scholarly journals The Princess and the Poor Self-Image: An Analysis of Newbery Medal Winners for Gender Bias and Female Underrepresentation Leading into the Twenty-First Century

2014 ◽  
Vol 2 (1) ◽  
pp. 6-26
Author(s):  
Melissa A. McCleary ◽  
Michael M. Widdersheim
Keyword(s):  
First Century ◽  
Female Characters ◽  
Female Representation ◽  
General Acceptance ◽  
Traditional Gender Roles ◽  
Self Image ◽  
Male Stereotypes ◽  
Feminist Perspectives ◽  
Newbery Medal ◽  
Strong Female Characters

This study analyzes how 12 recent (2000-2011) Newbery Medal-winning books represent gender. The study counts how many of the books’ characters represent progressive or traditional gender roles, how many male and female characters represent each character category (protagonist, antagonist, major, and minor), how many strong female characters are accepted or rejected by their peers, how many characters hold stereotypical gender beliefs about themselves or their peers, and how many works contain balanced feminist perspectives. The study finds equitable female representation, but the study also finds a bias toward traditional male stereotypes. The results indicate a general acceptance of strong female characters and a balanced representation of females, regardless of a historical fiction classification. These results suggest that characters in Newbery Medal-winning books represent gender more equally and less stereotypically compared to characters in works of earlier decades.

scholarly journals Building Pathways: Nurturing a Female Generation of School Leaders in China

2019 ◽  
pp. 1-24
Author(s):  
Lixia Qin ◽  
Mario Torres ◽  
Jean Madsen
Keyword(s):  
Educational Leadership ◽  
Leadership Preparation ◽  
Women's Leadership ◽  
Leadership Roles ◽  
Leadership Positions ◽  
Educational Management ◽  
Traditional Gender Roles ◽  
Changing Practice ◽  
Dominant Society ◽  
Feminist Perspectives

International feminist perspectives recognize the continuing inequalities of power between men and women across all classes (Adler & Israeli, 1988; Alston, 2000; De la Rey, 2005). In China’s male-dominant society, for example, women often have been inhibited from pursuing leadership positions (Wiseman, Obiakor & Bakken, 2009). Further, women’s access to leadership positions is constrained within many social sectors (Cooke, 2005). In school settings, there is no doubt that women have greatly contributed to the changing practice of educational management in China since 1980s ( Zhong & Ehrich, 2010). However, despite recent changes, women are still vastly underrepresented in educational leadership positions due to a variety of reasons, such as their adherence to traditional gender roles (Coleman, Qiang & Li, 1998). One particular reason that has been drawing increasing attention across the world is the lack of appropriate training and guidance in young women’s leadership (Su, Adams & Miniberg, 2000; Cooke, 2003; Barnett, 2004; Chen, 2005). This paper probes in greater depth one of the most important, yet largely overlooked aspects in the educational leadership of China – women’s leadership roles in education and young women’s leadership preparation.

Patriarchy in play: Video games as gendered media ecologies

2021 ◽  
Vol 20 (2) ◽  
pp. 195-212
Author(s):  
Jennifer Jenson ◽  
Suzanne de Castell
Keyword(s):  
Video Games ◽  
Sexual Harassment ◽  
Video Game ◽  
Media Ecology ◽  
First Century ◽  
Cultural Economic ◽  
Mainstream Media ◽  
Feminist Perspectives ◽  
Game Industry ◽  
Hostile Environments

Videogames are a dominant cultural, economic and creative medium in the twenty-first century, whose varied ecologies are increasingly recognized as particularly hostile environments to those identifying or identified as women. These ecologies include those encoded and enacted within the virtual environments of digital games, across the spectrum of those ecologies materially inhabited in games education, game cultures and, paradigmatically, the video game industry. In June 2020, top videogame maker Ubisoft saw high ranking employees resign from the company as accounts went public on Twitter and in mainstream media of sexual harassment, abuse and other misconduct at the company being covered up and ignored. But this is by no means the first public revelation of sexual harassment and discriminatory injustices directed at women who develop and play games: many will recall the vitriolic online hate movement #gamergate. Despite the familiarity of these tropes, we seem to ‘rediscover’ every few years or so that making and playing video games can present toxic environments for women. Drawing on feminist perspectives that understand how videogames have been a gendered, primarily masculine, domain, this article proposes that a topographical view, one specifically attuned to examining gender through a media ecology lens, can demonstrate how these successive re-enactments of ‘shock and awe’ operate in the service of, and are functionally integral to, the preservation of media ecologies exclusionary by design, legitimizing the repetition of their gendered hostilities. The intent is to move beyond naïve expressions of surprise and righteous indignation, to a grounded recognition and elucidation of the extents to which misogyny and harassment are and have been deeply structured into the gendered ecologies of video games.

Difficult Women: Changing Representations of Female Characters in Contemporary Television Series

2019 ◽  
Vol 67 (2) ◽  
pp. 109-129
Author(s):  
Svenja Hohenstein ◽  
Katharina Thalmann
Keyword(s):  
Female Characters ◽  
Television Series ◽  
Female Representation ◽  
Time Period ◽  
Feminist Discourse ◽  
Tv Shows ◽  
Representations Of Women

Abstract Starting out with a brief overview of recent TV series that feature complex and complicated female characters – or, as we call them, ‘difficult women’ – this introduction investigates the changing manner in which women have been represented on TV in previous decades. Demonstrating that especially TV shows of the 2010s undermine and work against traditional and stereotypical portrayals of women on TV and instead establish feminist discourses, we argue that this time period can be defined as a pivotal moment with regard to changing representations of women on TV. Using Netflix’s Orange Is the New Black as an example, we also show that TV series that feature difficult women make use of the very techniques and conventions of what Jason Mittell has described as ‘Complex TV’ in order to consciously engage with questions of female representation on TV and to create a feminist discourse that works against sexist tropes and stereotypes.

Sex and the Vampire

2011 ◽  
pp. 75-82
Author(s):  
Anne Billson
Keyword(s):  
First Century ◽  
Female Characters ◽  
East European ◽  
Female Victims ◽  
Twenty First Century

This chapter recounts vampires who have originally struck fear into the hearts of East European peasants as the ghastly walking cadavers of Carpathian myth. The chapter mentions Bela Lugosi or Christopher Lee's vampire character, which violated the throats of their female victims in a form of supernatural rape, but by the end of the first decade of the twenty-first century, it was women who were calling the shots. It also talks about female characters who reach out to their ravisher vampires and have relationships with them instead of screaming, getting bitten and turned into passive playthings. The chapter describes Dracula, played by Gary Oldman, who is no implacably evil villain, but a romantic anti-hero drawn towards Mina because of her resemblance to his long-lost love. It mentions female vampires in films that have long carried connotations of lesbianism.

Stereotyping Scandinavia in popular spy films: The image of the female

2019 ◽  
Vol 9 (3) ◽  
pp. 311-328 ◽  
Author(s):  
Kristina Stankevičiūtė
Keyword(s):  
First Century ◽  
Female Characters ◽  
Cultural Stereotypes ◽  
James Bond ◽  
The World ◽  
Twenty First Century ◽  
Save Energy ◽  
Economical Choice

Stereotyping, though considered ‘politically incorrect’, is viewed by some as a culturally economical choice that helps us save energy by simplifying the process of perceiving the world and its people. Spy films, in turn, are often constructed from certain clichés that some viewers expect, while more sophisticated spectators find them discrediting. Yet intentional use of clichés, including national and cultural stereotypes, may serve the purpose of conscious criticism or cultural irony, as is often the case in spy film parodies or spoofs. Referring to the widespread spy narrative character typology embodied in James Bond films, the article considers the popular stereotype of the Scandinavian woman observed in twenty-first-century espionage films for wide audiences, focusing on the Hamilton and Kingsman series to examine the effects that serious or ironic use of the stereotype has on the representation of female characters.

scholarly journals Normative Model Of New-Woman: A Discourse Of Ten Female Protagonists Of Urdu TV Drama Serials (2010-2019)

2020 ◽  
Vol 20 (2) ◽  
pp. 123-138
Author(s):  
Saleem Abbas ◽  
Firasat Jabeen ◽  
Muhammad Askari
Keyword(s):  
Content Analysis ◽  
Middle Class ◽  
New Woman ◽  
Qualitative Content Analysis ◽  
Female Characters ◽  
Female Representation ◽  
Normative Model ◽  
Female Protagonists ◽  
Predominant Form ◽  
Cultural Conservatism

This paper examines the normative model of ‘new woman’ (Dutoya 2018) in Pakistani dramas from the perspective of gender, class, and culture. TV drama is a predominant form of entertainment in Pakistani media. In early Urdu dramas, female characters are infrequently depicted in a progressive way but now, educated, independent, and urban middle-class women can generally be observed in lead and supporting roles. Along with a shift of female representation in Pakistani Urdu dramas, the study discusses the construction of a Pakistani normative model of ‘new womanhood.’ Through a qualitative content analysis of ten female protagonists from Pakistani Urdu TV dramas of last decade (2010 through 2019), I argue that Dutoya’s socially permissible model of ‘new woman’ can be noticed in the majority of contemporary Urdu dramas. In other words, female protagonists are portrayed with diverse attributes of modesty and modernity. I further argue that the idea of ‘new woman’ is not a new phenomenon for the Pakistani society. Unlike a colonial idea of ‘super wife’ and Victorian concept of ‘super woman,’ my assertion is that Pakistani version of ‘new woman’ is a response to western wave of feminism, religious orthodoxy at home, and cultural conservatism prevalent in Pakistan.

scholarly journals Deleuze Becoming-Mary Poppins: Re-Imagining the Concept of Becoming-Woman and Its Potential for Challenging Current Notions of Parenting, Gender and Childhood

Humanities ◽  
2021 ◽  
Vol 10 (4) ◽  
pp. 113
Author(s):  
Donna Carlyle ◽  
Kay Sidebottom
Keyword(s):  
First Century ◽  
Gender Performativity ◽  
Fictional Character ◽  
War Machine ◽  
Feminist Perspectives ◽  
Twenty First Century ◽  
The Many ◽  
Post Humanism

In this paper, we consider the major and controversial lexicon of Deleuze’s ‘becoming-woman’ and what an alternative re-working of this concept might look like through the story of Mary Poppins. In playfully exploring the many interesting aspects of Travers’ character, with her classic tale about the vagaries of parenting, we attempt to highlight how reading Mary Poppins through the Deleuzian lens of ‘becoming-woman’ opens up possibilities, not limitations, in terms of feminist perspectives. In initially resisting the ‘Disneyfication’ of Mary Poppins, Travers offered insights and opportunities which we revisit and consider in terms of how this fictional character can significantly disrupt ideas of gender performativity. We endeavour to accentuate how one of its themes not only dismantles the patriarchy in 1910 but also has significant traction in the twenty- first century. We also put forth the idea of Mary Poppins as an icon of post-humanism, a nomadic war machine, with her robotic caring, magic powers and literal flights of fancy, to argue how she ironically holds the dual position of representing the professionalisation of parenting and the need to move beyond a Dionysian view of children as in need of control and regulation, as well as that of nurturer and emancipator. Indeed, in her many contradictions, we suggest a nomadic Mary Poppins can offer a route into the ideas of Deleuze and his view of children as de-territorialising forces and activators of change.

scholarly journals Kajian Sastra Feminisme terhadap Citra Perempuan Adonara dan Ketidakadilan Gender dalam Novel “Ikhtiar Cinta dari Adonara” Karya J. S. Maulana

2020 ◽  
Vol 4 (2) ◽  
pp. 121-129
Author(s):  
Yunita Laka Marawali
Keyword(s):  
Data Analysis ◽  
Literary Studies ◽  
The Novel ◽  
Female Characters ◽  
Women And Gender ◽  
Self Image ◽  
Data Analysis Technique ◽  
Analysis Technique ◽  
Female Figures ◽  
And Gender

This study aims to describe the image of Adonara women and the types of gender injustice experienced by female characters in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. This study uses a literary approach based on literary studies of feminism and gender. The object of research is the description of Adonara women and gender injustice found in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. The source of data in this study is the novel “Ikhtiar Cinta Adonara’ by J. S Maulana. The novel written by J. S. Maulana consists of 320 pages. Published by Kaysa Media (Puspa Swara Group) in 2014. The data analysis technique was done by reducing data, presenting data analysis and interpreting the data and summarizing the results of research in order to obtain a picture of the image of women in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. In this study, researchers analyzed two female figures to describe the image of women in the novel. The results obtained are (a) The image of a woman, namely the figure of Syarifah, is a Muslim who is devout in worship and always submits to God, a woman who is educated, tough, has positive thoughts, is courageous and principled, is humble, and a woman who loves sincerely. (b) Fatimah's self-image, namely women who are willing to sacrifice, are brave and have principles, (c) gender injustice is found, namely marginalization, subordination, stereotypes, violence, and workload.

scholarly journals Feminist Voice in Rajan Mukarung's Hātā Jāne Aghillo Rāta

2019 ◽  
Vol 9 (1) ◽  
pp. 39-52
Author(s):  
Indira Acharya Mishra
Keyword(s):  
Middle Class ◽  
Gender Roles ◽  
Gender Discrimination ◽  
Main Stream ◽  
Ethnic Communities ◽  
Feminist Literature ◽  
Traditional Gender Roles ◽  
Marginalized Women ◽  
Feminist Perspectives ◽  
The Voice

Some of the poems in Rajan Mukarung's latest anthology Hātā Jāne Aghillo Rāta [The Night before the Market Day] (2019) are written from the feminist perspective. However, the feminist voice raised in these poems is different from the feminist voice of the main stream Nepali feminist literature which raises the issues of urban, middle class, educated upper caste women from the hills (bourgeoisies women), who aspire liberation from the restrictive traditional gender roles. Unlike the main stream Nepali feminist literature, in these poems, he dramatizes the issues of women from the margin. These are poor and illiterate women from Dalit and ethnic communities who bear the brunt of not only gender discrimination, but also suffer from class and caste discriminations. The article aims to analyze three of the poems from the anthology from the Multicultural feminist perspectives. The finding of the article suggests that these poems raise the voice of marginalized women and demand justice to lower caste and ethnic women whose mores are different from the bourgeoisies' women.

Woman's Body as the Site of Violence in Parijat's Blue Mimosa

2020 ◽  
Vol 4 (1) ◽  
pp. 30-40
Author(s):  
Indira Acharya Mishra
Keyword(s):  
Gender Roles ◽  
Sexual Violence ◽  
Corporal Punishment ◽  
Feminist Perspective ◽  
Female Characters ◽  
Gender Based Violence ◽  
Traditional Gender Roles ◽  
Special Power ◽  
Gender Based ◽  
And Control

 The article aims to analyze Parijat's Blue Mimosa, which was originally published as Śirīṣako Phūla (1965) from the feminist perspective. Feminists argue that patriarchy is unfriendly to women. They explain that because of biased patriarchal gender roles women suffer from gender-based violence. They claim that in patriarchy men have special power and privileges which allow them to dominate and control women to their benefit. They use corporal punishment and sexual violence in case women deny to submit to them. Thus, feminists protest the imposition of traditional gender roles in the process of socialization. They demand for a more egalitarian perspective towards gender which allows human individuals to live according to their interests and capacities. In Blue Mimosa, the female characters become the victim of gender-based violence. They are physically assaulted, raped, and murdered. Their bodies become the site where men enact violence. Thus, feminism is relevant to analyze the text. The article argues that these female characters become the victim of violence just because they are women. The article helps to understand how women suffer from gender-based violence in patriarchy.

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