Feminist concern of Girish Karnad Novel: Nagamandala

This present paper attempts to critically analyse the selected novel of Girish Karnad _Nagamandala. Girish Karnad, as a dramatist, is free from any such feminist tags and like Shashi Deshpande, an Indian woman novelist, treats ‘woman as a woman’ and as ‘a human being’. As a male feminist, he has treated the feminist issues like child marriage, loveless marriage, exploitation of wife in the hands of husband, double standards of society and law operating against her in the society etc. It also expresses the hollowness and injustice of patriarchal society. He insists that it is not patriarchy but matriarchy which is essential for society. Thus, the refined sensibilities of woman like love, sex, compassion and tolerance make her unsurpassable in the society. The pride of woman also finds a space in his play Naga Mandala.

The Origins of Emancipation and Feminism in 19th Century India: Bengalese Experience

The development of feminism and women’s emancipation in colonial India shows various trajectories and inner sources of the process within the regions occupied by a ‘larger society’ going through modernization. The first variant appeared in colonial Bengal — a peripheral region relative to the center of Brahminical order and a place where Indian and Western culture conjoined back in the 18–19th centuries. A system of rigid constraints of women’s freedom and rights emerged within the local patriarchal society, especially in the high strata, coming from a perspective of ritual purity and men’s ‘safety’. Women themselves were bearers of traditional consciousness with stereotypes and prejudices, and they were deprived the possibility to take part in their destinies as well as social life outside of a family. Based on the works of social reformers and intellectuals, the author describes the Bengalese variant of the origins of feminism and emancipation. The primary social actor of the process was the male feminist, who publicly proclaimed ideas of women’s rights and tried to improve the lives of women through reforms. The reformatory movements led by leaders from Rammohun Roy to Keshubchandra Sen turned out to be the first wave of the emancipation process; their activity promoted the circumstances for family and social emancipatory practices. The second wave was associated with women finally becoming active and starting to speak for themselves. The main factors that stimulated their activeness were literacy and education, along with support of their aspirations of behalf of men.

What does it mean to be a feminist MP? A comparative analysis of the Swedish and Danish parliaments

The issue of whether political interests are gendered, and if so, how, has been a recurrent theme in research. While there have been several attempts recently to address gendered political interests theoretically, the central concept of feminism has not been explored in any depth in this context. This article uses unique data pertaining to self-identification as a “feminist” MP, and explores how it relates to gender, party and certain policy issues previously connected to women in Sweden and Denmark. The two neighboring countries both have a high representation of women, but while the Swedish government called itself “feminist,” this was unthinkable in the Danish case. Our main finding is that in both countries male feminist MPs deviate from their female counterparts by not supporting “acting for women” which indicates a separate and gendered understanding of what being a male feminist implies. However, no strong association addressing intrinsic feminists male concerns such as parental leave, was found. Another possibility could be that male feminists refrain from taking agency from females, what the “acting for” option could imply. We conclude that the concept of “acting for women” needs to be abducted from its central stance in feminism as a category of representation to mirror the multifaceted contemporary landscape.

Women in Northern African History

The 20th century witnessed the emergence of individual women as political actors, women as a category of political and social actors, and women (or “the woman question”) as a theme for political action across North Africa. This history is both intertwined with, and for a long time has been overshadowed by, that of colonialism, nationalism, and postcolonial state-building. Without being linear or homogeneous, the stages and processes of making women visible and extending women’s rights have been similar across Morocco, Tunisia, and Algeria: increasing access to education, the emergence of pioneering female “models,” the mobilization of women as a group in the anti-colonial struggle, postcolonial state feminism and then a shift towards women speaking, writing and organizing themselves as women. Specificities of Tunisian, Algerian and Moroccan history have also given rise to distinctive features in the history of women and the writing of the history of women in each country. These include the long history of male feminist thought expressed in Arabic in Tunisia, the mass participation of women in armed struggle in Algeria, and the reformist feminism, based on women reinterpreting religious sources and history, which originated in Morocco.

Representasi Male Feminist oleh Aliansi Laki-laki Baru di Media Sosial

ABSTRAK Penelitian ini bertujuan untuk mengetahui bagaimana representasi male feminist oleh Aliansi Laki-Laki Baru di media sosial. Penelitian ini menggunakan teori dramaturgi yang dikembangkan oleh Erving Goffman sebagai panduan. Metode yang digunakan pada penelitian ini adalah metode kualitatif dengan pendekatan etnografi virtual. Data dalam penelitian ini diperoleh melalui observasi, wawancara, dan studi kepustakaan. Hasil penelitian ini menunjukan bahwa konten tweets yang diunggah @lakilakibaru ke Twitter adalah dengan topik informasi kegiatan, kekerasan gender, pelibatan laki-laki dalam kesetaraan gender, maskulinitas pria, candaan berbau seksis, hubungan agama dan gender, politik gender, serta penggunaan istilah berbau seksis. Interaksi yang dilakukan oleh @lakilakibaru melalui fitur replies bersifat netral, solutif dan meluruskan dengan argumen yang disertai data. Kemudian, interaksi yang dilakukan oleh @lakilakibaru melalui fitur retweet dari postingan akun gerakan perempuan dan kesetaraan gender yang dianggap sejalan dengan prinsip @lakilakibaru adalah selain karena tweets tersebut penting dibaca, sekaligus untuk membangun relasi kemudian. Penggunaan bahasa verbal oleh @lakilakibaru disesuaikan dengan konteksnya, didukung dengan bahasa nonverbal yang berfungsi sebagai penegas. male feminist yang ditampilkan oleh @lakilakibaru di Twitter adalah laki-laki dapat menjadi sensitif, gentle, takut, penuh kasih sayang, serta berdandan. Laki-laki juga dapat berbagi peran (diluar peran biologis) dengan perempuan, seperti berbagi pekerjaan domestik dan pencarian nafkah. Kemudian, untuk menghindari normalisasi atas pelecehan terhadap perempuan, laki-laki yang peduli terhadap perempuan menghindari candaan seksis. Laki-laki tidak mendominasi dalam relasinya dengan pasangan dan tidak menyelesaikan masalah dengan kekerasan, baik kekerasan verbal, fisik, maupun emosional. Kata kunci: representasi, male feminist, Laki-laki Baru, media sosial.

Male Feminist

Thelma & Louise is a landmark feminist film that became an iconic symbol of women who take control of their own lives. The picture, Callie Khouri’s first screenplay, won an Academy Award. The two lead characters are off on an adventure when a rapist changes their lives. For most of the movie they are wanted for murder and chased by the police. The in-depth performances by Susan Sarandon and Geena Davis show rare insight into the female perspective. This motion picture was shot on location and has a controversial ending that still fascinates and puzzles viewers. Scott, British born, visually captures the roads and vistas of America in a way that supports this unusual and powerful story.