This article examines how gender shapes the migration and settlement experiences of Mexican immigrant women and men. The article compares the experiences of families in which the husbands departed prior to 1965 to those in which the husbands departed after 1965 and argues that the lengthy spousal separations altered patterns of patriarchal authority and the traditional gendered household division of labor. This induced a trend toward more egalitarian conjugal relations upon settlement in the United States. Examining the changing contexts (...) of migration illuminates the fluid character of patriarchy's control in Mexican immigrant families. (shrink)

The article begins with an integrative theory of neurosis and with the notion of the “patriarchal mind,” which I conceive as the psycho-social foundation of what we call “civilisation” and proceed to characterize as a despotic and repressive activity of the father on the mother and on the child in the family, and also of an analogous relation between the intellect on the emotional and on the instinctual sub-selves in the individual mind. Next, I propose that patriarchy entails four (...) interrelated problems: violent authority; the eclipse of caring; the repression of instinct; and the invalidation of intuition; and point out that since these are evident in our well-recognized social problems, these may be traced down to the “patriarchal complex” that in turn defines patriarchal society. Finally, I develop the idea that not only is the patriarchal mind is embodied in each of the known interpersonal or character pathologies, but that each of these pathologies contributes to the systemic and cultural presence of the patriarchal mind. The corollary of this analysis is that the healing of both our interpersonal and social pathologies will depend on the healing of the patriarchal mind, which is conceivably possible to bring about through a specially designed education oriented to the balanced development of “three-brained beings,” in whom a balance has been achieved between the intellectual, emotional, and instinctive sub-selves that constitute our mind. (shrink)

Katelis Viglas’ book: Jeremiah II Tranos. Archbishop of Constantinople, New Rome and Ecumenical Patriarch (1536-1595) is a historical-theological description and analysis of the most important data and facts concerning the life and works of Jeremiah II Tranos, Patriarch of Constantinople in the 16th century. The book consists of a Prologue, which refers to the aim of the treatise and the method followed. In the Introduction there is a general outline of the era of Jeremiah II and its origins, as well (...) as a brief presentation of his contribution to the Greek Genus. The First Chapter is divided into three subchapters. The first subchapter provides a brief overview of the history of the birthplace of Jeremiah II, Anchialos, a city on the shores of the Black Sea, and describes patriarch’s character and education, along with an extensive reference to his teachers. In this subchapter information is included relative to Jeremiah’s life until his ordination as Metropolitan of Larissa. The second subchapter briefly narrates the glorious ordination of Jeremiah II to Patriarch of Constantinople. In the third subchapter of the First Chapter, the three breaks during Jeremiah II’ patriarchate –caused by the selfish ambitions of his competitors, who coveted the patriarchal throne– are recounted. The Second Chapter consists of four subchapters. In the first subchapter there are a brief reference to the life and religious beliefs of the founder of the Reformation, Martin Luther, and the interest and curiosity of the Lutherans in the situation of the Eastern Orthodox Church. The second subchapter of the Second Chapter contains biographical details of the Protestant scholar and philhellene Philip Melanchthon, and a reference to the first contact attempt of Lutherans with the Patriarchate of Constantinople. The third subchapter of the Second Chapter is divided into six other subsections. The first section of the third subchapter describes the way the relationships of the Lutheran theologians of Tubingen with Patriarch Jeremiah II developed and to the starting point of their correspondence. Yet, the Philhellenism of the German Hellenist Martin Crusius and the role he played in the correspondence are highlighted. The second section outlines Jeremiah II’ responses to each article of the Augsburg Confession send to him by the Tubingen theologians. The third section highlights the key points of the reply of the Tubingen theologians to the First Answer from Jeremiah II. The third section refers to the Second Answer from Jeremiah II. In the short fifth section there is a reference to the reply of the Tubingen theologians to the Second and the Third Answer from Jeremiah II. The sixth section provides information related to the publication of that correspondence. In the fourth subchapter of the Second Chapter there are general and evaluative judgments on the correspondence between Jeremiah II and the Tubingen theologians. The Third Chapter is divided into five subchapters. The first subchapter explains the ancient Roman calendars of Numa and Julius Caesar and their shortcomings. The second subchapter presents the findings of these imperfections by various scholars. The third subchapter describes the Gregorian Reform of the calendar. The fourth subchapter analyses the social situation within the Orthodox Church during the Gregorian Reform. The fifth subchapter aims to show the orthodox reaction of Jeremiah II to the Gregorian calendar and its causes. The Fourth Chapter is divided into two subchapters, of which the first is related to Jeremiah’s travels in Poland and the regulation by him of Church life in this country, while the second gives an overview of the circumstances, under which the foundation of the Russian Patriarchate took place. The Fifth Chapter is divided into three subchapters. The first subchapter examines Jeremiah II’s concern on various issues. The second subchapter deals with Jeremiah II’ concern on the education of the Greek Genus. The third subchapter explains the attitude of Jeremiah II towards the Pontifical Greek College in Rome. At the end of the treatise there is an Epilogue, with concluding remarks on the evaluation of the historical figure of Jeremiah II, his spiritual identity and the status of the Orthodox East under his leadership. An extensive Bibliography, a Chronology, an Index of Names, 21 Illustrations and 2 Maps, complete the book. (shrink)

In Prosecuting Domestic Violence: A Philosophical Analysis, Michelle Madden Dempsey focuses on the dilemma prosecutors face when domestic violence victims are unwilling to cooperate in the criminal prosecution of their abusive partners. Starting from the premise that the ultimate goal should be putting an end to domestic violence, Dempsey urges prosecutors to act as feminists in deciding how to proceed in such cases. Doing so, Dempsey argues, will tend to make the character of the prosecutor’s community and state less (...) patriarchal and thus help stamp out domestic violence. This article analyzes two issues arising from Dempsey’s work: first, whether prosecutors can justifiably be viewed as representatives of their states and communities; and, second, how prosecutors committed to using their discretion to battle both domestic violence and patriarchy would go about determining in a particular case whether to pursue criminal charges against the wishes of a victim. (shrink)

That "The Classics of Western Spirituality" should regard the man Dante hailed as "beyond the human in contemplation," and St. Bonaventure believed to be the medieval rival of the greatest patristic contemplative worthy of a special volume is not surprising. Richard of St. Victor’s masterful analysis of the ascent of the mind to God in contemplative prayer and meditation, emphasizing the individual’s relationship to other individuals as the paradigm of how the Three Divine Persons are related in their inner life (...) of love, is at the same time of psychological interest for anyone attempting to identify and classify the various mystical states medieval philosophers felt were necessary to characterize their spiritual growth. Since the bulk of the present translation is devoted to Richard’s two major attempts to systematize the discipline needed to attain contemplation, known more generally as Benjamin Minor and Benjamin Major, one might wonder why the work is being reviewed in the present journal. But while the major interest of this volume will undoubtedly be for those interested in ascetic theology, for the influence of Richard on subsequent writers from St. Bonaventure to St. Teresa of Avila is profound, nevertheless the relatively short third portion of the work is of sufficient philosophical importance to merit at least a brief note, namely bk. 3 of The Trinity. One would hardly expect a work of this sort to come from the pen of a mystic, for what Richard sets out to do is nothing short of a purely rational or metaphysical analysis of the "Athanasian Creed," which was recited almost daily by the Canons of the Abbey of St. Victor during the twelfth century. Because the inner nature and life of the Trinity, unlike creation or the salvation history of God’s intervention in the affairs of man, is a necessary consequence of what medieval thinkers believed God to be, rather than what he chose to do, Richard was convinced that with sufficient ingenuity one could theorize fruitfully as to why God must possess the various attributes we believe him to have and which are set forth in the aforesaid "creed," which stresses both the unity of God, the divine nature and all the divine attributes, while continually reminding its confessor of the trinity of "persons." In the Anselmian tradition of "faith seeking understanding" Richard seeks "necessary reasons" why God should not only be one but three. Most medieval thinkers have considered the trinitarian character of the divine nature to be the most profound of all the mysteries of the Christian faith. While reason may at best refute objections to a trinity of persons in one divine nature, it can hardly be expected to provide positive support for the doctrine. Richard, on the contrary, believed that St. Anselm had found the key to the "divine processions" in the fact that God is perfect love, with all that this implies. It is obvious the experience of "love" as an interpersonal sharing of the deepest kind, something St. Paul enjoined upon the Christians of the "Church of Corinth," is a far cry from what Sartre seemed to have reached in writing L'etre et néant or what that term connotes to our age, but it is not unknown to contemporary psychologists. Duns Scotus described the "perfect lover" in a Richardian sense as "Perfecte diligens vult dilectum condiligi!" It is especially in bk. 3 of The Trinity that Richard argues that a personal nature that is "summum bonum" must contain more than one person, and need contain no more than three. For the philosopher of religion interested in Richard’s metaphysical analysis of the Godhead, it would be profitable to preface the reading of Zinn’s fine translation of bk. 3 with the selections from bk. 1.—A.B.W. (shrink)

Pregnancy-based employment discrimination has long been a topic of interest for gender inequality scholars and civil rights agencies. Prior work suggests that employer stereotypes and financial interests leave pregnant women vulnerable to being fired. We still know little, however, about women’s interpretations of their terminations and how employers justify such decisions in the face of arguably protective laws. This article provides much needed, in-depth analyses of such dynamics and a relational account of pregnancy-based employment discrimination claims. Elaborating on theoretical expositions (...) of power and research surrounding the patriarchal character of organizational life, we draw on unique quantitative and qualitative data from verified cases of pregnancy-based firing discrimination. Our analyses reveal a two-pronged legitimation process where employers symbolically vilified pregnant workers while simultaneously amplifying ostensibly meritocratic organizational procedures and concerns. Pregnancy discrimination plaintiffs attempted to counter employer arguments. Yet, their limited power within the organizational hierarchy along with the culturally resonant nature of employer logics—logics that seem gender-neutral but that reify gendered assumptions and prioritize business profit—place pregnant women at a considerable disadvantage. Without attending to such cultural and structural power imbalances and the relational processes that undergird them, pregnancy discrimination will remain a significant problem. (shrink)

Women in patriarchal culture are treated unfairly and seen as second-class beings. Their presence is considered as something incidental and not essential. For this reason, this paper examines one of the short stories by Muna Masyari, a female writer from Pamekasan, Madura Sortana. Matchmaking and the myth of the Madurese have put Madurese women in a state of oppression and unfavorable conditions because of the binding culture that dominates women. Muna, using the Sortana short story as a means to (...) advocate for the value of feminism which in the context of Madurese culture is taboo to fight against. This study aims to explore the existence of women who are represented by female characters called Embu. This research method uses qualitative-descriptive research by analyzing the content of the story, looking at sentences and paragraphs related to the issue of the existence of women in Sortana short story. The theoretical concept used is existentialist feminism. From the results of the analysis, it is known that the gender injustice experienced by the Embu character in the short story is in the form of marginalization, subordination, and stereotypes. Meanwhile, through his actions, the Embu figure has the awareness to become the Self in order to be free from the Other. (shrink)

This essay examines the character of biblical Yael oscillating between two patriarchal mythical images of femininity, as portrayed by Gilbert and Gubar—“the angel” and “the monster.” The argument arising is that the transition between these two polar and opposite characters occurs as an extreme response to oppression and injury, followed by a subversive and defying transformation. The essay points to the manner in which Yael’s story, which embodies this transformation, demonstrates how the female body is at the center (...) of this conversion, not only as a site for patriarchal control and taming, but also as embodying a text of protest and opposition to this oppression. Yael’s story, as illustrated by this analysis, is revealed as a subversive tradition with radical feminist insights. (shrink)

This paper intends to explain the problem of structural injustice. The Rawlsian theory of justice is problematic due to the reality of positional differences. The assumptions of Rawls are put into question. Oppression, according to Iris Marion Young, is social in character. Fair opportunity is not enough. To elaborate this critique, this study presents the exclusion of individuals with handicap, the problem of global justice, and the situation of women in patriarchal cultures. Some social rules and the behavior (...) of people discriminate the powerless. For instance, particular standards in society promote the high sense of respectability for professionals but not the respect for the equal dignity of persons. Procedures, laws, and policies manifest the prejudice against others. Beyond Rawls, the pursuit of justice and democratic inclusion, it is argued, requires overcoming unjust structures. (shrink)

My article discusses the character of Marla, the narrator’s lover, in the film Fight Club. Her only option, within the terms of the film’s logic, I argue, is to define her worth derivatively, by association with the narrator. Fight Club, then, despite its somewhat self-effacing attitude about the rejuvenation of masculinity that it portrays, reinforces a familiar patriarchal story: men’s sense of worth lies in their joint world-making activities. Women’s sense of worth lies in their attachment to individual (...) men who undertake these activities. My main argument builds upon three preliminary discussions. The first is a brief outline of the contours of the concept of self-respect. The second is an analysis of the links between gender, personhood and the grounds of self-respect. The third is an account of my approach to interpreting Fight Club given its many layers of irony. Drawing on these preliminary discussions, I examine two interpretations of the film’s social commentary— what I call the “gender-neutral” and the “gender-specific” interpretations. I show that on both of these readings the film implies that Marla, as a woman, must regain her self-respect through an intimate relationship with the narrator. (shrink)

The story of Judah and Tamar in Genesis 38 is one of the most intriguing stories in the Hebrew Bible. While it yields many useful insights into the character of God, the nature of sin and the aspiration of our redemption, it is equally offensive when one looks at it from a human rights perspective, considering, in particular, the vulnerable and defenceless woman, Tamar. Her being returned to her father’s house is portrayed as acting in accordance with the law (...) for a childless widow. However, using the critical hermeneutical lens, it becomes apparent that the real motive that drove Judah to send her away was his fear lest his only surviving son Shelah should share the fate of Er and Onan, whose deaths he plainly attributed to Tamar’s doing. As such, Tamar was deprived of the right to marry Shelah as provided for in the levirate marriage law. Using feministic hermeneutics and the comparative approach, this article foregrounds the vulnerability experienced by women, especially when their husbands mysteriously or suddenly pass away. Because of the patriarchal hegemony of African and Israelite societies, childless widows often find themselves ostracised from the same families which they thought they were now part and parcel of by virtue of having married into that family. Much of the ostracism emanates from the fact that they are usually fingered as the prime suspects responsible for having played a part in their husbands’ deaths. Hence, the crux of this article is to present the interface between the Israelite and African worldviews, highlighting the parallels between the plight of widows in the Israelite and Shona societies. (shrink)

The article engages with the protagonist of The Secret Gospel of Mary Magdalene by Michèle Roberts, first published in 1984 as The Wild Girl. Filipczak discusses scholarly publications that analyze the role of Mary Magdalene, and redeem her from the sexist bias which reduced her to a repentant whore despite the lack of evidence for this in the Gospels. The very same analyses demonstrate that the role of Mary Magdalene as Christ’s first apostle silenced by patriarchal tradition was unique. (...) While Roberts draws on the composite character of Mary Magdalene embedded in the traditional association between women, sexuality and sin, she also moves far beyond this, by reclaiming the female imaginary as an important part of human connection to the divine. At the same time, Roberts recovers the conjunction between sexuality and spirituality by framing the relationship of Christ and Mary Magdalene with The Song of Songs, which provides the abject saint from Catholic tradition with an entirely different legacy of autonomy and expression of female desire, be it sexual, maternal or spiritual. The intertext connected with The Song of Songs runs consistently through The Secret Gospel of Mary Magdalene. This, in turn, sensitizes the readers to the traces of the Song in the Gospels, which never quote from it, but they rely heavily on the association between Christ and the Bridegroom, while John 20 shows the encounter between the risen Christ and Mary Magdalene in the garden whose imagery is strongly suggestive of the nuptial meeting in The Song of Songs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Siren Songs: Gender, Audiences, and Narrators in the OdysseyErwin F. CookLillian Doherty. Siren Songs: Gender, Audiences, and Narrators in the Odyssey. Ann Arbor: University of Michigan Press, 1995. viii 1 220 pp. Cloth, $37.50.Siren Songs makes a significant contribution to feminist literature on Homer. Most importantly, Doherty is able to show in detail how the very sensibilities that make Homer appealing to the modern reader can seduce the (...) unwary into accepting the poem’s androcentric frame of reference. If her book’s ideological model based on gender and class hierarchy leads to repeated imprecisions and reductionism, this affects its argument in detail, but not in outline.Doherty’s methodology is objectivist, assumes an essentialist definition of the female, and consciously avoids positioning the Odyssey in the context of archaic Greek gender constructions. One place where she at least acknowledges that the Odyssey originated in a specific culture exposes a problem some will have with this book: “It may be objected that my conclusions are hardly surprising given the aristocratic focus of early Greek epic and the patriarchal norms of archaic Greek society. In this context, it may be urged, the surprise is to see lower-class and female characters even this fully represented” (170). She responds that her conclusions refute arguments by Farron and Rose that in giving prominence to female and lower-class characters Homer makes an antiaristocratic statement. This tactic runs the risk of reducing her own efforts to a book-length refutation of a pair of articles.Many Homerists will also be surprised to read that “the production and reception of a narrative text is never a direct act of communication between the author and the external audience but a ‘bracketed’ or mediated communication” (87). Thus, the poem’s external audience is not “composed of living human beings, who have read and judged the epic since its creation, but... a hypothetical audience posited by the epic narrator” (19). Further, no true repetition exists in literature (182–83). These assertions derive from critical approaches to the modern novel, and although true to a certain extent of all literature they are arguably least true of poetry composed in performance using metrical formulae.Chapter 1 surveys scholarship on whether Penelope recognizes Odysseus before the mnesterophonia. Doherty argues that Penelope’s motivation remains obscure because of an accumulation of narrative indeterminacies created by multiple focalization (45–46; though cf. her apparent assumptions on 143). She lauds Felson-Rubin and Winkler for their insistence on regarding Penelope as an agent capable of acting in her own self-interest, and equal to her husband in metis. Yet they ultimately fail to stand outside the poem’s androcentric frame of [End Page 461] reference and to see that Penelope’s excellence is based on traits she shares with males. It thus becomes necessary to establish narrative openings that expose “instabilities within ideology” (52) or permit the reader “to project active and even subversive female subject positions” (63). Narrative redundancies serving to reinforce the androcentric frame must also be acknowledged, however, for opening the text may inadvertently render its androcentric frame more palatable.Chapters 2 and 3 reconstruct the poem’s internal and external audiences. Doherty argues that these audiences included women. Although Eumaeus’ ability to evaluate the beggar’s storytelling ability proves he is no stranger to epic performance, he “must be considered an ‘overhearer’ rather than a member of the regular audience” (72–73). Eumaeus can, however, support a very different view of class relationships in Homer: when Telemachus appears unexpectedly, Eumaeus kisses his eyes and greets him as a father greets a long-absent son, and Telemachus addresses him as atta; Eumaeus is able to buy a slave on his own; and he may have an advisory role at court since he says he used to question people claiming to have seen his master.The Nekuia is central to Doherty’s project in these chapters. Odysseus’ decision to pause after his catalogue of women divides the Nekuia “roughly along gender lines, and draws attention to the fact that the internal audience of Phaeacians is also marked for gender” (67). In her approval of Odysseus’ tale, Arete... (shrink)

Analysis of the local implementation of paternity establishment and child support policy in four Wisconsin counties suggests that these policies reproduce some aspects of patriarchal gender relations. The counties' information-collecting practices focused on nonmarital mothers' sexual activity and nonmarital fathers' employment and income. Women were questioned far more extensively than men about their sexual practices and partners; women's accounts of their sexual activity were used to evaluate their overall truthfulness, and administrative practices in effect encouraged alleged fathers to state (...) whether they were convinced of the mother's sexual fidelity. By demonstrating the gendered nature of the terms under which public assistance is granted, the findings highlight the significance of the process of policy implementation for understanding the gendered character of state systems of social provision. (shrink)

One of the chief difficulties we encounter as modern readers in perceiving the artistry of biblical narrative is precisely that we have lost most of the keys to the conventions out of which it was shaped. The professional Bible scholars have not offered much help in this regard, for their closest approximation to the study of convention is form criticism, which is set on finding recurrent regularities of pattern rather than the manifold variations upon a pattern that any system of (...) literary convention elicits; moreover, form criticism uses these patterns for excavative ends to support hypotheses about the social functions of the text, its historical evolution, and so forth. . . . The most crucial case in point is the perplexing fact that in biblical narrative more or less the same story often seems to be told two or three or more times about different characters, or sometimes even about the same character in different sets of circumstances. Three times a patriarch is driven by famine to a southern region where he pretends that his wife is his sister, narrowly avoids a violation of the conjugal bond by the local ruler, and is sent away with gifts. Twice Hagar flees into the wilderness from Sarah's hostility and discovers a miraculous well, and that story itself seems only a special variation of the recurrent story of bitter rivalry between a barren, favored wife and a fertile co-wife or concubine. That situation, in turn, suggests another oft-told tale in the Bible, of a woman long barren who is vouchsafed a divine promise of progeny, whether by God himself or through a divine messenger or oracle, and who then gives birth to a hero. Robert Alter, professor of Hebrew and comparative literature at the University of California at Berkeley, is the author of, among other works, Partial Magic: The Novel as a Self-Conscious Genre and Defenses of the Imagination. He has written a general literary study of biblical narrative, of which this essay forms a chapter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Language of Reciprocity in Euripides' MedeaMelissa MuellerEuripides' Medea is a character who is adept at speaking many languages. To the chorus of Corinthian women, she presents herself as a woman like any other, but with fewer resources; to Jason in the agōn she speaks as if man to man, articulating her claim to the appropriate returns of charis and philia. Even when she addresses herself, in the (...) great monologue, two distinct voices appear, that of the pitiful mother who loves her children and, opposed to this, the voice of the heroic warrior who demands revenge.1 The subject of this article will not be the versatility of Medea's speech, per se. Rather, I will consider the narrower but related issue of how—with what words and weapons—Medea enacts her revenge on Jason.Christopher Gill recently has argued that Medea's revenge is the final episode in the series of exchanges of charis between husband and wife.2 The exchanges began long ago in the mythical past, when Medea first helped Jason obtain the Golden Fleece.3 My argument, building on that of Gill's, is that the language of charis extends in this play to the material medium of the heroine's revenge. The "textiles" given by Medea to Creon's daughter are, I suggest, a significant component in the play's construction of Medea's agency and her participation in relations of philia.4 What can the objects that Medea uses as instruments of vengeance tell us about the identity of this heroine and the active role she [End Page 471] creates for herself?5 Why, more specifically, does Medea use gifts—a crown (plokos) and a robe (peplos)—to kill Creon and his daughter?6 By reading the gifts themselves in relation to the preceding agōn and Aegeus episode we will arrive at a more complete picture of the issues at stake in Medea's revenge.7To do this we will need to take into account several preliminary considerations. First of all, gifts are not given in isolation.8 There is always some reference to past acts of generosity as well as to future obligation when an offer is made. In Medea's case, the plokos and peplos—gifts given to her by her grandfather, Helios—are implicated in her own genealogy and, as I will argue, in her history with Jason. Standing as symbols of the autonomous power that Medea once used to give herself away in marriage, these objects are called upon once again, in this play, in order to punish Jason for his violation of philia.Secondly, the giving of gifts and the revenge take place in the context of two marriages: the marriage of Jason to Medea, and subsequently, his marriage to the princess of Corinth. In the final section of this article I will argue that Medea manipulates wedding gifts and imagery in such a way that the fulfillment of her revenge is conditional upon (and coextensive with) the unraveling of both of these marriages. The approach I am taking toward Medea's revenge therefore raises the important issue of female subjectivity in Greek tragedy, especially in the context of marriage. Recently, Victoria Wohl, Kirk Ormand, and Nancy Rabinowitz have given subtle and thorough consideration to the problems that arise in reading female subjectivity within the constraints of male authorship and the patriarchal systems of exchange of Greek tragedy. [End Page 472] I am for the most part in agreement with their description of marriage in tragedy as a homosocial institution: the exchange of women solidifies social and economic bonds between men—and therefore, should be read from this perspective.9Nevertheless, I believe that the Medea offers an interesting and significant challenge to this generalization. For it is precisely containment by a patriarchal system (and husband) that Medea seems to defy. Medea speaks a language of reciprocity that is usually spoken between men only, and she negotiates an uneasy balance for herself (in the agōn) between the roles of marital and aristocratic philia (as discussed below). When her claims to philia are not heard there, she stages another scene of exchange—this time... (shrink)

This essay explores the place in Clarice Lispector’s literature that seeks to touch a primary ground of the living with a language that exceeds the symbolic in order to read it from an anthropocenic, posthuman, and feminist present. It argues that the story “A menor mulher do mundo” (Laços de família, 1960) takes to an extreme what happens in all of Lispector’s literature at the point that we can find in Macabéa’s character from A hora da estrela (1976), a (...) sort of continuation of the smallest woman in the world. In both – the story and the novel – materiality comes to life and it is associated with a neutral background that goes beyond the difference between the human and the nonhuman, the feminine and the masculine, and that coincides with language, with the word. Both characters are residue and resistance, and operate in the stories in the same way that the word operates in Lispector’s writing. The Deleuzian concept of minor and its continuation on the concept of immanence are therefore read not only as a way to think beyond the species, but also as that which operates by destabilizing the concept of “woman” as a universal. Lispector’s writing, then, allows us to separate contemporary feminisms from an affirmation of the identity of the feminine and the masculine, to take them instead into an order that – regardless of whether embodied in woman – is outside the patriarchal. (shrink)

Cultural Writing. Asian American Studies. Translation. This version of the Tao Te Ching extrapolates the premise that wise development of Psyche means downplaying ego's role. Lao Tzu uses a telegraphic style, a kind of Basic Chinese. Once we identify the Chinese character Lao Tzu has used, we must ask how to understand that concept, Chinese or not. If Lao Tzu writes, "Know male, but keep to female," what does this mean in terms of Psyche? What indeed is a sage (...) or a wise man? Allen provides a fresh answer, a vision of wisdom that patriarchal scholars disregard--ego-transcendence in favor of the creative unconscious. (shrink)

The story of “Kutukan Dapur” by Eka Kurniawan presents a colonial setting: Dutch colonialism and postcolonialism in the image of two characters, Diah Ayu and Maharani. Maharani is in patriarchal shackles, which is ingrained in her family life and social structure. Meanwhile, Diah Ayu is in the bonds of Dutch colonialism, which is brought back by the author. Both are in a subaltern position but in different conditions. Based on this description, this research asks two questions which are analyzed (...) using Gayatri Spivak's subaltern theory, (1) what the position of Diah Ayu and Maharani in "Kutukan Dapur" short story, and (2) how the subaltern is constructed through the efforts of the two characters to get out of that position is. The method used is qualitative. The narratives are classified and analyzed to understand the subaltern's position and construction and its resistance efforts. This research indicates that Maharani and Diah Ayu are subalterns of Maharani dominated by patriarchy, while Diah Ayu is dominated by Dutch colonialism. Maharani fought back, but only with an idea or ideas. Unlike Diah Ayu, she is able to fight in a real form. However, as the author, Eka is trapped in a biased construction in addition to gender bias and representation. In subaltern studies, representation is only a tool towards more real domination. The two figures seem to be fighting against the power structure (colonial and patriarchal) but are still trapped in the dominance of the other. (shrink)

Closely based on the dramatist’s personal experience, Christina Reid’s The Belle of the Belfast City offers a commentary on the life of the Protestant working class in the capital of Northern Ireland in the 1980s from a woman’s perspective. It shows the way eroticism is successfully used by the female characters as a source of emancipation as well as a means not only to secure their strong position in the private domain of the household, but also to challenge the (...) class='Hi'>patriarchal structures that prevail in the Irish public sphere. The analysis of the play proposed in this essay focuses on the contrast between the presentation of its male and female characters. I will demonstrate that, while the former group desperately cling to the idea of preserving the social status quo, the latter display a more progressive outlook on the social and sexual politics of the country. In particular, I will investigate how the tensions between the representatives of the two sexes reveal themselves in the corporal sphere. I will argue that, as opposed to the erotically-inhibited and physically-inarticulate male characters, the female dramatis personae take advantage of being more connected to their bodies and use their physicality in an erotic fashion to subvert the rules of the patriarchal system and its strict moral code that limits their social roles to those of respectful mothers, obedient sisters or virtuous wives. (shrink)

Resumen: El espacio dramático de Michel Tremblay, “tesoro nacional” de Quebec, está poblado por personajes que se enfrentan casi siempre a la alienación y al deseo de encontrar, o incluso de crear, su propia identidad. Los héroes tremblayanos, cualquiera que sea su orientación sexual y posición en la sociedad, realizan un paso desde la inactividad hasta la acción para desgajarse del orden preestablecido. A veces incapaces de cambiar su situación, a veces felices al poder, por fin, contestar a la pregunta (...) “¿quién soy yo?”, los personajes del teatro de Tremblay siguen siendo representativos de la sociedad quebequense que, durante el período de la llamada Revolución tranquila, se vio sometida a unos profundos cambios identitarios. A lo largo de la evolución social del Quebec de los años sesenta y setenta del pasado siglo, se fueron estableciendo paralelismos entre la toma de conciencia identitaria de la sociedad y la de los personajes dramáticos de Trembley. Así, estos últimos se convertirían en alegorías de la estructura social en por lo menos dos dimensiones, moral y cultural, en el caso de Belles-Sœurs y À toi, pour toujours, ta Marie-Lou, donde se incuban las frustraciones propias de unas heroínas abrumadas por la cultura patriarcal (impotente en todos los ámbitos y ante todo el sexual), representada a su vez por la pieza Hosanna, a la que se la puede considerar como el símbolo de la expresión social de la homosexualidad y de la identidad sexual en general. En consecuencia, la finalidad de este artículo sería la reflexión misma acerca de unas (r)evoluciones teatrales que reflejarían las llevadas a cabo por la Revolución tranquila dentro de toda la sociedad. Abstract: Michel Tremblay's dramatic space, Quebec’s “national treasure”, is populated by characters who are almost always confronted with alienation and the desire to rediscover, and even to create, their own identity. The heroes of Tremblay, whatever their sexual orientation and social positions are, have the story of a passage from inaction till the act of tearing themselves away from the pre-established order. Sometimes incapable of changing their situation, sometimes happy to finally be able to answer the question “Who am I?”, the characters in the Tremblayan theatre are at all times representatives of the Quebec society, which, during the Quiet Revolution, suffered profound changes in identity. Throughout the social evolution in Quebec in the 1960s and 1970s, the awareness of the identity of the society and that of the dramatic characters are two matters that coexist in parallel manner. Thus, the latter become allegories of the social structure on at least two levels: moral and cultural, in the case of the Belles-Sœurs and À toi, pour toujours, ta Marie-Lou representing several frustrations: of the heroines, overwhelmed by the powerless patriarchal culture; sexual, represented for example by Hosanna being the symbol of the social expression of homosexuality and sexual identity in general; and finally, actional, as in the case of Sainte Carmen de la Main, which constitutes a message to Québécois to take their destiny in their hands. The main objective of the article is to bring some reflections on theatrical (r)evolutions which reflected the changes of the Quiet Revolution within the entire society. (shrink)

The article is devoted to a comparative analysis of the role of the feminine principle in the cosmogonic ideas of the Slavic peoples and the philosophy of the Ancient East, in particular, India and China, to the establishment of common and distinctive features of female personification. The authors conclude that the ancient tribal culture, which was based on the logic of nature, the maintenance of the world in unity and the balance of opposites, was much more favorable to women than (...) monotheistic religions, which affirmed the sinful nature of women. Ideas about the origin and development of the universe occupy a central place in the mythological heritage, in the cosmic processes and powerful forces of nature, the unbreakable harmony of male and female principles can be traced, where male energy consists in the idea of fertilization, and female energy – in birth and creation. In every mythological system, there is a character of the Mother Goddess, who acts as a co-creator of the world and living beings, but with the establishment of the patriarchal system, the mythological paradigm undergoes changes, and the female principle is gradually recognized as secondary, or it was completely leveled in the processes of world creation. The archetype of the Great Mother reflects the functioning of human values and runs through the entire history of philosophy and culture. (shrink)

As they say in the Scripture, the directors of AvtoZAZ and AvtoVAZ are baptized the same way, and both prefer the Mercedes. Mr. Gundyaev, better known as Patriarch Cyril, prefers the "Mercedes" Cadillac. And he himself, and his parable or canonical Bible did not read, or they are familiar with an exceptionally rare version of this book, where the main character does not seem to be Jesus of Nazareth, but Dracula in Leslie Nilsson's performance. The subordinates Gundyaeva and he (...) himself are the best experts in the world to discredit the image of Orthodoxy and the inevitable dispersal of believers in other faiths. (shrink)

During the 1990s, the Berlin women’s prison was reformed to do justice to female inmates. This redesigning of space and programs was intended to meet women-specific conditions and needs. The present paper engages with this prison reform as transformation in the name of gender justice. Based on interviews with prison reformers, criminologists, and policymakers, as well as on the analysis of historical documents, we illuminate how a specific figure of the “criminalized woman” helps to translate the abstract notion of social (...) justice into situated practice. From the 1970s onward, a new knowledge of women’s crime would emerge: it constituted female offenders as victims of patriarchal oppression and victimization, allowing the prison system to be criticized as androcentric and discriminatory against women. We argue that subsequent reform pursued gender justice in the form of difference-based, gender-responsive programs and spaces targeting individual inmates’ character and mindset. Thereby, the reformers’ initial critique of social justice would be unintentionally depoliticized and so gender, economic, and political inequalities remained unaddressed. Our purpose is hence twofold: first, to review the recent history of women’s incarceration in Germany, and second, to add a social justice focus to the international criminological debate on gender, prison, and reform. (shrink)

Scripture, the creeds, and tradition have provided the raw material that theology has attempted to refine. The contribution of much recent theology comes from new insight into these materials by women, blacks, and the Third World, often as examined by analytic tools derived from post‐Christian ideologies. The theology of Rosemary Ruether stands out because of her choice of sources, among which she includes documents excoriated as heretical by what she calls the patriarchal orthodoxy of the early Christian church. Because (...) of this it is useful to examine this type of theology in relation to other theological inquiries of recent years. The thesis of this paper is that, in her ability to incorporate source material hitherto regarded as heretical, Ruether has demonstrated the scientific character of this kind of theology. (shrink)

In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the (...) dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia. (shrink)

How can Africans escape the control of the complex power relationships established during Colonization and successfully achieve self-development? More importantly, and the primary concern of this book, can African female characters ever hope to arrive at such individuation given the dual challenges of the power structures defined and enforced by European colonizers and the patriarchal structures that contort issues related to gender? Tracing Personal Expansion reads late 20th Century works by African female novelists Buchi Emecheta, Tsitsi Dangarembga, and Calixthe (...) Beyala as modern Bildungsromane, novels of self-development, to reveal the dynamics, complexities, and challenges the characters and authors experience. By exploring the possibility of self-development in African female protagonists, this engrossing work augments existing feminist critiques that have analyzed the possibilities and potentials for the individuation of mostly Western, mostly European female characters. (shrink)

The Algerian writer Malika Mokeddem embeds her novels in the geography of a desert that belongs ever more to the past of the nomadic immediate ancestors of her main characters. Object of nostalgic yearning, this desert past and the nomads peopling it also necessitate flight, especially for women, trapped there in a patriarchal culture and society whose violence has been perpetuated into that of contemporary Algeria - also often aimed against women. Besides a few strong older women able to (...) take advantage of their age and status to help their juniors, these novels principally set on stage young women or girls whose accidental or perilously self-willed access to education and - above all, writing - frees them from binding traditions even while, for most, such writing is akin to the nomadic traveling of their ancestors (as `writing' on the desert's very body). Even so, because it is a revolt against such traditions, their writing is the site and actuality of fraught struggle and pushes them into the `nomadism' of literal exile, across seas themselves often envisaged as wider deserts. (shrink)

Melchizedek’s meeting with Abraham in the King’s Valley would mark the history of the chosen people. As king of Salem and priest of the Almighty God, Melchizedek meets the patriarch with bread and wine and then blesses him in the name of the God they both served. Assuming this liturgical ritual Abraham offers Melchizedek a tenth of everything, by this acknowledging and accepting his sacerdotal service. Even though at a first sight their gestures are somewhat natural, we will understand going (...) through our study that the attitude of each character implies a deeper significance. This is emphasized firstly in psalms, in the context of several Messianic sentences, which refer to an eternal priesthood that finds its origins not in the service of Aaron, but in that of Melchizedek. This text would generate and fundament later the Pauline discourse on the priesthood of Jesus Christ and implicitly of the Christians. The resemblance of Melchizedek with Jesus Christ is maximized by Saint Apostle Paul who states that the king of Salem was “without father or mother, without genealogy, without beginning of days or end of life”. Who is, in fact, this mysterious character? Why did the Hebrew want to identify him with a known biblical character? What are the reasons that determined the Christian authors to recompose the history of this character? These are just a few of the questions we intend to answer through the research that we are about to present. (shrink)

Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not (...) address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life. (shrink)

Scholarship on gender and policing has frequently applied gendered organizational theory to understand how this type of organization and the men who run it produce gendered difference and inequity at the workplace. In this article, I draw on ethnographic research on lower ranked policewomen in Pakistan and contend that to fully fathom women’s marginalization at work, an analysis must not limit itself to the organization or the men who create the inequity but must also focus on women’s workplace behavior. My (...) research sheds light on women’s anxieties about working with a large number of men and about people questioning their morality and character because they do so. I also demonstrate how their subsequent coping strategies can impede their professional development and reproduce their marginalization at their workplace. This woman-centric approach, which examines how policewomen navigate gendered landscapes in different patriarchal social spaces, therefore shows that workplace inequity is the collective result of the interplay between different actors and social structures, and leads to a more complex understanding of this phenomenon. (shrink)

In his work "Religion and Church in the History of Ukraine," V.Lipinsky primarily answers the question: Did Volodymyr the Great accept Christianity in the time when Byzantium was still in connection with Rome and the prince was "Uniate", but "Orthodox"? Volodymyr the Great accepted Christianity in time when there was no official gap between Byzantium and Rome, but the relationship between these two Christian hierarchies was already very tense from the days of Photius, which is about a century before Vladimir (...) baptism. The controversy over the primacy between the Pontiffs and the Constantinople Patriarchs did not accept yet the character of the complete rupture and these two hierarchies, arguing with zeal among themselves, all of them mutually recognized. In this mutual recognition of the church hierarchy, there was a connection between the two churches, which already differed considerably in their spirit. (shrink)

Expecting Saving Mr. Banks to be a jolly jaunt about the creative development of the movie Mary Poppins (1964), I found myself waiting endlessly for the “jolliness” to begin—it never did. In fact, rather than joy, there was an ever-present sensation of tension as I watched the film. Having moved house myself in recent days (during a Queensland heat wave), the scenes of the Goff family leaving their home and trekking across hot, dusty Queensland were very emotional. However, seeing the (...) family patriarch Travers Goff (played by Colin Farrell) swig from an alcohol flask in a desperate manner told me that his was no “routine” family move. And, certainly, arriving at their destination—a dilapidated ranch home—shed even more light on the Goff family’s predicament: alcoholism and the cycle of employment and unemployment. Further, it is the downstream consequences of the family predicament that fuel the identity and behaviour of Mary Poppins—a fictional character created by Travers’ daughter, a. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kenneth R. Seeskin THE COMEDY OF THE GODS IN THE ILIAD "... no animai but man ever laughs." Aristotle, De Partibus Animalium, 673a8-9 No reader of the Iliad can fail to be struck by the great extent to which social relations among the gods resemble those which obtain among men. Zeus, the oldest and strongest of the Olympian deities, rules as an absolute monarchor patriarch. The "council" meetings over (...) which he presides are not unlike those which occur on earth. Like Agamemnon, he must assert his authority from time to time; and, like any mortal king, he must deal with problems relating to jealousy, adultery, dishonesty, and revenge. To the extent that the gods differ from mortal heroes, those differences are similar to the ones which separate mortal heroes and commoners. The gods occupy the highest place on the scale of excellence, beauty, and social status, mortals with divine ancestry occupy the next position, and so on down the line. Although the above picture is accurate in many respects, there is something about it which is bound to leave one cold, for, unlike his mortal heroes, Homer's gods often appear as clowns. One need only recall scenes like Hephaestus' bumbling attempt to wait on the other immortals (1.584 ff.), Hera's seduction of Zeus (14.157 ff.), or the famous theomachy (21.385 ff.) to see that, ironically, humans frequendy are more dignified than the gods they are trying to please. It was scenes like these which caused Longinus, in his essay On the Sublime, to remark that Homer appears to have made his men gods and his gods men (sec. 9). Now any long story is bound to contain comic relief. But for many authors (Shakespeare, for instance), comic relief is supplied by those whose social status is lower than that of the main characters, e.g., grave diggers, nightwatchmen, country bumpkins, or pettythieves. As Aristotle argued in the Poetics (sec. 2 and 5), comedy is an imitation of men worse than the average. In Book 2 of the Iliad, Homer does use Thersites 295 296Philosophy and Literature for comic effect; yet this scene is noteworthy for being the only one in the book which supports Aristotle's contention. In practically every other case, comedy is supplied by characters better than the average: it is supplied by the gods. Moreover, in the few cases where mortal aristocrats are involved in comic situations (e.g., the rambling speeches of Nestor), the teasing tends to be extremely mild. Farce and slapstick are reserved almost exclusively for the inhabitants of Olympus. Plato, for one, was outraged by passages where the gods look ridiculous and wanted them excised from the text. Not surprisingly, there is a tradition of modern scholars who feel a similar sense of outrage. Walter Leaf, for example, maintained that the theomachy is poorly written and thus not the work of Homer.1 Gilbert Murray argued that several of the scenes in question are in bad taste, exemplify the spirit of Milesian skepticism, and, again, are not the work of Homer.2 Wilamowitz constructed an elaborate theory which claimed that these passages are the work of a later rhapsode who probably was associated with Archilochus.3 Finally, George Calhoun, who exposed the flaws of those just mentioned, concluded that such passages show the influence not of a later period of skepticism but of an earlier, less refined period and were composed merely to please Homer's audience.4 Since it is not my purpose to enter the long debate over the authorship and unity of the text, let me state the guiding assumptions of this essay dogmatically. First, the passages in question are not interpolated and serve important artistic functions. Second, for whatever reason Homer decided to include them, their presence raises profound moral and religious questions. From the outset, it is clear that any anthropomorphic conception of the gods will have to fail in one important respect. The gods are immortal, humans are not. Thus even the lowliest human can do something which no god can—risk his life. For all of their quarrels, deceptive schemes, and forays into the thick of the fighting, the gods are... (shrink)

The criticism of “traditional,” “toxic,” or “patriarchal” masculinity in both academic and popular venues recognizes that there is some sense in which the character traits and tendencies that are associated with masculinity are structurally connected to oppressive, gendered social practices and patriarchal social structures. One important theme of criticism centers on the gender distribution of emotional labor, generally speaking, but this criticism is also particularly meaningful in the context of heterosexual romantic relationships. I begin with the premise (...) that there is a gendered and asymmetrical distribution in how much emotional labor is performed, but I also consider that there might be meaningful and informative distinctions in what kind of emotional labor is characteristically performed by different genders. Specifically, I argue that the social norms around stoicism and restricted emotional expression are masculine-coded forms of emotional labor, and that they are potentially prosocial. Responding to structural and interpersonal asymmetries of emotional labor could well involve supplementing or better cultivating this aspect of male socialization rather than discarding it. (shrink)

This article explores different feminist care discourses and their ethical implications and relates them to the biblical ethos of loving one’s neighbour. The latter is presented as a rich tradition of socio-historical, theological and ethical relevance for contemporaneous debates on the transformation towards a caring society. Nevertheless, it needs tobe liberated from patriarchal attitudes and other exclusive hermeneutics in Christianity (which is exemplified in a case study of Protestant moral discourse and societal practice) as well as from ignorance and (...) prejudice in secular social science, humanities and public discourse. Hence, the article suggests rediscovering the biblical contexts and political implications of the commandment to love thy neighbour: its character as diversified social rights inspired by the Exodus, the concept of sanctification as attention to the world we live in and the prohibition of images as a resource for the development of humane respectful attitudes (integrity of the “other”) and politics of care. (shrink)

Non-heterosexual men have long existed on the social and cultural margins. Gay and bisexual male characters in literature, too, have done so for many generations. This essay explores the construction of gay masculinity in the short story “Brokeback Mountain” in relation to the “imaginative leap” that its author, Annie Proulx, undertook in order to conceptualize and represent this noteworthy form of marginalized otherness. It demonstrates that, despite the story’s various refreshing elements, “Brokeback Mountain” ultimately relies far too extensively on the (...) logic of melodrama when telling the tale of Ennis del Mar and Jack Twist, who fall in love in 1963 and continue their sexual relationship over the course of two decades. As a result, this story ends up positioning its two queer protagonists as enemies of the patriarchal social order and the larger society within which it so comfortably exists, implicitly perpetuating both heterosexism and homophobia as it does its cultural work. (shrink)

For Beauvoir, literature provides unique access into the concrete life out of which philosophical reflection is born. Nowhere are the complications of ambiguous ethical choice more sensitively portrayed in her writings than in her fictional characters – particularly her women – as they navigate their way through webs of deceit, patriarchal control, manipulation, authenticity, desire, and passion in an attempt to ground their identities in a kind of absolute meaning. This chapter explores the theme of failed feminine identity‐formation in (...) three characters from Beauvoir's literary corpus: Françoise from She Came to Stay, Régine from All Men Are Mortal, and Monique from the short story, “The Woman Destroyed.” All three characters touch on themes surrounding the desire for and ultimate failure to obtain fixed meaning and an absolute identity. (shrink)

One particularly interesting example can be found in the character M'Baku, a mountain warrior whose abstention from meat runs afoul of stereotypes about what a vegetarian looks like and, in so doing, challenges racist iconographies of Black masculinity. As Carol Adams argued in her landmark work, The Sexual Politics of Meat, in the United States, meat‐eating is a highly visible reminder and reinforcer of patriarchal dominance. Erik Killmonger comes to Wakanda as a conqueror, taking up his late father's (...) mission to end the country's isolationist foreign policy and stage armed insurgencies the world over. The irony of Killmonger's plan, wielding the master's tools to dismantle the master's house, is palpable. Killmonger's violence is similarly deliberate and, in its own way, is meant to honor the rage, yearnings, and aspirations of all those subjugated to, and displaced and discarded by, colonialism. (shrink)

Este trabalho analisa a estrutura do romance Como se estivéssemos em palimpsesto de putas, de Elvira Vigna como também, as relações sexistas às quais as personagens estão submetidas. Retratados por meio de uma narradora não revelada, estratégia estética realçadora da invisibilização da mulher dentro da sociedade, os causos de João, um profissional cujo único prazer é o sexo com garotas de programa, servem de retrato da construção da masculinidade e da dimensão patriarcal. Utilizando-se do artifício do palimpsesto como crítica ao (...) patriarcado, o seguinte trabalho denuncia, a partir das leituras de textos de Monique Wittig e Gerda Lerner, como as diversas expressões do machismo se comportam através das sobreposições de vozes que emergem da narrativa.Palavras-chave: Elvira Vigna. Palimpsesto. Patriarcado. Crítica Feminista. Memória. AbstractThis article analyzes the structure of Elvira Vigna’s novel Como se estivéssemos em palimpsesto de putas as well as the sexist relations to which the characters are submitted. Portrayed through an undisclosed female narrator, an aesthetic strategy that enhances the invisibility of women within society, the stories of João, a professional whose only pleasure is having sex with prostitutes, serve as a portrait of the construction of masculinity and the patriarchal dimension. Using the palimpsest as a criticism for patriarchy, Vigna’s work denounces, from the readings of texts by Monique Wittig and Gerda Lerner, the various expressions of sexism behavior through the overlapping voices that emerge from the narrative.Keywords: Elvira Vigna. Palimpsest. Patriarchy. Feminist Critique. Memory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 71-98MuseSearchJournalsThis JournalContents[Access article in PDF]Hospitality after the Death of GodTracy McNultyPierre Klossowski's fiction has been only sporadically published in English, and largely dismissed as perverse erotica or soft-core porn. When his 1965 trilogy Les lois de l'hospitalité was partially translated in English (under the title Roberte, ce soir & The Revocation of the Edict of Nantes), its Library of Congress classification characterized it simply as "erotic (...) fiction—French." Even in France, Klossowski has become the very signifier of perversion. His artwork graces the cover of Serge André's L'imposture perverse and of numerous erotic novels, he has been "diagnosed" as a pervert by writers on both sides of the Atlantic, and unironic readers of his Sade mon prochain hail him as Sade's disciple and heir.1Admittedly, the larger stakes of Klossowski's work are easily obscured by its free adaptation of the stock themes of libertine literature. His fictional works, like his visual compositions (essentially representations of rape scenes, often on historical themes—Diana and Actaeon, the Rape of Lucretia), explore the conflict between a woman's chaste moral attitude and her gradual surrender to an assailant's advances. The Laws of Hospitality concerns the erotic awakening of "hospitality" in a woman, which exposes a contradiction within her moral character and reveals her symbolic identity to be without foundation. Its protagonist Octave, who bears more than a passing resemblance to his creator, is a collector of artworks that eroticize the moment of moral hesitation experienced by women submitting to the sexual advances of a chance stranger—or even a "spiritual" apparition. His "laws of hospitality" are the fruit of his desire to experience this operation firsthand; they name a practice wherein the master of the house "offers" his wife to fortuitous guests, in order to savor the moment of her surrender.However, the stakes of Klossowski's "perverse" meditations are very different from the Sadeian project of uprooting religious morality. Sade challenges the patriarchal and religious authorities of his day by demonstrating that the paternal signifier on which their laws are based is without foundation. In proving that the law cannot hold [End Page 71] up against the repeated assaults of libertinage, he mounts a systematic deconstruction of the symbolic order of language by the real of jouissance. But although Klossowski may share Sade's perverse drive to "humiliate the law with the object,"2 his target is not the signifier as such, but rather the imaginary consistency afforded by what he calls the "grammatical fiction of the 'I,'" the illusion of autonomous personhood. The "object" he confronts it with is not the natural "truth" of jouissance, but rather the feminine object who disrupts the identity of the "master" who offers her.Klossowski's reflections on the special status of femininity in Enlightenment culture—at once marginal and singularly "extimate"—have never been fully appreciated, despite their enormous interest for the study of culture. In a way unique among contemporary authors, Klossowski sheds light on Jacques Lacan's enigmatic insight that the cultural importance of the feminine object consists in its sublimated status as an "object raised to the dignity of the Thing" [Lacan 112]. His fiction underscores the close ties between the feminine and what Freud called das Ding, the Thing uncannily internal to subjectivity that Lacan later identified with the function of the Nebenmensch, as the apotheosis of the Christian idea of the prochain, or neighbor [Lacan 151–52].Although Klossowski's erotic scenario invites comparisons with Sade's and Fourier's utopian calls to dissolve the privative boundaries between subjects, what he understands by "hospitality" is not the abolition of personal identity, but rather the staging of its internal contradiction.Hospitality, at the Limits of the LawThe act of hospitality—whose theological and philosophical origins this former Dominican novice and Latin scholar was intimately acquainted with—concerns a very particular tension. Etymologically, the host is the "master," the one who "eminently personifies" identity: not only his own identity, but also that of the group in whose... (shrink)

Rabbinic Judaism is often described as an exclusively male-dominated and patriarchal religious system. However, the structure of the core of this patriarchal religious system is deeply feminine, with a strong relational dimension. Torah studies, which only men had access to, are secondary in character: a life lead according to the commandments is necessary but not enough. God does not force humankind to subordination, but he gives answers to voluntary gifts. Man gives voluntarily, God answers voluntarily. The right (...) relation to God is not forced, determined or manipulative, but it builds on reciprocity and response. (shrink)

Over the last few decades the arts and humanities have seen an increase in interest in questions surrounding gender. Not only did the 1960s, 1970s, and 1980s see the growth of feminism as an academic discipline as well as a political movement, but in recent years there has been a huge expansion of research into Gender Studies, Queer Theory, and LGBT Studies. In essence, these disciplines all offer a critique of the system known as patriarchy, in which the ‘rule of (...) the father’ legitimates the exercise of political power and social control by men. In turn, this critique raises questions about alternatives to the patriarchal system, and it is in this context that some theorists and historians have been interested in the system known as ‘matriarchy’. In so doing, they are linking back to the work undertaken by such late nineteenth-century thinkers as the American anthropologist Lewis H. Morgan and, in particular, the Swiss legal historian Johann Jakob Bachofen. From 1841 to 1845 Bachofen served as Professor for Roman Law at the University of Basel, and it is with the cultural and intellectual life of this city that his work is most often connected. Now Bachofen’s outlook is well summarized by the title of his 1861 work, Mother Right: An Investigation of the Religious and Juridical Character of Matriarchy in the Ancient World. In it Bachofen proposed that humankind had undergone four phases of cultural evolution, which he described as hetaerism; matriarchy; the Dionysian; and the Apollonian. The contrast between the Dionysian and the Apollonian exercised an influence on another thinker connected with Basel, the philosopher Friedrich Nietzsche ; and it was in the Nietzschean circles of the early twentieth century in German-speaking Europe that Bachofen’s work came to the fore. That this happened was due in no small measure to the figure who stands at the centre of Chiara Gianni Ardic’s new study, whose title translates into English as The Flight of the Gods: Myth, Matrarchy, and Fundamentalism in Ludwig Klages. For it was the circle around the charismatic thinker Ludwig Klages, arguably the most significant figure in a group of thinkers and writers known as the ‘Cosmic Circle’, that Bachofen’s ideas found a fruitful reception. The significance of Klages in the history of philosophy has frequently been overlooked, deliberately ignored, or even actively suppressed; so it is extremely welcome that Dr Ardic has undertaken to research so thoroughly the interest in matriarchy demonstrated by Klages and the members of the circle around him. (shrink)

This essay suggests that despite the traditional viewpoint that it seemingly supplements patriarchy's consistent marginalization of maternal bodies, masochism, as formulated by Gilles Deleuze, offers the possibility of a maternal subjectivity beyond paternal domination. Deleuze's conception of masochism reveals an innovative way in which to view maternity as a tactical schema that operates through the perverse disavowal and resexualization of patriarchal law in order not only to destabilize its foundations, but to produce a maternal identity of the mother's own (...) creation. This essay will use Ira Levin's horror novel Rosemary's Baby to contextualize an adaptation of Deleuze's theory in order to account for the relationship between mother and child, and the emergent subjectivity the dyad produces. Levin's novel seamlessly showcases how the maternal body is observed and optimized by reproductive technologies in order to produce not only a heteronormative ideal of maternity, but a child who will reflect paternal law. This essay argues that the titular character, Rosemary Woodhouse, establishes a masochistic contract with her son whereby she reconfigures his identity through a perverse disavowal of the Law of the Father, replacing it with maternal authority. Most important, her performance of masochism results in the marginalization of the father, and the emergence of a new maternal identity. (shrink)

This paper introduces the concept of gothic violence in order to better theorize how domination operates in Mary Wollstonecraft’s unfinished novel, The Wrongs of Woman, or Maria. The fictive companion to A Vindication of the Rights of Woman, Maria is an account of the titular character’s struggle for self-determination in all aspects of her life, including her desire for a companionate partnership. I argue that Maria’s ultimate lack of freedom is directly attributable to coverture, the patriarchal legal fiction (...) whereby wives are subsumed under the legal persona of their fathers or husbands. Building on scholarship that positions Wollstonecraft as a republican feminist, I show how Maria articulates what I call gothic violence, a form of psychic domination that places the other in a condition of unfreedom by denying their status as an autonomous being and holding them in subordination through a variety of techniques, such as denial of legal and social status and testimonial quieting. I show how gothic violence results in the unfreedom of women through its reliance on domestic settings and intimate relationships, and with the support of law and custom, of which coverture is a central example. I conclude by suggesting that attending to gothic violence in Wollstonecraft’s thought allows us to further see the continuity between her political and fictional writings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, in (P)rescription (...) Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

This essay proposes a re-reading of the process of establishing the post-colonial nation-state in Algeria, and of the dynamics of citizenship in the light of gender, in order to illuminate the hesitations of the political class as to the meaning of the principle of universal emancipation and sexual equality in the private sphere of personal status. Whereas up to now readings studying the nature of the Algerian political regime and its ideological discourse have been solely concerned with denouncing the "moribund" (...) character of modernism and/or "Algerian-style" socialism, the argument will deal mainly with the private domestic sphere in order to expose ideological references and representations that are decidedly traditionalist, if not archaic, as regards gender relations in the Algerian family, idealized by the legislation underlying the Family Code (1984/2005). Finally a detailed review, based on an analysis by gender, of the minutes of parliamentary debates in the legislatures from 1982 to 1984 will demonstrate the highly patriarchal nature of the cultural representations of Algeria’s decision-makers, who are reluctant to extend "modernization" to the female population. (shrink)

The _Platform Sutra_ comprises a wide range of important Chan/Zen Buddhist teachings. Purported to contain the autobiography and sermons of Huineng (638-713), the legendary Sixth Patriarch of Chan, the sutra has been popular among monastics and the educated elite for centuries. The first study of its kind in English, this volume offers essays that introduce the history and ideas of the sutra to a general audience and interpret its practices. Leading specialists on Buddhism discuss the text's historical background and its (...) vaunted legacy in Chinese culture. Incorporating recent scholarship and theory, chapters include an overview of Chinese Buddhism, the crucial role of the _Platform Sutra _in the Chan tradition, and the dynamics of Huineng's biography. They probe the sutra's key philosophical arguments, its paradoxical teachings about transmission, and its position on ordination and other institutions. The book includes a character glossary and extensive bibliography, with helpful references for students, general readers, and specialists throughout. The editors and contributors are among the most respected scholars in the study of Buddhism, and they assess the place of the _Platform Sutra_ in the broader context of Chinese thought, opening the text to all readers interested in Asian culture, literature, spirituality, and religion. (shrink)

Chicanas and Mexican women share a history of colonialism that has (a) sustained oppressive constructions of gender roles and sexuality, (b) produced and reproduced them as racially inferior and as able to be silenced, conquered, and dominated physically and mentally, and (c) contributed to the exploitation of their labor. Given that colonialism has also come to shape the way young women of Mexican heritage learn in mainstream US schools, informal education from everyday women's conviviality and solidarity becomes a pivotal context (...) in which they can learn how to reconstitute colonial legacies. We examine how a group of Mexican working-class immigrant women at home and in a sweatshop fashion a girl named Ana, the main character in the popular film Real Women Have Curves, into a confident young woman who engages in what Pérez (1999, 2003) refers to as empowering and dynamic decolonial ways of seeing, knowing, doing, being, and reconstituting. In spite of its contradictions that, at times, assist in reproducing Ana as an oppressed laborer, it is their doing that helps produce her as a woman who engages in decolonial practices by facilitating her to deftly negotiate an oppressive economic and patriarchal space, a mainstream feminist space, and a space where their embodiments and creative cultural discourse, practices, and beliefs shine. As such, the film provides a powerful counterstory (Delgado 1989) that disrupts the chokehold of the logic of colonialism and how it seeks to classify, stereotype, and control young women like Ana. (shrink)

The story of Medea has exerted a powerful influence on creative artists since the time of Euripides. It is a tale that has been told in many ways and in several genres. This article offers a discussion of Christa Wolf's 1996 novel, Medea.Stimmen (Medea. Voices), a modern retelling through the voices, and conflicting perspectives, of the major characters involved with Medea, including Jason, Agameda, Akamas, Leukon, Glauce and Medea herself.Medea's role within feminist literary reception and women's literature cannot be overlooked (...) because of the crucial archetype she represents. One task of Feminist criticism has been to expose, deconstruct and rectify prevalent male (mis) interpretations of female archetypes, such as Medea, Medusa and others, and the patriarchal distortions they introduced through 3 000 years of male literature. In the patriarchal realm, Medea represents the Witch, the black Sorceress, and the archetype of the Negative Mother. These negative interpretations or archetypes may be attributed to misogynist perceptions of Medea as the vilest of women, because she committed the most despicable of all crimes — killing her children, the patriarchy's heirs — to take revenge on Jason, the husband who abandons her in Corinth (her place of exile) to marry Glauce, King Creon of Corinth's daughter, for reasons of political expedience.As a writer with her roots in the former East-German regime, Wolf perceives the Medea story as an account of a woman with both extraordinary powers and human shortcomings, who is misunderstood by the Colchians and the Corinthians alike. Wolf explores the distorted patriarchal motives for their loathing of Medea and Medea's ultimate powerlessness to do anything more than accept her tragic destiny. In doing so, Wolf does not attempt to manipulate the Medea story to suit the one-sidedness of some more radical feminist ideologies. (shrink)