
Femme Fatale ◽  
John Fowles ◽  
Cultural Icon ◽  
Traditional Gender Roles ◽  
Fear And Anxiety

his article explores the metamorphosis of the femme fatale in British literature from its Victorian model to its neo-Victorian counterpart. It contributes to the field of research on the femme fatale as an archetypal figure and a cultural icon in the contemporary literary scene. It also demonstrates how the figure of the femme fatale is employed as an instrument of subversion in dealing with issues of female emancipation, the threat to traditional gender roles, as well as the fear and anxiety of the encounter with the lethal woman in literature. Relying on Edward Said's Orientalism, the article shows how, in H. Rider Haggard’s Victorian novel She, the femme fatale, personified in his heroine She-Who-must-be-obeyed, perpetuates stereotypical representation of the Other through her subversive sexuality. Yet, in John Fowles’s The French Lieutenant’s Woman, this article shows how the new femme fatale, embodied in his heroine Sarah Woodruff, is different from her predecessor She. Such difference is illustrated through the various postmodern paradigms that Fowles playfully inserts into his new rewriting of the femme fatale. The study relies on Julie Sander’s theory of cultural appropriation to trace Fowles' re-presentation of the postmodern femme fatale. Keywords: Neo-Victorian; Orientalism; appropriation; femme fatale; H. Rider Haggard; John Fowles.

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.

Inside the Vortex of Sport Celebrification: A Textual Analysis of Jessica Simpson, Tony Romo, and Traditionally Constructed Gender Roles

2012 ◽  
Vol 5 (2) ◽  
pp. 210-230
Author(s):  
Lindsey M. Eliopulos ◽  
Jay Johnson
Keyword(s):  
Gender Roles ◽  
Mass Media ◽  
Qualitative Analysis ◽  
Textual Analysis ◽  
Female Dominance ◽  
Femme Fatale ◽  
Traditional Gender Roles ◽  
The Press ◽  
Dominant Ideologies ◽  
Relationship Of

The purpose of this article is to examine the sport–celebrity relationship of singer–actress Jessica Simpson and Dallas Cowboys quarterback Tony Romo. This qualitative analysis of 100 magazine and 100 newspaper articles that coincided with the first publicized notion of the “Jessica [Simpson] Jinx” reveals the prevailing dominant ideologies of patriarchal structures, traditional gender roles, hegemonic masculinity, and deviance. This study uncovers typologies that mirror the archetypal sporting partnership, for example, Simpson’s feminine position as a “supporter” and her function as an “antagonist” (e.g., the femme fatale, Yoko Ono) and Romo’s position as a hegemonic male (the new-laddist, maverick sporting star) and victim. Through developing these themes, the researchers illustrate the concepts of villainization and victimization in the mass media, where Simpson was portrayed unfavorably. Romo, conversely, was portrayed favorably in the press, suggesting the need to maintain the patriarchal order while restraining female dominance.

scholarly journals Differences of Rape Myth Acceptance between Genders: A Systematic Review

2021 ◽  
Author(s):  
Wong Weng See
Keyword(s):  
Systematic Review ◽  
Sexual Assault ◽  
Gender Roles ◽  
Rape Myth Acceptance ◽  
The Other ◽  
Rape Myth ◽  
Sexual Objectification ◽  
Traditional Gender Roles ◽  
Myth Acceptance

Understanding the differences in rape myth acceptance between genders can help individuals to gain a better view about rape myth related intervention and reduce sexual assault cases. Based on a systematic review, this paper summarized the recent findings and discuss about the underlying reasons behind rape myth acceptance, from the perspective of cultural of gender. 10 studies were chosen and males showed higher rape myth acceptance than female. Traditional gender roles, stereotypical view of power between both genders and sexual objectification of female appeared to be the predictor of this difference. Nevertheless, the other predictors such as level of rejection to equality, education and knowledge about sexual related issues and occupation of an individual played a bigger role than gender in special occasions.

scholarly journals Female Authority And The Representation of Womanhood In H. Rider Haggard’s Ayesha

2020 ◽  
Vol 7 (4) ◽  
pp. 322-332
Author(s):  
Shokhan Rasool Ahmed
Keyword(s):  
Gender Roles ◽  
English Department ◽  
The Novel ◽  
Femme Fatale ◽  
African Culture ◽  
Postgraduate Students ◽  
Traditional Gender Roles ◽  
Sequential Structure ◽  
History Of ◽  
The New Woman

Haggard’s Ayesha is the continuation of the Victorian dream novel She. H. Rider Haggard's She, subtitled A History of Adventure, is figured to be among top rated books at any point distributed: it had sold exactly 83 million duplicates by 1965. Ayesha (really articulated 'Assha'), subtitled The Return of She, who takes after She in the book, is an amazing and puzzling white sovereign who administers the African Amahagger individuals. Ayesha has enchantment controls and is undying, which makes She a dream experience book. Despite the fact that She and Ayesha were distributed almost twenty years separated, H. Rider Haggard stated that Ayesha was a decision to a two-section book, not a continuation. There is likewise a "prequel," She and Allan (1921). In the two books, an imaginary manager shows an original copy portrayal by Ludwig Horace Holly. In Haggard’s She, considering that some parts of the novel are so comfortable, readers might feel compelled into thinking that they are going through Haggard’s tour in Africa. Fortunately, in any event, when the plot eases back to a nearly gastropod pace, the way Haggard's depicts the African culture and scene conveys the reader along. Ayesha, known as She-Who-Must-Be-Obeyed, first showed up in sequential structure from 1896 to 1897 in the novel She. Ayesha is one of the marvelous, kick-ass lady characters in Victorian writing who represents the misogynist construction of femininity and embodies the femme fatale. This paper is principally concerned about the representation of feminine power and the representation of womanhood in Haggard’s Ayesha. Some questions will be investigated here. Can one consider Ayesha as a “conclusion” or a “sequel” to She since the whole novel replicates the same thematic and structural maneuvers of She? Does Haggard revive Ayesha, the “new woman”, in The Return of She respond to the threat to traditional gender roles? The findings of this study will be beneficial for the researchers, and all the undergraduate and postgraduate students of English department. 

scholarly journals Dragon-slayers and Jealous Rats: The Gendered Self in Contemporary Self-help Manuals

2011 ◽  
Vol 17 (1) ◽  
Author(s):  
Rebecca Hazleden
Keyword(s):  
Gender Roles ◽  
The Self ◽  
The Other ◽  
Traditional Gender Roles ◽  
Self Help ◽  
The One ◽  
Historical Antecedents ◽  
Selection Of

This article traces two broad discourses concerning gender in a selection of relationship manuals from 1974 to 2004. On the one hand are manuals promoting traditional gender roles, and on the other are those that promote financial and emotional independence for women. In contrast to other analyses, I argue that these approaches cannot be categorised into a simplistic dichotomy of ‘feminist’ and ‘patriarchal,’ but that they are better understood as being bound up with conservative and liberal discourses of the self. I further demonstrate that these approaches both assume and require types of self that are somewhat removed from their historical antecedents and should be understood as neo variants.

scholarly journals Social capital in Spain: Are there gender inequalities?

2013 ◽  
Vol 2 (1) ◽  
pp. 79 ◽  
Author(s):  
Celia Muñoz-Goy
Keyword(s):  
Gender Differences ◽  
Social Capital ◽  
Social Networks ◽  
Gender Roles ◽  
Social Participation ◽  
Representative Sample ◽  
The Other ◽  
Gender Inequalities ◽  
Traditional Gender Roles ◽  
Gender Groups

Social capital is an asset for individuals because it grants access to important resources embedded in their social networks. But social capital is not evenly distributed among different groups. Gender groups are analysed in this paper in order to examine if there are differences in diverse indicators of social capital and whether these possible differences remain when control variables are considered. The data used in this paper come from a representative sample of 3,400 people in Spain. The main results show gender differences in the access, mobilisation and type of social networks, as well as in the extent and type of social participation. However, these differences are mostly reduced for the groups in more advantageous social positions, which have the possibility to contact with greater and more varied groups, or which have been educated in less traditional gender roles. In general, gender inequalities in social capital remain for the other groups.

scholarly journals Eclectic Revolution: Illusory Femininity and Two-Fold Mimicry in Gertrude Stein’s Three Lives

2017 ◽  
Author(s):  
Gerardo Rodríguez Salas
Keyword(s):  
Gender Roles ◽  
Gertrude Stein ◽  
The Other ◽  
Literary Canon ◽  
Luce Irigaray ◽  
Feminine Identity ◽  
Traditional Gender Roles ◽  
The One ◽  
Three Lives

In the present paper we discuss Gertrude Stein’s in-between position in the literary canon by alluding to her eclectic literary revolution. On the one hand, she is excluded from the patriarchal canon due to her disruptive style. On the other, she postulates a milder kind of revolution, in line with Luce Irigaray’s tenets, which implies a conscious reproduction of a constructed “femininity” in women (as opposed to the non-strategic and unconscious imitation of traditional gender roles) that finally unmasks the illusive character of a distinctive feminine identity. In her opinion, everything is a construct of the pervasive patriarchal model, where women reproduce an individuality taylored for them rather than their essential identity that is also ultimately questioned.

scholarly journals Despolitización del feminismo en los discursos gerenciales

2021 ◽  
Vol 8 (2) ◽  
pp. 101
Author(s):  
María Ávila Bravo-Villasante
Keyword(s):  
Gender Roles ◽  
Feminist Theory ◽  
Feminist Perspective ◽  
The Other ◽  
Traditional Gender Roles ◽  
Palabras Clave ◽  
Management Literature ◽  
Las Mujeres ◽  
The One ◽  
Sobre Todo

Resumen: En su libro Mujeres y discursos gerenciales. Hacia la autogestión feminista (2020), María Medina-Vicent aborda desde una perspectiva crítica feminista los discursos gerenciales dirigidos a las mujeres, desvelando el androcentrismo y la presencia —y perpetuación— de tradicionales roles y estereotipos de género en los modelos de gestión. Mi propuesta pretende incidir en dos aspectos del análisis realizado por Medina-Vicent, por un lado, remarcar los peligros de la despolitización de los discursos gerenciales dirigidos a mujeres —sobre todo en tanto que la literatura gerencial acaba por informarnos a todas—. Por otro, profundizar en la crítica que la autora realiza de la cooptación del feminismo por parte de estos discursos. Abstract: In her book Mujeres y discursos gerenciales. Hacia la autogestión feminista (2020), Medina-Vicent approaches management discourses aimed at women from a critical feminist perspective, revealing the androcentrism and the presence and perpetuation of traditional gender roles and stereotypes in management models. My proposal aims to highlight two aspects of Medina-Vicent’s analysis: on the one hand, to highlight the dangers of depoliticizing management discourses aimed at women - especially insofar as management literature ends up informing us all. On the other hand, the author’s critique of the co-optation of feminism by these discourses will be explored in greater depth. Palabras clave: discursos gerenciales, teoría feminista, antifeminismo, despolitización. Keywords: managerial discourses, feminist theory, antifeminism, depoliticization.

scholarly journals Queering The Construction Of Gender Identity In Chris Columbus’ Movie Mrs. Doubtfire

ATAVISME ◽  
2013 ◽  
Vol 16 (2) ◽  
pp. 141-152
Author(s):  
Pradipta Agustina ◽  
Maimunah Maimunah
Keyword(s):  
Gender Roles ◽  
Gender Identity ◽  
Queer Theory ◽  
Judith Butler ◽  
Gender Performance ◽  
The Other ◽  
Main Concern ◽  
Gender Performativity ◽  
Traditional Gender Roles ◽  
Other Hand

The construction of traditional gender roles has affected the understanding of being feminine and masculine. This understanding seems to influence gender performance in the film Mrs. Doubtfire. This one­hour­and­fifty­seven­minute film was directed by Chris Columbus. This study is conducted to examine how gender performativity is illustrated in the film and what ideology lies within the film. Queer theory, especially gender performativity by Judith Butler is used as the framework of the study. The study is done by observing and analysing chosen scenes from the film focusing on the performance of Daniel Hillard as Euphegenia Doubtfire. Narrative aspect of the film is not only the main concern; the non­narrative is also part of the analysis especially on costume, makeup, performance and color. The main finding of this study is this film in one hand celebrates traditional gender roles but on the other hand promotes gender as performance. Femininity is pictured as fluid. Therefore, it is also a performativity. The contestation between those two opposing ideas is smoothly wrapped through amusing film such as Mrs. Doubtfire. Abstrak: Film Mrs. Doubtfire karya Chris Columbus menampilkan konstruksi yang berbeda dengan konstruksi peran gender yang telah menjadi mainstream. Berdurasi 1 jam dan 57 menit, film ini menampilkan konstruksi maskulinitas dan femininitas yang dapat saling bertukar, cair, dan tidak baku. Studi ini mengkaji dua pertanyaan utama. Pertama, bagaimana konstruksi peran gender digugat melalui performativitas gender? Kedua, ideologi apa yang terdapat dalam film? Teori Queer terutama gender performativitas yang dikemukakan oleh Judith Butler menjadi kerangka penelitian ini. Penelitian ini dilakukan dengan mengobservasi dan menganalisis adegan terpilih dengan berfokus pada penampilan Daniel Hillard sebagai Euphegenia Doubtfire. Aspek naratif dalam film bukan satu­satunya perhatian utama. Aspek non­naratif juga menjadi bagian analisis kostum, tata rias, penampilan, dan warna. Penelitian ini menyimpulkan bahwa film ini pada satu sisi mengonfirmasi peran gender yang tradisional, tetapi di lain pihak juga mencoba menawarkan performativitas gender. Ideologi film ini menggambarkan femininitas sebagai sesuatu yang cair sehingga femininitas juga sesuatu yang sifatnya performativitas. Kontestasi antara kedua hal tersebut disajikan dengan menarik dalam film Mrs. Doubtfire. Kata­Kata Kunci: konstruksi gender; performativitas gende; teori queer

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.

Sign in / Sign up

Export Citation Format

Share Document