scholarly journals Pregnant Violence in Post-3.11 Fiction

2020 ◽  
Vol 54 (2) ◽  
pp. 477-492
Author(s):  
Doug Slaymaker
Keyword(s):  
Female Character ◽  
Women's Bodies ◽  
Pregnancy And Childbirth ◽  
Entire Society ◽  
Woman's Body ◽  
Japanese Fiction

This essay explores the violence and the threat of violence associated with pregnancy in Japanese fiction after the triple disasters—the earthquake, tsunami, and nuclear meltdown—of March 11, 2011. There is hardly a female character in this fiction that is not confronted with questions about pregnancy and childbirth. The queries are surely motivated by genuine concern about the humans involved, but they are just as often about control, about a woman’s body as a public item, about responsibility to the child, and then to society at large. Childbearing in a disaster zone is profoundly anxiety-producing; but it is also worth examining how quickly childbirth, and then women’s bodies, become at times metaphor and at times synecdoche, for the trauma and fears of the entire society, in these works. In this article I consider Sono Shion’s Kibō no kuni, Kanehara Hitomi’s Motazaru mono, Taguchi Randi’s Zōn ni te, Kimura Yūsuke’s Seichi Cs, and Furukawa Hideo’s Uma tachi yo, sore demo muku de.

Trajectories of the black female body in Brazil

2015 ◽  
Vol 6 (2) ◽  
pp. 197-216 ◽  
Author(s):  
Joana Plaza Pinto
Keyword(s):  
Female Body ◽  
Blind Spot ◽  
Black Female ◽  
Female Character ◽  
The Political ◽  
History Of ◽  
Situated Perspective ◽  
Tv Show ◽  
Woman's Body

In this paper, I offer a situated perspective on the political and semiotic landscapes of the circulation of racist and antiracist images and texts in and around a dark-skinned female character, Adelaide, in the popular Brazilian TV show Zorra Total. I aim to differ and defer the character as a sign, in order to undermine the character’s hegemonic frame of interpretation. First, I contextualize some resources used in a typical episode, including the character’s performance as a trajectory of racist signs about the black woman’s body. Next, I discuss the contemporary circulation of the character, confronted by the experience of discussing this character in an undergraduate classroom. In conclusion, I argue that by exposing trajectories of the black female body, it is possible to gather together its fragmented signs as a multi-layered and overlapping set, and I identify these trajectories as a blind spot in the history of Brazilian racism.

scholarly journals MÍDIA, MULHER E CORPO: UMA ANÁLISE A PARTIR DO DOCUMENTÁRIO “O CORPO É MEU”

2020 ◽  
Vol 1 ◽  
pp. 133
Author(s):  
Wolney Nascimento Santos ◽  
Fabio Zoboli ◽  
Cristiano Mezzaroba
Keyword(s):  
Cultural Production ◽  
The State ◽  
Short Film ◽  
Women's Bodies ◽  
Material Support ◽  
Neoliberal Capitalism ◽  
The Media ◽  
Cultural Dynamic ◽  
Present Text ◽  
Woman's Body

O presente texto tem como objetivo analisar o curta-metragem sergipano “O corpo é meu (2014)”, de Luciana Oliveira Vieira, interpelando o corpo da mulher como suporte material da mídia a partir das narrativas trazidas pela diretora na obra fílmica. O escrito se propõe a desnaturalizar as práticas que usam o corpo da mulher para fazer girar as engrenagens do capitalismo neoliberal relegando-as a objetos de consumo ou a corpos consumidores. Acredita-se que o documentário analisado foi representativo na medida em que se propõe a abalar e transformar pela – e na – luta coletiva de mulheres as dinâmicas tradicionais e conservadoras da sociedade. “O corpo é meu” se torna um mecanismo simbólico, uma produção cultural descolonizadora que evidencia a captura dessa transformação no estado de Sergipe, como parte de uma dinâmica cultural nacional e internacional comprometida com a ressignificação da existência da mulher.Palavras-chave: Documentário “O corpo é meu”. Mídia. Mulher. Corpo.ABSTRACTThe present text aims to analyze the 2014 short film from Sergipe called “O corpo é meu” by Luciana Oliveira Vieira questioning the woman’s body as material support of the media from the narratives brought by the director in the film work. The writing proposes to denaturalize practices that use women’s bodies to spin the gears of neoliberal capitalism by relegating them to consumer objects or consumer bodies. It is believed that the analyzed documentary was representative in that it proposes to shake and transform through – and within – the collective struggle of women the traditional and conservative dynamics of society. “It’s my body” becomes a symbolic mechanism, a decolonizing cultural production that highlights the capture of this transformation in the state of Sergipe, as part of a national and international cultural dynamic committed to the re-signification of women’s existence.Keywords: Documentary “O corpo é meu”. Media. Woman. Body.

scholarly journals From expectation to experience: humanizing childbirth in the Brazilian National Health System

2018 ◽  
Vol 22 (65) ◽  
pp. 399-410 ◽  
Author(s):  
Marília Mendes de Souza Teixeirense ◽  
Sara León Spesny Dos Santos
Keyword(s):  
Health System ◽  
National Health ◽  
Sense Of Self ◽  
Quality Care ◽  
National Health System ◽  
Women's Bodies ◽  
Birth Center ◽  
Self Blame ◽  
Pregnancy And Childbirth ◽  
The Ideal

During the past 15 years Brazil has increased efforts to humanize maternal care within the Brazilian National Health System (SUS). Humanization efforts come along with de-medicalization of birth even if quality care and reduction of inequalities are still pressing matters in the country. For this qualitative study we interviewed ten women regarding their experiences of pregnancy and childbirth. The study took place in Brasília (DF) and women narrated their birth experiences at local hospitals or a birth center. Women were mostly satisfied with their attention during childbirth, specifically those giving birth at the birth center, in contrast to women giving birth at local hospitals. However, the humanization movement, essentializing women's bodies can also reproduce normative discourses that shape a sense of self-blame and disappointment if the ‘ideal birth is not achieved.

Patriarchy and Virginity Myth in the Mahābhārata

2021 ◽  
pp. 037698362110520
Author(s):  
Ravi Khangai
Keyword(s):  
Women Characters ◽  
Stages Of Development ◽  
Women's Bodies ◽  
Early Stages ◽  
Woman's Body

Scriptures are often used to make patriarchal control sacrosanct over women’s bodies. A stereotypical monogamous woman is generally idealised by patriarchy; Polyandrous Draupadī in the Mahābhārata, however, stands sharply in contrast and the epic struggles to legitimise it by different myths to soothe the moral discomfort. Principal women characters of the epic like Draupadī, Kuntī and Satyavatī having more than one man in their life suggest that during the early stages of development of the epic, the values that governed man–women relations were not as rigid as they became later. During the growth of the epic, the lives of these women characters were transformed according to patriarchal perception, which expects that a woman should be a virgin when a man marries her. As a way out, the epic repeatedly restores the virginity of these women characters. As men are considered as owners/protectors of womens’ bodies/sexuality, the restoration seems to have restored the sense of honour and also redeemed the transgressions of men who ‘soiled’ them. Obsession with virginity also indicates the attitude of the commodification of the woman’s body. These women characters are portrayed as passive, whose lives and bodies are manipulated according to men’s perception.

scholarly journals Negotiated Boundaries: Conceptual Locations of Pregnancy and Childbirth

2015 ◽  
Author(s):  
Shannon Houvouras
Keyword(s):  
Social Constructionism ◽  
Female Body ◽  
Physical Event ◽  
Physical Processes ◽  
Women's Bodies ◽  
Pregnancy And Childbirth ◽  
Physical Elements ◽  
Depth Interviews ◽  
Physical Components

Dominant notions of reproduction perceive childbearing as physical processes that take place within women’s bodies. This perception undermines non-physical components and removes men from the process. This project uses social constructionism to explore the locations women describe pregnancy and childbirth taking place in their childbearing narratives. Based on in-depth interviews with 15 mothers, findings reveal that women conceptualize childbearing as taking place in multiple locations: (1) within the female body, (2) within both the female body and a non-physical realm (e.g., emotional) of one or both partners, (3) detached from any particular location, and (4) within both partners’ bodies. Conceptualizing childbearing as something other than a purely physical event acknowledges non-physical elements of childbearing and allows greater participation among men.

scholarly journals Seksualitas dalam tubuh bergender

2020 ◽  
Vol 16 (2) ◽  
Author(s):  
Khairil Anwar ◽  
Ratna Noviani
Keyword(s):  
Japanese Society ◽  
Narrative Structure ◽  
Sexual Differences ◽  
Female Characters ◽  
Women's Bodies ◽  
Male Bias ◽  
Patriarchal System ◽  
Male Heterosexual ◽  
Gender Subjectivity ◽  
Woman's Body

Media populer seperti film animasi atau anime menawarkan arena kontestasi. Penelitian ini menganalisis anime berjudul Kimi no Na Wa (2016) sebagai sebuah arena dengan melihat beberapa adegan tertentu. Tujuannya adalah untuk melihat bagaimana subjektivitas gender dan perbedaan seksual itu dibentuk di dalam anime ini. Dengan menggunakan metode psikoanalisis feminis film dari Laura Mulvey dan Kaja Silverman, penelitian ini menyimpulkan bahwa struktur naratif dalam anime ini masih dipengaruhi oleh male bias. Hal ini berpengaruh pada bagaimana pembentukan subjektivitas gender yang menjadikan perempuan sebagai objek tatapan sedangkan laki-laki sebagai subjek yang menatap. Selain itu, kamera yang bias gender berpotensi menciptakan tatapan yang sama dari penonton (terutama laki-laki heterseksual) kepada karakter perempuan. Ketika Taki bertransgresi ke tubuh Mitsuha, ia melakukan bentuk fetis untuk memuaskan hasratnya pada tubuh perempuan. Tetapi sebaliknya, ketika Mitsuha yang berada di tubuh Taki, hampir tidak adegan yang menunjukkan secara langsung bentuk fetis yang dilakukan perempuan terhadap tubuh laki-laki. Hal ini dimungkinkan karena tubuh perempuan bisa dibicarakan secara seksual namun pemikirannya dilarang untuk berpikiran seksual. Sebaliknya, tubuh laki-laki jarang untuk dibicarakan secara seksual tapi ia memiliki kebebasan untuk berpikir secara seksual. Pada akhirnya, struktur naratif anime ini seolah mereproduksi sistem patriarki masyarakat Jepang dalam pembentukan subjektivitas gender di sepanjang cerita.  AbstractPopular media such as animation or anime offer a contested arena. This study analyzes the anime titled Kimi no Na Wa (2016) as an arena by looking at certain scenes. The aim is to see how gender subjectivity and sexual differences are formed in this anime. Using the film feminist psychoanalysis method from Laura Mulvey and Kaja Silverman, this study concludes that the narrative structure in this anime is still influenced by male bias. This has an effect on how the formation of gender subjectivity which makes women as the to be looked at while men as the bearer of the looking. In addition, gender-biased cameras have the potential to create the same gaze from the audience (especially male heterosexual) towards female characters. When Taki transgresses into Mitsuha's body, she performs a fetish form to satisfy her desires for a woman's body. But on the contrary, when Mitsuha was in Taki's body, there was hardly a scene that directly shows the fetish form that women do to a man's body. This is possible because women's bodies can be discussed sexually, but their thoughts are forbidden to have sexual thoughts. In contrast, a man's body is rarely talked about sexually but he has the freedom to think sexually. In the end, the narrative structure of this anime seems to reproduce the patriarchal system of Japanese society in the formation of gender subjectivity throughout the story.

A review of pregnancy and childbirth outcomes in Vulvodynia

2012 ◽  
Author(s):  
Kelly B. Smith ◽  
Lori A. Brotto ◽  
Leslie Sadownik ◽  
Rosemary Basson ◽  
Kaitlyn Goldsmith
Keyword(s):  
Pregnancy And Childbirth

Taxi! The Modern Taxicab as Feminist Heterotopia

2014 ◽  
Vol 9 (2) ◽  
pp. 213-232
Author(s):  
Anne E. Fernald
Keyword(s):  
Virginia Woolf ◽  
Maximum Power ◽  
Male Gaze ◽  
Real Place ◽  
Critical Relation ◽  
Transitional Mode ◽  
Mode Of Transport ◽  
Woman's Body

The taxicab operated as a crucial transitional mode of transport for bourgeois women, allowing them maximum power as spectators when it was still brave for a woman to be a pedestrian. The writings of Virginia Woolf, which so often depict bourgeois women coping with modernity, form the chief context in which to explore the role of the taxicab in liberating the modern woman. The taxi itself, clumsy and ungendered, encases a woman's body and protects her from the male gaze. At the same time, a woman in a taxi can look out upon the street or freely ignore it. As such, the taxi is a type of heterotopia: a real place but one which functions outside of and in a critical relation to, the norms of the rest of the community.

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