scholarly journals Deconstruction of Male and Female Characters’ Qualities in Zootopia

K ta Kita ◽  
2019 ◽  
Vol 7 (2) ◽  
pp. 195-202
Author(s):  
William Teddy
Keyword(s):  
Gender Roles ◽  
Gender Stereotypes ◽  
The Other ◽  
Female Characters ◽  
Binary Opposition ◽  
Male And Female ◽  
Feminine Gender

This research aims to analyze the representation of male and female characters’ qualities that are portrayed in  Zootopia. The research also aims to show how the qualities are deconstructed as well as how to deconstruct the deconstruction in the movie as a method of analysis. Through the analysis the writer finds that the representation of qualities in Zootopia follows the traditional gender stereotypes, where men are considered superior than women. However, as the story progresses, the writer finds that the qualities in the movie are gradually deconstructed, showing that women are superior than men. After deconstructing the deconstruction in the movie, the writer finds that meaning can “disseminate” or can be perceived in different ways. Furthermore, from the analysis, the writer finds that both oppositions are actually interdependent to each other and complement as a whole. This means neither of the oppositions is stronger or weaker than the other. Keywords: Gender roles, Masculine and Feminine Gender Stereotypes, Deconstruction, Binary Opposition, Violent Hierarchy

Feminist Voice in Abhi Subedi's Agniko Katha

2020 ◽  
Vol 4 (2) ◽  
pp. 12-22
Author(s):  
Indira Acharya Mishra
Keyword(s):  
Gender Roles ◽  
Real Life ◽  
The Other ◽  
Literary Texts ◽  
Female Characters ◽  
Life Situation ◽  
Feminine Gender ◽  
Real Life Situation ◽  
Cultural Texts ◽  
Eternal Feminine

This article analyzes Abhi Subedi's play, Agniko Katha, from a feminist perspective. Feminist critics blame that the classics of literature are partly responsible for creating and perpetuating the myth about 'eternal feminine.' They claim that there are only two images available for women in patriarchal literature. One is the image of a virtuous passive woman and the other is the promiscuous selfish woman. The author of such literary texts rewards the virtuous woman whereas they punish the promiscuous one. Feminists argue that the underlying message of this method is: if a woman wants to survive in patriarchy she must act feminine. This effects women in their real life situation for they tend to perform feminine gender roles though they are disadvantageous to them. Thus, they protest the stereotype depiction of female characters in literary and other cultural texts. The article argues that Subedi defies the traditional notion of femininity and creates new roles for his female characters. The protagonist of the play denies to play her assigned feminine role and searches for a new role for her. She questions and protests the patriarchal gender roles which are bias against women. Thus, it is relevant to explore the feminist voice in the text. The finding of the article suggests that women, too, have the potentiality to create new roles for themselves and bring change into society.

scholarly journals Kako bih mogla da budem dobra ili o ženskom pismu Jagode Truhelke

2017 ◽  
Vol 11 (1) ◽  
pp. 51
Author(s):  
Katarina Ivon ◽  
Josipa Blažinović
Keyword(s):  
Special Reference ◽  
Gender Stereotypes ◽  
World View ◽  
Literary Text ◽  
Political Context ◽  
The Other ◽  
Traditional Society ◽  
Female Characters ◽  
Education Of Women ◽  
And Gender

The work examines the concept of a woman's letter of Jagoda Tuhelka with special reference to the novels: Plain air and Vojača and the educational epistle U carstvu duše (In the empire of the soul). With respect to the socio-political context of the end of the 19th and 20th centuries, efforts have been made to analyse the idea of the author's female emancipation and how to interpolate it in literary text. Its female poetics is directed to the education of women in traditional society as the basis of female emancipation while the author remains within the framework of the traditional world view supporting the male-female dichotomy and the wife and mother role meant for women. In line with this, the author conceives her female characters as active factors of their own destiny (Plain air), assigning them the function of putting forward their own ideas and developing the polemical discourse with patriarchy, while, on the other hand, her female characters become “innocent” victims of social circumstances and gender stereotypes (Vojača).

scholarly journals Woman as the Other—Interpretations of the Gender Wars in “A Woman on a Roof” from the Perspective of Existential Feminism

2021 ◽  
Vol 11 (1) ◽  
pp. 63
Author(s):  
Junying Song
Keyword(s):  
Short Story ◽  
Nobel Prize ◽  
Doris Lessing ◽  
The Other ◽  
Female Characters ◽  
Male And Female ◽  
Patriarchal Society ◽  
Male Power ◽  
Lower Status ◽  
The Subject

Doris Lessing is one of the Nobel Prize winners and “A Woman on a Roof” is such a famous short story of hers. In the patriarchal society, women are in the lower status, but the woman in the story struggles bravely to fight against the male power. During her fighting, the woman has doubts and hesitation, but she finally forces the three males to put off their prejudice. This paper focuses on how the woman strives for her own rights, and talks from the perspective of Existential Feminism, taking the main male and female characters in “A Woman on a Roof” as examples, so as to explore women’s self-survival in the dualistic society. Through studying her feminist thinking in the short story, the paper points out that the woman finally transforms her role from the Other to the Subject and then she is in an equal position with the three males. Though the two genders does not reconcile with each other as it seems to be with the purification of rainwater in “A Woman on a Roof”, the woman has made a big progress in the pursuit of her own transcendence.

“Reading Faulkner from a Writer’s Point of View”

2016 ◽  
Author(s):  
Kenzaburo Oe
Keyword(s):  
William Faulkner ◽  
Point Of View ◽  
The Other ◽  
Female Characters ◽  
Male And Female ◽  
Narrative Techniques ◽  
The Mansion ◽  
The Hamlet

In this chapter, the author offers a reading of William Faulkner from his point of view of as a writer. He begins by discussing one of Faulkner's unique narrative techniques, “reticence,” and explaining that when he reads Faulkner's novels, he always puts the translations beside the originals, whenever they are available. He claims that he experiences Faulkner through a triangular circuit for the transmission of verbal symbols—Faulkner; the translator, who is a specialist; and himself, a reader of the words of the other two. He also reflects on his response to Faulkner's attitude toward writing novels and to his way of activating the imagination. Finally, he considers Faulkner's way of manipulating his male and female characters by focusing on his novels The Hamlet, The Mansion, The Wild Palms, and Absalom, Absalom!.

The Image of Woman in the Sintren and Kuda Kepang Arts: Gender Reality and Aesthetic Exploration

2022 ◽  
Vol 21 (2) ◽  
pp. 369-376
Author(s):  
Wahyu Lestari ◽  
Veronica Eny Iryanti ◽  
Syukur Samuel Barus
Keyword(s):  
Data Collection ◽  
Gender Roles ◽  
Gender Stereotypes ◽  
Research Data ◽  
Analysis Procedure ◽  
The Other ◽  
Other Hand ◽  
Collection Data ◽  
New Space ◽  
Adaptation Processes

The image of women that is actualized through the construction of gender roles, positions, and adaptation processes in artistic expression through Sintren and Kuda Kepang performances is very different. In this regard, the research aims to: (1) explain the forms of art performances of Sintren and Kuda Kepang; and (2) explain the image of women in the art performances of Sintren and Kuda Kepang in the context of gender reality and aesthetic exploration. The research was conducted on the art of Sintren Ujung Gede in Pemalang Regency and Kuda Kepang Turonggoseto in Semarang Regency. The research data were collected using the techniques of (1) observation, (2) interviews, and (3) document studies. The validity of the research data was carried out using the confirmability technique. The study used an interactive model analysis procedure, which was carried out with the stages of data collection, data reduction, data classification, and drawing conclusions. The results show that: (1) Sintren and Kuda Kepang arts are forms of traditional folk-art performances in which there is a scene of trance. This art is usually performed on stage or open arena by involving women as players; (2) The presence of women in the Sintren performances is a requirement that traditionally must be fulfilled until now. On the other hand, in the Kuda Kepang performances, the presence of women is a new phenomenon that provides opportunities and freedom for women to express themselves through dance. In the Sintren performance, the position of women becomes the center, subject, and object during the performance process. As a result, changes in the function of arts often result in the exploitation of Sintren dancers. On the other hand, in the Kuda Kepang art, the involvement of women with all their adaptations provides a new space for resistance to the existing gender stereotypes.

Questioning Conventional Gender Roles in William Wycherley’s The Plain Dealer

2020 ◽  
Vol 1 (1) ◽  
pp. 35-38
Author(s):  
Golman Gurung
Keyword(s):  
Gender Roles ◽  
Female Characters ◽  
Gender Identities ◽  
Male And Female ◽  
Traditional Conception ◽  
Traditional Gender Roles

This article argues that the notion of gender is not a fixed category and doesn’t have any given essence to it. The male and female characters in William Wycherley’s play The Plain Dealer perform roles that tend to challenge our traditional conception of gender roles. Gender identities are complex things and it is not possible to reduce them to simple and unproblematic essences. The Character Manly falls into the trap of a woman’s machinations and succumbs to her power. His lack of manliness and the Widow’s knowledge and alacrity prove that traditional gender roles are open to challenge and can be reversed by different characters in different situations. This article analyses the role of the characters in the light of Foucauldian discourse and Judith Butler’s theory of gender as performance.

Male-Female Characters’ Tenor of Discourse in Akachi Ezeigbo’s The Last of the Strong Ones

2015 ◽  
Vol 8 (3) ◽  
pp. 167
Author(s):  
Innocent Sourou Koutchade ◽  
Severin Mehouenou
Keyword(s):  
Social Role ◽  
The Other ◽  
The Novel ◽  
Female Characters ◽  
Male And Female ◽  
The Social ◽  
Class 1 ◽  
Role Relationships ◽  
The One

<p class="1"><span lang="X-NONE">This article attempts to explore male-female characters’ tenor of discourse in the novel entitled: <em>The Last of the Strong Ones</em> by Akachi Ezeigbo. According to Halliday’s (1978), the tenor of the discourse is the social role relationships played by interactants. It is associated with the grammar of interpersonal meanings which is, in turn, realized through the mood patterns of the grammar. The paper, through the analysis of mood system, modality and vocatives, reveals how male and female characters establish relationships between each other. The tenor of their discourse unveils how women are oppressed by patriarchy on the one hand, as well as how they fight against the system, on the other. From these linguistic choices, the work concludes that there exists an atmosphere of tension, distance, aggression and dominance between some characters of the novel. </span></p>

GENDER DIFFERENCES IN ENTREPRENEURIAL RELATIONSHIPS WITHIN THE FRANCHISE CONTEXT

2014 ◽  
Vol 19 (04) ◽  
pp. 1450026 ◽  
Author(s):  
WILLIAM R. MEEK ◽  
DIANE M. SULLIVAN ◽  
JOHN MUELLER
Keyword(s):  
Gender Differences ◽  
Gender Roles ◽  
Business Model ◽  
Gender Discrimination ◽  
Future Research ◽  
Interpersonal Justice ◽  
Female Entrepreneurs ◽  
Male And Female ◽  
Feminine Gender ◽  
Potential Barriers

This study examines how entrepreneurial relationship variables such as trust, conflict, interpersonal justice (IJ) and satisfaction differ among a group of male and female franchisees. Results suggest differences exist between these two groups in relation to conflict, IJ and trust with their franchisor. These results are consistent with research on feminine gender roles and research that suggests female entrepreneurs are more relationship oriented throughout the entrepreneurial process. The results further make a case for the importance of empirically examining different entrepreneurial relationship variables in future research on gender and entrepreneurship, and illustrate the power of the franchising business model in breaking down potential barriers of gender discrimination for female entrepreneurs.

scholarly journals On Love, Women, and Friendship: Reading Nietzsche with Irigaray

2017 ◽  
Vol 46 (1) ◽  
Author(s):  
Willow Verkerk
Keyword(s):  
Gender Roles ◽  
Gender Stereotypes ◽  
The Other ◽  
Luce Irigaray ◽  
Love Relationships ◽  
Cultural Expectations ◽  
And Control ◽  
The Way

AbstractThis essay examines Nietzsche’s accounts of love and the gender troubles of friendship. In many passages, Nietzsche situates love as an impairment to friendship. In particular, he believes that erotic or sexual love, understood as a drive that seeks to possess and control the other, prevents two people from entering into the shared project of friendship. Nietzsche implies that gender roles, and the cultural expectations associated with these types, make friendship very difficult between women and men. The reason why women in Nietzsche’s account cannot move from love relationships into friendship is because they are primarily esteemed for their fulfillment of gender stereotypes. In order to avoid the perils of assimilation, pointed to by Nietzsche, it is imperative to develop an ethics of friendship that changes the way people approach and love one another. Luce Irigaray present such an alternative with her account of wonder. She argues that recognition requires a negative movement in which one acknowledges one’s limits in understanding the other. Irigaray designates a transformative and activist potential to love, as a benefit to friendship in its erotic and practical qualities. She claims that when love is expressed alongside the passion of wonder there is a stronger potential for recognition between two people. With the assistance of Irigaray, this essay questions Nietzsche’s assessment that love is an impasse to friendship by asking if love need be as assimilating as Nietzsche proposes.

Assimilation gaming: The reification of compulsory gender roles in RuPaul’s Drag Race

2019 ◽  
Vol 4 (2) ◽  
pp. 155-171
Author(s):  
Michael Anthony DeAnda
Keyword(s):  
Gender Roles ◽  
Gay Men ◽  
Female Gender ◽  
Male And Female ◽  
Feminine Gender ◽  
Gay Community ◽  
Game Mechanics ◽  
Visual Pleasure ◽  
And Gender ◽  
Gender Subversion

This article analyses the ‘Bunk Buddies’ mini-challenge on Season 8 of RuPaul’s Drag Race (2009–present, USA: World of Wonder), during which the competitors identified the sexual positions of Andrew Christian models. In this episode (‘Shady Politics’ 2016), gaming and camera technologies work in tandem to repackage heteronormative models of gender and sexual identity for gay audiences. While the mini-challenge offers Andrew Christian models for visual pleasure of gay audiences, the game mechanics and camera angles reify masculine/feminine gender binaries in the way the preferred sexual positions between men are constructed, coding ‘tops’ as masculine and ‘bottoms’ as feminine. While stereotypes in the gay community also present similar understandings of compulsory gender roles, this depiction in RuPaul’s Drag Race, a groundbreaking television series celebrating gay lives and gender subversion through drag, is particularly troubling because it mythologizes a binary gender model that cites the heterosexual matrix and assimilates gay men into traditional male and female gender roles according to their preferred sexual positions. The ‘Bunk Buddies’ challenge thus suggests that sexual positions between men also have a literacy based on masculinity (penetrating) and femininity (receiving).

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