A representação da mulher na família burguesa oitocentista: uma análise do romance Rio do Esquecimento, de Isabel Rio Novo / The representation of women in the nineteenth-century bourgeois family: an analysis of the novel Rio do Esquecimento, by Isabel Rio Novo

Resumo: O presente artigo tem como principal objetivo analisar e compreender a família nuclear burguesa oitocentista e como a figura feminina é representada no romance Rio do Esquecimento (2016), da escritora portuguesa contemporânea Isabel Rio Novo. A obra se desenvolve em torno de diferentes núcleos familiares e, por isso, optamos por analisar somente a personagem Maria Adelaide, da família Clarange. Frisa-se que o aporte teórico de nossa pesquisa é baseado nos circunscritos de teóricos que elaboraram estudos contundentes sobre a sociedade burguesa, a família nuclear e a figura feminina no século XIX, como: Hobsbawm (1977), Andrade (2013), Vaquinhas (2004), Kehl (2008), entre outros. Como resultado averiguou-se que a obra evidencia uma sociedade na qual predomina o autoritarismo masculino e a submissão da figura feminina no seguimento às regras sociais impostas pela sociedade machista e patriarcal, deixando de viver suas próprias escolhas e, consequentemente, sua liberdade, para expressar seus sentimentos e suas vontades, além de evidenciar a sociedade burguesa e como ela era obcecada pela aparência e pelas regras morais que muitos bravejavam e defendiam com orgulho, mas que uma grande parcela não as praticava, tornando ainda mais evidente a hipocrisia social.Palavras- chave: Família; Representação da mulher; Ficção portuguesa contemporânea; Isabel Rio Novo.Abstract: This article aims to analyze and understand the 19th century bourgeois nuclear family and how the female figure is represented in the novel Rio do Esquecimento (2016), by contemporary Portuguese writer Isabel Rio Novo. The work is developed around different family nuclei and, therefore, we chose to analyze only the character Maria Adelaide, from the Clarange family. It is emphasized that the theoretical contribution of our research is based on the circumscriptions of theorists who elaborated strong studies on bourgeois society, the nuclear family and the female figure in the 19th century, such as: Hobsbawm (1977), Andrade (2013), Vaquinhas (2004), Kehl (2008), among others. As a result, it was found that the work shows a society in which male authoritarianism predominates and the submission of the female figure following the social rules imposed by the macho and patriarchal society, ceasing to live its own choices and, consequently, its freedom, to express his feelings and his will, in addition to showing bourgeois society and how it was obsessed with appearance and moral rules that many proudly defended and defended, but that a large portion did not practice, making social hypocrisy even more evident.Keywords: Family; Representation of women; Contemporary Portuguese fiction.

Representasi Feminisme Eksistensialis Tokoh Wanita dalam Film The Great Wall,

This research aims at the theme of the study of feminism in acting, especially in film. The female figure in this film is described as a strong and spirited female figure. This female figure exists among the domination of men as usual. A female figure is usually portrayed in a feminine role, but in this film, the roles shown are very different. From the role of this female character in this film "The Great Wall", emerges the Existentialist Feminism side, for example, that women are described as a figure who has a level of independence, a way of thinking that is not dependent on men. This study uses descriptive qualitative research using the strategy proposed by Simone de Beauvoir, how women interpret themselves, like 1) work and determine fate; 2) join intellectual groups, think, see, and define to bring about change for women; 3) work and achieve social transformation in society, and 4) refuse to internalize that women are below men. This study shows that the emotional side of a woman cannot change the character of a woman in dealing with problems, this can be seen from the storyline given in this colossal genre film.

A Woman to Rule the World: Rome Personified in the Roman Republic

<p>Revitalised by Mussolini in the early twentieth century as a symbol of the ‘New Roman Empire’, Roma has endured a long history of national representation. Traditionally the figure of Roma is on the one side associated by historians with the Roman imperial cult and Augustus, and on the other by Numismatists as the helmeted female figure on the coinage of the Roman Republic. However, these figures are not presently considered one and the same. When describing this figure, Roma is considered a Greek innovation travelling west, which naturally discounts well over two centuries of Roman issued coinage. Roma inaugurated by Hadrian and previously manipulated by Augustus was not simply a Greek import, but a complex Roman idea, which, true to Roman form, incorporated native and foreign elements in shaping an outward looking signifier of Roman identity.</p>

Eksistensi Perempuan dalam Novel Guru Aini Karya Andrea Hirata: Kajian Feminisme Eksistensial

This paper analyzes the existence of women’s existence in Andrea Hirata’s Guru Aini. This study aims to determine the existence of women in the novel. This is a descriptive qualitative research with existential feminism approach. The writer analyzes the data obtained by identifying, classifying, describing and drawing conclusions. It can be concluded in this study that there are several texts that include words and sentences which indicate the female character named Desi in the novel is able to bring out her existence as a female figure in the novel.Abstrak Tulisan ini menganalisis eksistensi perempuan dalam novel Guru Aini karya Andrea Hirata. Penelitian ini bertujuan mengetahui eksistensi perempuan dalam novel tersebut. Penelitian ini merupakan penelitian deskriptif kualitatif dengan pendekatan feminimisme eksistensial. Penulis menganalisis data yang didapat dengan cara mengidentifikasi, mengklasifikasi, menguraikan, dan menarik kesimpulan. Ditemukan beberapa teks yang meliputi kata dan kalimat yang menunjukkan bahwa tokoh perempuan bernama Desi pada novel tersebut mampu memunculkan eksistensiya sebagai sosok perempuan.

A Woman to Rule the World: Rome Personified in the Roman Republic

<p>Revitalised by Mussolini in the early twentieth century as a symbol of the ‘New Roman Empire’, Roma has endured a long history of national representation. Traditionally the figure of Roma is on the one side associated by historians with the Roman imperial cult and Augustus, and on the other by Numismatists as the helmeted female figure on the coinage of the Roman Republic. However, these figures are not presently considered one and the same. When describing this figure, Roma is considered a Greek innovation travelling west, which naturally discounts well over two centuries of Roman issued coinage. Roma inaugurated by Hadrian and previously manipulated by Augustus was not simply a Greek import, but a complex Roman idea, which, true to Roman form, incorporated native and foreign elements in shaping an outward looking signifier of Roman identity.</p>

Transimperial Negotiations and Cultural Anxieties from the Sensation Novel to the Adventure Story

The sensation novels of the 1860s expressed the anxieties of the age, challenged realism, and sought to revive wonder. Within the transformations of modernity, these novels were read and exchanged across the British Empire. Sensation fiction mixed romance and realism and its sensational elements reflected modern tensions and concerns. Mary Elizabeth Braddon’s Lady Audley’s Secret probed the sources of violence, the cultural measures of sanity, and underscored the transgressions of an oppressed female figure in her search for freedom. Wilkie Collins’s Woman in White likewise challenged cultural certainties, as he observed the expanding popular reading audience. The rise of the adventure story within the imperial designs of colonization expressed a sense of mystery and an encounter with otherness that is interrogated here.

The Invitation to the Dance. An intertextual reassessment

With its original manifestation generally dated to c. 150 BC, the Invitation to the Dance is a textbook example of Hellenistic sculpture. But despite much scholarly attention there is still no consensus as to what motif the sculpture group depicts. Inspired by intertextual theory, this study catalogues and re-examines 35 sculptures of the female figure and 34 sculptures of the satyr. The article focuses on preserved sculptures, rather than a reconstructed model image. Variations of the repeated forms are highlighted as significant for the interpretation of the types. The reading of the Invitation to the Dance thus put forward suggests that the group composition displays the moment after the satyr has pulled the female’s garment down from her upper body. It is furthermore emphasized that both satyr and female figure were at times—perhaps even predominately—displayed as solitary figures. The satyr’s foot-clapper is suggested to have been included primarily in instances where the satyr was displayed on his own. Sculptures of the female figure fending off —though not touching—an intrusive companion could have been paired with other Dionysian figures as well, a practice that might be reflected in sculptures that show this female type in other group compositions.

Nature through God’s Eyes: Eco-theological Perspectives in Paul Schrader’s First Reformed

Environmental crisis is one of the major issues that humankind is facing today. The crisis can be discussed through a Christian perspective, as the relationship between Christianity and environment has been long discussed for its complexities. Eco-theology is one of the ways for Christianity to bridge its teaching to the environmental crisis. First Reformed, a 2017 film directed by Paul Schrader, is one of the films depicting the interplay between Christianity and environmentalism. This paper examines how First Reformed portrays the process of reconciling Christianity and environmentalism. Using Jürgen Moltmann’s eco-theological concept and Kierkegaard’s concept of despair, this article discovers that while First Reformed demonstrates the ways Christianity could be both an ally and an enemy of environmentalism, the film’s final message leans more towards the way the church can respond to the crisis through embracing insights and values beyond Christianity’s core doctrine that are more in line with environmental concerns, such as seeing nature as a female figure and the idea of harmony illustrated through a yin-yang symbolism.

Did Andreas Vesalius’s De Humani Corporis Fabrica and/or Juan Valverde’s Historia De La Composicion Del Cuerpo Humano Really Influence the Anatomy Knowledge in the Ottoman Empire? A Preliminary Study on Shams al-Dīn ʿItāqī’s Tashrīh al-Abdān*

Aim of this study was to determine whether Vesalius and Valverde influenced Shams al-Dīn ʿItāqī considering the figures and several statements in Tashrīḥ al-Abdān wa Tarjamān Qibāla Faylasūfān. The statements and figures in illustrated copies of ʿItāqī’s book were examined and compared to those in Galen’s, Avicenna’s, Vesalius’s, and Valverde’s works, then the findings were evaluated. ʿItāqī’s book contains some figures only from Vesalius and/or Valverde’s works, but there is no new explanation related to issues such as the mandible, the sacrum, the rete mirabile, and the uterus. The Latin edition of Valverde’s book published in 1607 was probably the source of the Western-originated illustrations in the manuscript Hüsrev Paşa, Nr. 464 and of all the Western-based illustrations, except for the female figure in the manuscript of Istanbul University, Turkish Manuscripts, TY 2662. Spanish and/or Italian and/or Latin (1589) editions of Valverde’s book were the sources of most of the Western-originated illustrations, except the human skeleton figure in the manuscript of Prof. Uzluk’s personal collection. The information given by the works of Vesalius and Valverde has not influenced the explanations of ʿItāqī. ʿItāqī wrote his book according to the classical anatomical knowledge in the Islamic world of his era and he added Eastern- and Western-originated figures to his book to support/strengthen his statements. Or ʿItāqī work Tasrīḥ al-Abdān originally contained no illustrations. However, later, scribes/copiers added Eastern- and Western-originated anatomical figures to the book to support/strengthen statements at different times.