Diana Patricia Eastburn-Ludlam (1942-2021): Reflection on a Modern Wonder Woman

Diana was one of the most incredible individuals I have ever met: smart, insightful, clever, master clinician, social hostess, politically savvy, an adventurer/world traveler, abstract painter, poet, and so much more.

GENDER INEQUALITY AND MORAL VALUE IN "WONDER WOMAN" BY PATTY JENKINS

<p><strong>Abstract</strong>: The title of this thesis is “Gender Inequality and Moral Value in “Wonder Woman” by Patty Jenkins”. The study was conducted in August 2019. The objective of this research paper was to found out the gender inequality and moral value of this movie. The research method was the qualitative. The instrument of this research were covered the list of the question designed based on the elements of the movie. The data was collected by watching the movie and reading the script movie, identifying, classifying, and analyzing based on gender inequality and moral value. 1). The result of this research showed the Gender Inequality has highest percentage of the Gender Equality. The draw of Gender conclusion that the Gender Inequality is 33,45% and Gender Equality is 21,00%. 2). The moral value are justice 17,41%, honesty 33,45%, bravery 17,10%, responsibility 30,89%, and beneficence 31,11%. The beneficial input of analyzing the movie is that movie can be used as the advice for teacher of English can make students have positive character.</p><p> </p><p>Keywords: Gender Inequality; Moral Value; Movie</p>

Labour in Wonder Woman: A Marxist Feminist Reading

An Amazonian Goddess who was raised a warrior set in World War I, screams the impact of Marxism. Wonder Women (2017), produced by DC, has a nominal heroine who seems like an icon of Feminism but is instead the opposite in close observation. Though the character seems vigorously empowered, she is reduced to a commodity in the clutches of capitalism. Wonder Woman’s labour was tried to fit into the domestic sphere. This paper would explore the film from the focal lenses of Marxist Feminism. The investigative questions revolve around ‘cheap labour,’ ‘reserve labour,’ and ‘reproduction.’ Also, the marginalized status of other proletariats is examined. How the character becomes a target of capitalism by pushing her into the domestic sphere and objectification is the paper’s primary concern. The paper would use a qualitative approach to achieve the desired result. The analysis will be a subjective judgment based on the film text. The characters’ cognitive behavior and the surrounding are a central element that will be explored through the narrative analysis. The research methodology will employ conceptualization and qualitative design and methodology.

Are We There Yet?

<p>This research will address American gender theorist Butler's assertion of third wave feminism and gender ethics and advocate that despite education and modernization, a duplicity still exists in the way gender has been depicted in western culture as well as in indigenous culture. This investigation seeks to acknowledge this duplicity by performing a comparative study of the western superhero Wonder Woman and the indigenous Indian Goddess Durga. Ultimately, this study challenges the contemporary terminologies and the interpretations concerning gender roles within the society to show the duplicity inherent in these contrasting renditions. Through a theoretical and practical framework and with the help of academic works and social media, the study conveys more visually empathetic ways to define the feminine gender as being powerful and multifaceted. These investigations will include traditional and contemporary examples of visual illustrations that contain their own social and cultural narratives and offer visual evidence of the perceptions and preconceptions that Butler refers to in her ‘Undoing Gender’ as “social and sexual constraints” (Butler, 2004, p. 10-15). The findings include visual responses that explore the personal counter-reaction towards duplicity that I argue is rife within social constructions of the feminine gender in both the Western and Eastern cultures. The illustration techniques in this research will provide more in-depth representations of the multifarious feminine characteristics. The study concludes that the sense of gender inequality still exists in contemporary society and only acceptance of this fact can resolve the issue.</p>

Are We There Yet?

<p>This research will address American gender theorist Butler's assertion of third wave feminism and gender ethics and advocate that despite education and modernization, a duplicity still exists in the way gender has been depicted in western culture as well as in indigenous culture. This investigation seeks to acknowledge this duplicity by performing a comparative study of the western superhero Wonder Woman and the indigenous Indian Goddess Durga. Ultimately, this study challenges the contemporary terminologies and the interpretations concerning gender roles within the society to show the duplicity inherent in these contrasting renditions. Through a theoretical and practical framework and with the help of academic works and social media, the study conveys more visually empathetic ways to define the feminine gender as being powerful and multifaceted. These investigations will include traditional and contemporary examples of visual illustrations that contain their own social and cultural narratives and offer visual evidence of the perceptions and preconceptions that Butler refers to in her ‘Undoing Gender’ as “social and sexual constraints” (Butler, 2004, p. 10-15). The findings include visual responses that explore the personal counter-reaction towards duplicity that I argue is rife within social constructions of the feminine gender in both the Western and Eastern cultures. The illustration techniques in this research will provide more in-depth representations of the multifarious feminine characteristics. The study concludes that the sense of gender inequality still exists in contemporary society and only acceptance of this fact can resolve the issue.</p>

Weaving Womanhood into Warfare: Gender-Hybrid Narratives of Amazons Penthesilea and Diana Prince

Largely rooted in ancient Greek essentialism, Western dichotomies of masculinity and femininity have been historically used to divide the sexes and limit women’s involvement in male institutions of power. The female warrior is an anomalous case. Fictional tropes of this type, especially the Amazons of Greek mythology, embody both masculine and feminine associations to exist in the separate spheres of womanhood and military heroism. Two transhistorical Amazons—Penthesilea (from Quintus Smyrnaeus’ Posthomerica) and Diana Prince (from the 2017 film Wonder Woman)—were analyzed to explore the evolution of Western perceptions on powerful women in traditionally male spheres of influence. Guided by gender and classics theories, a thematic and narrative analysis focusing on the characters’ gender hybridity (the combination of masculine and feminine distinctions) demonstrated new understandings: Penthesilea’s story demonstrates that hybridity in antiquity reinforced the hegemonic implications of gender essentialism. Diana’s modern hybridity empowers female success in male realms. Nonetheless, both narratives establish the difficulty of crossing gendered boundaries, as compromise and defeat accompany hybridity. Comparing ancient and modern adaptations of the Amazons reveals that while women’s presence in masculine spheres remains tentative in Western society, reimagined female warriors represent increasing acceptance towards women adopting hybrid roles in public expressions of power.

On the Bravery of Women: The Ancient Amazon and Her Modern Counterparts

<p>In a favourite mythological motif of the Greeks, the Amazons fought many of the most celebrated Greek heroes and lived in independent societies on the fringes of the known world. These warrior women appear throughout Greek literature and art of every kind, defined by characteristics which differentiated them from ‘ordinary’ women: heroic capability and skills in battle; an unusual lifestyle, marked out by traditions often the very opposite of those of the Greeks, including unique mothering customs; and a significant independence from men, including systems of gynaecocracy or the wholesale exclusion of men from their society. Yet despite their reputations as fierce and talented combatants, the Amazons were constantly bested by their male counterparts and either killed in battle or abducted for marriage. It seems that whenever they fought against the Greeks, they lost. In an interesting case of the adaptation of myth to the modern world, the archetypal features of the Amazon (as the Greeks imagined her) can also be found in a variety of television and film characters. Through an analysis of both the ancient and ‘modern’ Amazon, I show how this symbol benefits greatly from the vastly different social context of western society in the twentieth century which enables the Amazon to become an affirmative model of female heroism. The case-study approach adopted here examines instances of the ‘modern’ Amazon in Wonder Woman, Xena: Warrior Princess, Alien/Aliens, The Terminator/Terminator 2: Judgment Day and Kill Bill Volume 1 and 2 and notes that, while encompassing many of the same traits as their ancient predecessors, these Amazons are no longer constantly on the losing side of the battle. The successes of feminism and the changing expectations which accompany them transform the Amazon from the defeated warrior into the triumphant victor.</p>

On the Bravery of Women: The Ancient Amazon and Her Modern Counterparts

<p>In a favourite mythological motif of the Greeks, the Amazons fought many of the most celebrated Greek heroes and lived in independent societies on the fringes of the known world. These warrior women appear throughout Greek literature and art of every kind, defined by characteristics which differentiated them from ‘ordinary’ women: heroic capability and skills in battle; an unusual lifestyle, marked out by traditions often the very opposite of those of the Greeks, including unique mothering customs; and a significant independence from men, including systems of gynaecocracy or the wholesale exclusion of men from their society. Yet despite their reputations as fierce and talented combatants, the Amazons were constantly bested by their male counterparts and either killed in battle or abducted for marriage. It seems that whenever they fought against the Greeks, they lost. In an interesting case of the adaptation of myth to the modern world, the archetypal features of the Amazon (as the Greeks imagined her) can also be found in a variety of television and film characters. Through an analysis of both the ancient and ‘modern’ Amazon, I show how this symbol benefits greatly from the vastly different social context of western society in the twentieth century which enables the Amazon to become an affirmative model of female heroism. The case-study approach adopted here examines instances of the ‘modern’ Amazon in Wonder Woman, Xena: Warrior Princess, Alien/Aliens, The Terminator/Terminator 2: Judgment Day and Kill Bill Volume 1 and 2 and notes that, while encompassing many of the same traits as their ancient predecessors, these Amazons are no longer constantly on the losing side of the battle. The successes of feminism and the changing expectations which accompany them transform the Amazon from the defeated warrior into the triumphant victor.</p>