La Femme comme modele et comme cette Autre de la representation visuelle
In: Recherches féministes, Band 7, Heft 2, S. 57-80
ISSN: 0838-4479
In: Recherches féministes, Band 7, Heft 2, S. 57-80
ISSN: 0838-4479
In: Política y cultura, Band 1, Heft 1, S. 277-298
ISSN: 0188-7742
In: Pacific studies, Band 13, Heft 3, S. 63-92
ISSN: 0275-3596
In: Women's studies: an interdisciplinary journal, Band 14, Heft 1987
ISSN: 0049-7878
In: Kölner Zeitschrift für Soziologie und Sozialpsychologie: KZfSS, Band 12, Heft 3, S. 400-420
ISSN: 0023-2653
In: Texas Journal of Women and the Law, Band 15, Heft 43
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In: IZA Discussion Paper No. 16096
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In: International feminist journal of politics, Band 7, Heft 1, S. 137-141
ISSN: 1468-4470
This study aims to analyze the power politics in the narrative of the film Chloe as addressed by the mirrored desire perceived in the film and to illustrate how this mimesis is communicated through the imagery of confinement that dominates the presence of the female protagonists. René Girard's mimetic theory of triangular desire and scapegoat mechanism and Sandra Gilbert and Susan Gubar's conceptual image of a mad woman in the mirror are employed as the frameworks on which the analyses are based. The results reveal four paradigms of triangular desire, the last of which confirms the male hegemony that underlies the film's narrative and that, subsequently, undermines the message of women's empowerment suggested by the film's emphasis on the female characters and their supposed bonding. The feeling of entrapment of the female protagonists is revealed through the ways in which they are framed cinematically and metaphorically. The desire to break free from this inhibition is realized through the image of a mad double who rebels against such male constructs as family, work and sex, and whose presence entails such anarchical chaos that she must be dispensed with so that the patriarchal order can be restored. This affirms the stronghold that patriarchy has over both the female psyche and the general public conscience. The findings also support the adaptability of literary frameworks in a cinematic investigation.
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Manipur is a state situated in North-Eastern corner of India. Two-thirds of the population comprise the Meiteis, majority ethnic community in Manipur. Meitei women are renowned for their unique role and status in history. Women in Manipur are particularly noted for their active economic participation and are renowned for their collective empowerment and strong force as depicted in the two Nupilans (women's wars, or uprisings) against the British when the state was under colonial rule. They are also renowned for their activism against liquor consumption as Nisha Bandhis which later evolved into their powerful role as Meira Paibis(Women torch bearers), a collective of women that are actively involved in civil society movements for justice and human rights. The study seeks to find out whether this legacy of women's collective strength has translated into greater decision-making power at home and in political representation. The paper uses secondary data to depict the myriad roles that women play in Manipur society, contradictory at times, visible on one hand in high economic participation, powerful as a collective in their role as Meira Paibis, and yet individually still constrained by patriarchy and not prominent when it comes to real decision-making power. It argues that a movement towards tangible actual empowerment is a must.
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In: Politikon: South African journal of political science, Band 33, Heft 2, S. 197-219
ISSN: 1470-1014
This study examines embodiments of the traditional Korean mask dance, t'alch'um, in the post-Korean War period. The military government and university student activists in South Korea utilized the t'alch'um as a pivotal vehicle for establishing "Korean" identity and subjectivity during a period of nation-building, from the 1960s to the 1980s. However, they each used different methods and pursued different goals. The government established the Cultural Heritage Protection System in 1962 with the goal of safeguarding the original form of the mask dance. One impact of the government's system was to consolidate the power of the dictatorship. In contrast, university student activists recognized the necessity of preserving tradition and establishing an identity and subjectivity for the public. They created their own theater, called madanggŭk, by connecting the principle of satire from the mask dance with socio-political and economic issues that resulted from the dictatorship's oppressive policies. Through madanggŭks, the activists sought to promote "Koreanness" that originated from minjung (common people) and one important outcome was their expression of resistance against the dictatorship. Assessing these two reconstituting activities in the post-war era, the main purpose of this dissertation is to shine a critical spotlight on how the reconstitutions of dances past were differently appropriated and the impacts they exerted on national identity and subjectivity. Although one of the goals of some developing reconstitutions of the mask dance was to challenge previous conservative and hierarchical ideologies, vestiges of 19th-century Korean Confucian patriarchy remained active in social and cultural conventions. This study analyzes how gender binaries in hierarchical relationships were circulated in reconstitutions of the t'alch'um. I examine how patriarchal family structures, sexual division of labor, and stereotyped images of women are depicted in androcentric storylines of the mask dance and madanggŭk. I also analyze how vestiges of Korean Confucian patriarchy influenced relationships between men and women in performing groups.This project employed several methodologies: oral interviews; analysis and interpretation of archival materials and secondary literature; and movement analysis of the t'alch'um and madanggŭk as captured in photographs. While in South Korea from 2011 to 2013, I gathered written and visual documents and conducted interviews with professional dancers and scholars. Few moving image records exist for period reconstitutions of the mask dance and madanggŭk. Limited numbers of still pictures are available for t'alch'um and madanggŭk productions in this period. However, using photos, I studied various performing factors: what body parts performers primarily utilized, how performance environments appeared, how performers located themselves in relation to spectators, and what costumes performers wore.These methods enable me to argue that neither the Korean government reconstitutions nor university student performances of madanggŭk escaped from the reach of Confucian philosophy, sovereign-centered system, and hierarchy, even though they each pursued democratic revolution from the 1960s to the 1980s. This study approaches the two reconstitutions with perspectives gleaned from several disciplines as it addresses cultural production in connection with politics, industrialization, and gender role issues.
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The objective of this research is to assess whether gender inequality affects women's career progression in Malaysia. The study examines the relationship between patriarchy, gender stereotypes, organisational cultural factors, family factors, and individual factors with women's career progression. The study has adopted the Glass Ceiling Theory and feminist theory. A total of 250 questionnaires were collected from women employees working in Malaysia. The study revealed that patriarchy, organisational cultural factors, and family factors had a significant relationship with women's career progression while gender stereotypes and individual factors had no significant relationship with women's career progression. The findings of this study contribute to women's empowerment in society, and for companies and the Government of Malaysia to have a better understanding of the factors involved in women's career progression in Malaysia. This study contributes to the Glass Ceiling Theory and feminist thought by determining the relationship of these theories with regard to women's career progression in Malaysia.
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In the fall of 2016 those promoting patriarchal ideals saw their champion Donald Trump elected president of the United States and showed us how powerful patriarchy still is in American society and culture. Darkness Now Visible: Patriarchy's Resurgence and Feminist Resistance explains how patriarchy and its embrace of misogyny, racism, xenophobia, homophobia, and violence are starkly visible and must be recognized and resisted. Carol Gilligan and David A. J. Richards offer a bold and original thesis: that gender is the linchpin that holds in place the structures of unjust oppression through the codes of masculinity and femininity that subvert the capacity to resist injustice. Feminism is not an issue of women only, or a battle of women versus men - it is the key ethical movement of our age