NIKOLAI PIROGOV ABOUT IDEAL WOMAN AND WIFE WHO LOVED HIS CHILDREN AS HER OWN

According to numerous N.I.Pirigov’s letters the author focuses on complicated and strict point of genius Nikolai Ivanovich’s view on women in general and on further wife in particular

Representation of Padmavati and the Recurring Image of an ‘Ideal Woman’

The paper entitled, “Representation of Padmavati and the Recurring Image of an ‘Ideal Woman’” with the representation of Padmavati in the epic titled Padmavat by Jayasi and Padmaavat, a film adaptation of the epic directed by Bhansali. It also focuses on how people view her today. She is represented as an ideal woman, who sacrificed her own life to preserve her chastity and thereby the honour of her own community. She is attributed all ideal qualities that is expected in a woman. Her adherence to these qualities construed by the patriarchal society and her act of “Jauhar” made her rise to the level of a goddess. However, these qualities are not the mere construction of a community or era alone. It has been existing since time immemorial. There has been a tendency to stereotype women as meek, gentle, submissive etc. since the time of Manu which has found its way into popular myths and legends. The story of Padmavati also borrows this same image of an ideal woman and her glorification.

“O'erwhelmed with noise”: Abject Female Speech in Epicene; or, The Silent Woman

This article discusses Ben Jonson's 1609 play Epicene; or, The Silent Woman, with a particular focus on Morose's excessive solitude and aversion to noise. The article begins by demonstrating how Epicene ostensibly relies on early modern discourses of female speech. The ideal woman of sixteenth- and seventeenth-century conduct literature was silent, a quality inseparable from the associated virtues of chastity and modesty. Morose takes this imperative to its extreme in his search for a bride of “thrifty speech,” who “spends but six words a day” (1.2.28-9). In contrast, excessive female speech is associated with women's proverbial corporeal leakiness, “hermaphroditic” or “epicene” gender, and uncontrolled sexual desire. Above all, the play insists that noisy, desiring, masculine women are a product of the emergent consumer culture located in the city. This raises a contradiction: are women all inherently prone to noisiness, or does female noisiness trouble the boundaries of gender? If women are naturally noisy, what is it about early modern London that, according to the play, exacerbates this? How we understand the nature of noise has profound implications for our reception of Morose. Rather than defining Morose solely in terms of his apparent agoraphobia and miserly character, as earlier criticism tended to do, attention to the ways in which both Morose and Epicene attempt to construct intolerable noise as an innate feature of urban womanhood can illuminate the structure of social abjection at work in policing the boundaries of masculinity and male communities.

The Status and dignity of Women in Islam and Hinduism

The heavenly religions have spoken much about the creation of man and his place in the world of creation. The position of women in these religions, known as the revelation religions, is very high. In the ancient Hindus, woman was not dignified and regarded as much as men, although in the Upanishads the woman was intrinsically valued, and man and woman are half halves that complement each other. There is no legal difference between men and women in India today, and women can engage in political, economic, and cultural activities as men. In Hinduism, woman holds a high position as a mother, from the point of view of Hinduism, the ideal woman is a woman who loves her husband and provides his with comfort. But the Hindu girl is far less valuable than the Hindu boy, and many Hindus do not generally favor the girl child. From the Islamic point of view, men and women have equal value in terms of humanity, and no one has superiority over others in their humanity. But this does not mean that any physical and mental differences between the two are denied. The holy religion of Islam considers women the first and foremost task of marrying and raising children, by assigning specific duties to women that are commensurate with their type of creation, but at the same time permits women to adhere to the principles of a Muslim woman participate in the community and engage in social and economic activities.

Representation of Ethnic Women in Upendra Subba's Lāto Pahāda [Dumb Hill]

The article aims to examine the images of ethnic women in Upendra Subba's Lāto Pahāda [Dumb Hill], a collection of short stories. The focus of the article is to analyze the portrayal of female characters in the selected five stories from the collection and to explain how they subvert the image of the ideal woman promoted by mainstream Nepali literature. These stories deal with the issues of Limbu people, an ethnic community residing in the eastern hilly region of Nepal. Through them, Subba raises the issues of ethnicity and representation of marginalized people. He explores the pain, suffering and hardship of these people who have been at the margin of the society. The stories, mostly, focus on men who play the primary roles in them; nonetheless, female characters play an important role to make sense of the lifestyle of the Limbu people. Portrayed in the secondary roles as wife, daughter, and mother to the male characters, they maintain equal relation with their male counterparts. They work with self-determination and do not experience male domination in thei lives. To analyze the issues stated above, this paper draws theoretical ideas from third wave feminism which rejects the universalist claim that all women share a set of common experiences. The third wave feminists deny the concept of universal femininity; they clarify that the forms of oppression can be as varied just as resistance to them can have specific local color. The finding of the article suggests that Subba's female characters are depicted in the ethnic background which is nonhierarchical and believes in gender equality. Their portrayal subverts the image of ideal womanhood created and circulated by mainstream Nepali literature.

nr="141"Spuren des Halts in Daniel Clowes’ David Boring

Zusammenfassung: Nähert man sich der Frage, wie Individuen zu innerer Sicherheit gelangen, aus der Perspektive von Subjektivierungstheorien, so lassen sich diese nur in einem komplexen Wechselverhältnis von Fremd- und Selbstformungsmodi erklären. Um diese sichtbar zu machen und zu verstehen, können Artefakte der Kunst wertvolle Impulse geben, indem sie eine Verschiebung gewohnter Wahrnehmung bewirken können. Für eine subjektivierungstheoretisch verortete Erforschung individueller Generierung von innerer Sicherheit bieten sich Comics in besonderer Weise an. Aufgrund ihrer sequentiellen Erzählstruktur weisen sie eine spezifische Analogie zu Vorstellungen von Subjektivierungsprozessen auf. Somit versprechen sie, nicht nur inhaltlich, sondern auch formal, aufschlussreiche Perspektiven auf die Konstruktion innerer Sicherheit zu eröffnen. Am Beispiel zweier dominanter Motive in Daniel Clowes’ Comic David Boring wird gezeigt, wie der Protagonist innere Sicherheit zu gewinnen sucht: Das erste stellt seine Auseinandersetzung mit dem einzigen Zeugnis seines Vaters dar, einem Comic. Das zweite Motiv bildet seine Suche nach der idealen Frau. Dabei liegt das Hauptaugenmerk auf dem komplexen Verhältnis des Individuums zu seiner Adressierung auf der Handlungs- und Gestaltungsebene.Abstract: If one approaches the question of how individuals attain inner security from the perspective of subjectivation theories, these can only be explained in a complex interrelation of modes of external- and self-forming. In order to make these modes visible and to understand them in their complex interconnectedness, artifacts of art can provide valuable impulses by causing a shift in habitual perception. For a research approach to the individual generation of inner security based on theories of subjectivation, comics offer themselves in a special way. Due to their sequential narrative structure, they exhibit a specific analogy to concepts of processes of subjectivation. Thus, they promise to open up insightful perspectives on the construction of inner security, not only in terms of content, but also in terms of form. The example of two dominant motifs in Daniel Clowes’ comic David Boring shows how the protagonist seeks to gain inner security: the practices of the protagonist’s confrontation with a comic that is the only link to his father who left him early in his life, and as second theme his search for the ideal woman. <?page nr="142"?>The main focus is on the complex relationship between the individual, its addressing by the actors and their environment, and on the formal level in which they express themselves in comics.

IMAGE OF THE IDEAL WOMAN-CITIZEN OF THE GERMAN DEMOCRATIC REPUBLIC IN THE WOMEN'S PRESS

Статья посвящена изучению характера трансляции норм, составляющих образ идеальной гражданки ГДР по материалам женской прессы. Произведён анализ четырёх женских журналов ГДР («DieFrauvonheute», «Für-dich», «Pramo», «Sibylle»), на его основе предпринята попытка выявить детали «собирательного образа» героини каждого из рассмотренных изданий с учётом как требуемого государством «образца», так и редакционной политики и запроса самих читательниц. Автором выявлены сферы реализации женщин, в рамках которых осуществлялась трансляция нормативного поведения в указанных журналах. Рассмотрены составляющие образа идеальной гражданки ГДР в области профессиональной реализации и участия в деятельности общественных организаций, в сфере семейных взаимоотношений - брака и материнства, а также в досуговых практиках. The article studies the specifics of broadcasting the norms that make up the image of the ideal woman-citizen of the GDR based on the materials of the women's press. The analysis of four women's magazines of the GDR («Die Frau von heute», «Für dich», «Pramo», «Sibylle») has been carried out. On the basis of the analysis, the details of the «collective image» of the heroine of each of the reviewed publications were revealed from the following angles: the «sample» required by the state, the goals of editorial policy, the request of the readers themselves. The author identified the spheres of realization of women, the broadcast of normative behavior within which was carried out in the indicated women's magazines. The components of the image of an ideal woman-citizen of the GDR in the field of professional implementation and participation in the activities of public organizations, in the field of family relationships - marriage and motherhood, as well as in leisure practices are considered.

COMMODIFICATION OF VALUES IN AMERICAN POPULAR FAMILY MOVIES IN 1990S

This thesis investigates the American popular family films from the 1950s to the 2000s by using Interdisciplinary approach. This approach is intended to explore the object of research from the history, sociology, and cultural background. The theory of representation and commodification are used together to examine how the films represent American family life and how the film industry commercializes American family values. By focusing on family roles that include the division of roles between husband and wife, interactions between family members, and the values adopted by children as a result of parenting practice, it was found that the family concept shown in films from the 1950s to the 2000s represented the reality of the dynamics of family life in every decade. Besides, in popular films of the 1990s, 'Hollywood Family Entertainment' commercialized the patriarchal issues contained in the 'traditional family' concept. There is an ideology of 'ideal woman' strictly as a housewife which was commodified through these films. Optimistic value in the family was also commodified through the child character consistently, shown by the emergence of child character who tends to be positive towards the future, focus on goals, strives for success and happiness and free in making choices.

Alfred Hitchcock’s Vertigo and the Pygmalion Myth Reconsidered

Alfred Hitchcock’s film Vertigo (1958) has attracted the interest of classical reception scholars because of its adaptation of Ovid’s Pygmalion myth. Scottie, the film’s main character, has been interpreted as a re-enactment of Pygmalion, a character in the Metamorphoses who sculpted his ideal woman out of ivory. In this article, the idea of a direct line of reception from Ovid to Hitchcock is challenged. Rather, the principal model of the film is identified as George Bernard Shaw’s drama Pygmalion (1913). However, Ovid’s Pygmalion story does constitute a model for the film as well, though it does so on a more indirect level. In fact, all the film’s main characters display Ovidian traits. These add an extra layer of meaning to the understanding of the film and the complexity of its characters, and allow for an unexpected re-interpretation of Scottie and his desires.

Pelagius’ View of Ideal Christian Women in his Letters

The Pelagians’ ascetical practices were aiming at neither a kind of elitism nor perfectionism, rather, they simply tried to instruct their women disciples on the physical and spiritual care management in Eastern Christian ascetic manners. Pelagius emphasized the free will of women and their dignity as being in the image of God. This was quite different from the negative evaluations of women’s free will by Jerome, Augustine, and later Western priests, but quite similar to the affirmative perspectives of women’s freedom of will by Eastern Church fathers like John Chrysostom. In this presentation, I would like to focus on the letters to Demetrias from Jerome, Pelagius, and Ps. Prosper; Pelagius’ letters to a widow and a married woman; and Chrysostom’s letter to Olympias. Critically considering the previous research on the letters to Demetrias (by A.S. Jacobs 2000, A. Kurdock 2003 and 2007, and K. Wilkinson 2015), I would like to evaluate the unique perspective that Pelagius offers of the ideal woman as described in the letters to Christian women, from an Eastern theological viewpoint.