Suchergebnisse

A feminist friend asked me to write a piece addressed to this question: How would my work have been different if I had engaged with and learned from the feminists of the late 1960s and 1970s? I have tried to respond, in a more personal style than I usually adopt, but with what I hope is a familiar anxiety. Before I begin, I need to claim an earlier education. In 1953, I dated and later married a woman who was a bolshevik feminist, who wouldn't let me open a door for her, or help her on with her coat, or pay for her movie tickets, or do any of the things that boys were supposed to do for girls in those benighted days. And we had two daughters who were egalitarian, and argumentative about it, from their first conscious moment. I wanted them to grow up in a society where they could do... whatever they wanted to do. So long before I ever read a feminist tract, I was committed to August Bebel's proposition that there couldn't be a just society without "equality of the sexes." But that bit of political correctness didn't necessarily make for what you might call intelligence about gender. If I had been intelligent in that way, what would I have written differently? The book to focus on is Spheres of Justice, which I wrote in the early 1980s. Spheres deals with the distribution of social goods and bads, the benefits and burdens of our common life, and it includes a discussion of the conventional roles and rewards of men and women. The book provoked a lot of arguments, many of them critical, and for me the most interesting criticism came from feminist writers. Adapted from the source document.

Film merupakan alat dalam proses sosialisasi yang membuka pandangan baru masyarakat tanpa menggurui. Salah satu pandangan yang ada di masyarakat ialah kesenjangan antara laki-laki dan perempuan. Laki-laki lebih diutamakan, salah satunya dalam pendidikan dan kesempatan bekerja. Sedangkan kaum perempuan selalu di nomor dua kan. Film sebagai media mampu merefleksikan isu yang berkembang dalam masyarakat. Film Dangal diambil dari kisah nyata perempuan India yang berhasil di bidang olahraga Gulat yang biasanya di dominasi laki-laki. Penelitian ini bertujuan untuk mengenal lebih dalam mengenai makna autonomi perempuan. Dimana perempuan berhak menentukan pilihannya, baik dalam ranah publik maupun ranah privat. Dengan autonomi perempuan akan mampu membawa perubahan untuk dirinya dan memotivasi perempuan lain. Dalam bahasa yunani autonomi berasal dari kata autos dan nomos. Autos berarti sendiri dan namos aturan. Sehingga dapat diartikan autonomi adalah wewenang untuk mangatur diri sendiri. Feminisme adalah paham yang mendukung hak-hak sosial dan politik yang setara bagi perempuan. wollstonecraft menekankan bahwa pendidikan perempuan dan laki-laki harus setara agar perempuan mampu mengimbangi laki-laki. Jenis penelitian menggunakan deskriftif kualitatif. Teori feminisme liberal yang mengkategorikan perempuan dan lak-laki memiliki hak dan kesempata yang sama. Teknik analisis data menggunakan semiotika Roland Bartes dimana ia menganalisis berdasarkan makna denotasi, konotasi dan makna mitos yang mengarah ke makna kultural, simbol-simbol dan makna emosonal. Pertama peneliti memilih kata-kata dan kalimat yang mengadung autonomi perempuan dan tindakan yang mengandung gender. Kedua mengurai kalimat yang mengandung kemandirian perempuan. Terakhir peneliti menginterpretasikan dengan tanda-tanda tersebut dengan mitos yang berkembang di masyarakat. Hasil penelitian menunjukan bahwa perempuan mampu berprestasi di wilayah maskulin, dengan pendidikan atau pelatihan yang serius. Selain itu ditemukan juga perubahan terhadap pemberdayaan sosial, dimana perempuan memiliki kekuasaan, hak dan kemampuan untuk menunjukan hasil latihan dan usaha kepada masyarakat. Dengan semangat untuk mengambil resiko akan memunculkan inspirasi baru dan perubahan. Sosialisasi gender sejak dini akan menghilangkan stereotipe yang merugikan perempuan dan menghambat perempuan dalam berbagai partisipasi.

This dissertation deals with affect and its power to structure the current political landscape of migration, displacement and transnationalism into what I call a/effective landscapes. Borrowing the concept of affect from Gilles Deleuze and his followers such as Rosi Braidotti and Brian Massumi, who define affect as an impersonal pre-personal force, an immanent vitality and instrinsic to matter that is linked to the body's ability to experience affect and to affect, my premise is that affect affects emotionally (the protagonists of the work as well as the recipients of thereaders and viewers of artwork) and from which ensue political effects ensue.Utilizing a comparative methodology, this dissertation explores the work of four German-speaking female transnational filmmakers and writers, all of whom contribute to and intervene in contemporary discourses on transnationalism, transnational subjectivity, concepts of space and time, the discourse on Heimat and monolingualism through their use of affect in writing and filming.vSeen through a transnational, feminist lens, I try to identify affect in the works of Angelina Maccarone's Unveiled, Andrea taka's Das Fräulein, Herta Müller's Reisende auf einem Bein and Yoko Tawada's short story "Wolkenkarte," examining the political efficacy of their aesthetic of writing and filming affect. Unveiled in particular explores affect as a positive force, with the potential to overcome the various borders that have been created for the purpose of keeping out those regarded as aliens. Das Fräulein explores the affective state of three migrant women from the former Yugoslavia and their transversal becomings, which leads to a new definition for transnationalism beyond identification. "Wolkenkarte" and Reisende auf einem Bein are discussed as vibrant texts, which--inspired by the neutral aesthetics of Roland Barthes and the nomadic aesthetics of Rosi Braidotti--a/effectively engender modes of belonging that are not rooted in stable notions of monocultural and monolingual nation-state and Heimat/home.