Dimension feminine in The Respectful Prostitute’s Jean- Paul Sartre and The Blind Prostitute’s Badr Shaker al-Sayyabe La dimension féminine dans La P….respectueuse de Jean-Paul Sartre et La Prostituée Aveugle de Badr Shaker al-Sayyabe

Jean-Paul Sartre and Badr Shakir al-Sayyabe are among the most prominent writers that critiqued the destructive role of capitalism and the patriarchal power system in the period of the Post-World War II crisis. Divided into three chapters, the present study examines two of the most eminent literary works in the history of the Western and Eastern societies in the fifties of the last decade: Jean Paul Sartre’s play : The Respectful Prostitute and Badr Shaker al-Sayyabe’s poem: The Blind Prostitute. Chapter one discusses the position of the prostitute in a patriarchal societies. Chapter two linguistically analyzes the prostitute’s behavior with men and evaluates the nature of a relationship when based on profit and loss. Such a relationship exposes the male dominance system on this social level through stigmatizing, marginalizing and depriving of her family establishing rights. Chapter Three sheds light on the prostitute’s ego and the other. In the two works, the society double standard is presented in dealing with status of a woman, rather than a man, as a prostitute, something that leads to uncover the individuality of such a character. Thus, and in addition to justly picturing prostitution as a human setback in all the western and Eastern societies, Sartre and al – Sayyab succeed in visualizing humanity decay within the perspective of the preceding decades. Résumé Jean-Paul Sartre et Badr Shakir al-Sayyabe font partie des écrivains qui ont contribué à travers leurs œuvres à critiquer le système capitaliste et la société masculine dans la période de l'après-guerre. En lisant les deux ouvrages, nous avons choisi comme sujet commun de cette étude d'analyser le statut de prostituée dans les sociétés orientale et occidentale au cours des années 1950 du siècle dernier. L'étude est divisée en trois chapitres : Le premier chapitre est basé sur la présentation du statut de la prostituée dans les communautés masculines des deux auteurs. Le deuxième chapitre analyse linguistiquement le comportement de la prostituée envers les hommes et la nature de la relation basée sur le principe du profit ou de la perte. Cette relation met d'abord en évidence la domination du système masculin sur cette partie social, le problème de la stigmatisation sociale, de la marginalisation et de la privation de son droit d'avoir et de fonder une famille. Le troisième chapitre traite la position de la prostituée entre le moi et l'autre. Dans les deux œuvres, le point de vue de la société semble être un double standard dans la condamnation de la femme comme prostituée plutôt que comme homme. Ce mécanisme nous amène à retrouver l'identité de la prostituée. Nous arrivons à conclure que le succès de Sartre et d'al-Sayyabe en présentant cette profession comme un échec humain pour les sociétés orientales et occidentales et la décadence de l'homme ou de la femme et en les dépeignant avec une perspective qui correspond aux crises du siècle dernier.

Some Problems with Gendered Subjectivity and Representation: Baise Moi and Hard-Core Pornography

Based on a framework developed by the works of critical theorists Michel Foucault and Judith Butler, this article focuses on a reconceptualization of the relationship between representation on screen and the production of sexualities in order to examine the discourse around the film Baise Moi (Despentes and Trinh Thi, 2000). There have been criticisms about the film’s pornographic and violent elements as well as its “bad ending”, arguing that the film results in a reaffirmation of the patriarchal power practices. This article counterargues that such readings remain within the limited territory of seeking an ideal representation of femininity based on the gender/sex binary which Butler’s work has critiqued. The final section of the article aims to demonstrate how Baise Moi conveys a layered audio-visual organization that focuses on the attainability of different sexualities that are not conforming to the idea of universal sexuality through adopting a pornographic aesthetic that provides the means through which the film can overturn gender norms as well as hard-core porn’s idealism.

Meme and cyber sexism: Habitus and symbolic violence of patriarchy on the Internet

This study examines the various sexist practices on the Internet called cyber sexism. The Internet seems to become a new world for patriarchal domination. The amount of content, comments, and memes circulating on the Internet and social media, such as Instagram, Facebook, Twitter, and WhatsApp harassing women, is proof of the patriarchal power on the Internet. This study used a qualitative method with a feminist perspective, collecting memes through Instagram, Facebook, Twitter, and WhatsApp. The memes were then reviewed and interpreted to find their meaning. Using Pierre Bourdieu’s habitus theory and symbolic violence, memes were analyzed to find the factors that cause sexism against women and the logical link between sexist practices in the real world and cyber sexism on the Internet. Results indicate that people’s habitus about patriarchy has become a mental structure of society that influences stereotyped behavior and gender bias and plays an important role in sexism on the Internet. The Internet, as an arena, has become the initial capital for men to dominate. Naming and mentioning women in various memes are the forms of symbolic violence against them that form new sexist habitus on the Internet.

Inhabiting the threshold: the Women's Gallery as liminal space in New Zealand's feminist art history

<p>In the four years between January 1980 and January 1984, a gallery was run in Wellington by a collective of women to display the work of female artists only. This feminist space sought to provide an educational, supportive and inclusive environment, free from the obstacles which were perceived to prohibit women from displaying their work in mainstream art spaces. This thesis tackles the history of this gallery’s reception and seeks to address its absence in the writing of New Zealand’s art history. In reassessing its history, I assert the Women’s Gallery deserves a place within critical accounts of art in New Zealand. Chapter one locates the Women’s Gallery within the cultural and political context of New Zealand society by tracing the development of the women’s art movement, and feminism as a grassroots political movement. An examination of the gallery’s Opening Show serves as an example of the way in which the ideology of the Women’s Gallery shaped its organisational structure. Chapter two pinpoints the time of the gallery’s existence at a point of transformation within feminist thinking. This chapter problematises the evolution of feminist thought from ‘essentialism’ to a critique informed by poststructuralist strategies. A close analysis of artworks demonstrates that the Women’s Gallery was simultaneously occupied by artists who exhibited both tendencies. By proposing Victor Turner’s model of liminality as a framework upon which to base a discussion of the Women’s Gallery, chapter three reframes the gallery as a liminal space. I argue the temporary existence of the gallery allowed women a space – removed from patriarchal power structures – in which to experiment both politically and creatively.</p>

Gender differences in work-related high mobility differentiated by partnership and parenthood status

The income situation and the division of labor in households, which are closely related to occupational mobility, are central aspects of the debate on gender equality. Women have shorter commuting times and distances than men and spend fewer nights away from their main place of residence for work-related reasons. Various studies attribute these gender differences to a gendered division of labor and the associated greater involvement of women in household tasks and childcare. Consequently, studies investigating these gender differences focus primarily on employees in relationships and the associated intra-couple interactions, while little attention is paid to singles. Based on the German Family Panel (pairfam) this research aims to broaden the scope of interpretation and examines gender differences in work-related high mobility among employees in partnerships with and without children and among singles. Logistic regression models including gender interaction terms show that gender differences exist not only among employees with partners (and children), but also among singles. The results highlight that gender differences in high mobility are due to factors related to relationships and parenthood, as well as from other factors. Gender differences in high mobility are thus not merely the result of negotiation processes or of (patriarchal) power structures in relationships and gendered labor division. They are also related to gendered occupational segregation and economic disparities and internalized gender preferences that are independent of partnership and parenthood.

The fugue - music as a euphemism in the works of Carson McCullers and Emiliya Dvoriyanova

In Women in the House of Fiction Lorna Sage writes: "…the novels too treated the domain of character and representation as the place where the 'others' lived, playing their parts and acting out their roles…" (Sage 1992: viii). Sage investigates the impact women writers have had on post-war fiction employing that every novelist tries to probe the boundaries of fiction, to "voice" their views and positions through the language of literature. Using Henry James's metaphor of fiction as a house, however, Sage is indebted to one of the writers she read and wrote about – Angela Carter. It was Sage, as the first-ever critic to discuss Carter's works thoroughly, who noticed that houses are unable to endure holding the woman and her transgressive power at bay. All houses, castles, buildings, every entity that stands for patriarchal power, are eventually destroyed. Sage reads this as an attack from women novelists against their literary inheritance (Sage 1992: ix). Womanhood is a topic widely outspoken and deeply problematic. Each text takes on different ways to construct, deconstruct, explain and see the woman, her body, her role: in society, history, culture. I argue that women writers project a certain amount of personal experience into the fictional worlds they create - an approach Ellen Moers had in Literary Women and her reading of Frankenstein as Merry Shelly's personified trauma of giving birth. My paper outlines cultural contexts as relevant to the works of different writers. It traces how intentional or non-intentional intertextuality connects texts and motifs; my article seeks to answer how different cultural contexts brought about similar problems. To complete the outlined goals, I rely on close reading of particular texts.

Embodiment in gender studies - How does the embodiment paradigm appear in relation to gender and the context of experiencing gender roles?

The issue of body and embodiment bears strong roots in feminist theories, philosophy, gender studies, women’s studies and men’s studies. According to some previous publications, the impact of patriarchal power structures and hegemonic (heterosexual) masculinity on gender roles, sexuality, and the (social) position of women and minorities can also be construed in connection with (body) perception and embodiment.The experience of one's “sex” as a purely biological phenomenon is influenced by norms and values of parents, relatives and institutional systems from a very young age, and is thus exposed to the effects of the social and cultural environment. Contrasting the experience of manhood and womanhood, masculine (activity, aggression, resilience) and feminine (passivity, fragility) attributes, male (strong) and female (delicate) bodies is an important tool in creating, justifying, and maintaining gender dichotomies and power relations. Some previous studies on the body and the embodiment of gender also highlight that queer culture, transsexuality, and other marginalized groups (ethnic minorities, people with disabilities) questions the legitimacy of this gender binarity.The aim of the present study is to investigate the presence of embodiment theory in gender studies.

A CRITICAL DISCOURSE ANALYSIS OF GENDER SUBJECTIVITY IN HENRY JAMES’ THE PORTRAIT OF A LADY

Reassessment and interpretation of gender dynamics in the current social order has been prevalent theme within gender discourses. The yoke of subordination borne by women as readers, writers or fictional characters in the patriarchal pyramid occupies a central space across the whole spectrum of debates. This study utilizes a qualitative mode of inquiry which is centered on textual analysis. The present study evaluates the instances of gender subjectivity and patterns of subjugation within the textual arena invested with hegemonic ideologies as depicted in the novel The Portrait of a Lady by Henry James. The paper employs feminist critical discourse analysis as a tool to analyze The Portrait of a Lady by Henry James in order to dissect the underlying ideologies present in the Victorian time period and investigates discourses of subjectivity. The findings of the study demonstrate that notwithstanding temporal advancements, gender power structures remain intact, and women continue to suffer under patriarchal power structures. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0874/a.php" alt="Hit counter" /></p>

Power Relations in Reproductive Decisions Under the Transforming Family Planning Policy in China

China’s family planning policy has had a profound influence on individuals and families for the past 30 years. The universal two-child policy implemented in 2016 is its most relaxed form. The consequences of the policy transitions are worthwhile to explore . By interviewing 26 middle class mothers who gave birth to a second child during the policy transformation, we consider women’s accounts of their reproductive decisions-making processes. We found that the participants exerted strong agency in their reproductive decisions, but meanwhile they were reproducers and embodiments of traditional culture, population policies and patriarchal power. They internalised various modes of power that dictate how women should regulate their bodies, reflecting the mechanisms of self-governance. Self-governance functions as a subtle technique of conflict avoidance through which explicit conflicts are dissolved and transformed into intrapersonal self-adjustment and personal struggle. Our research broadens the conceptualisation of self-governance by incorporating relational dynamics using evidence from China.

Pussy Power: A Contemporaneous View of Indigenous Women and Their Role in Sex Work

Sex work is the trade of sexual services in exchange for money or other goods of value. In the context of Indigenous Australia, sex work often produces narratives of victimisation and oppression reinforcing the patriarchal power and colonial dominance that is rife in Australia over Indigenous women’s bodies and behaviours. Drawing from interviews with Indigenous women who are engaged with sex work, this paper challenges these narratives by examining the motivation and meanings that shape Indigenous women’s decisions to undertake sex work, offering a compelling counter-narrative that discusses how Indigenous women seek and enact agency, sexuality, and sovereignty through the pussy power of sex work.