Yemeni writer Ahmed Qāsim al-Arīqī, in addition to his profession as a pharmacist, is a writer who has made a name for himself in the country's literary field, especially in the last fifteen years. A prolific writer, al-Arīqī is the author of poetry collections as well as stories and novels that emphasise awareness of the traditional issues of the Yemeni people. He has published "Maḳāmāt al-'Arīḳī" (2006), "Ġalṭṭetu Ḳalem" (2012), "Qurāt al-S̱-S̱elj" (2017), "Ta'riyya" (2018), "Zurbet al-Yumnā" (2018), "Da'wat al-Ḥuḳūl" (2019), (...) "Zuhr al-Ġarām" and "Sīret al-Kūbī" (2022). His novel "Yawma Māta al-Shaytan" (The Day Satan Died) was published electronically by Hindāwī Publishing House in 2022. The novel, which is approximately 120 pages, is written in six chapters. There are eleven passages in the first and fourth chapters, thirteen in the second and sixth chapters, twelve in the third chapter, and eight in the fifth chapter. The novel is about the adventures of a member of the army named Marwan Naji, who was wounded in the war between the Houthi militia and the Yemeni army, and after nine months in a coma, opens his eyes in a perfect world dominated by biological and technological advances. Symbolising the treatment of selfishness and various narcissisms with advanced vaccines through the death of Satan, the author describes Marwan's adventures in his world, which he sometimes describes as the realm of the jinn, in a very simple language, while not failing to criticise reality in its various political, social and religious dimensions. In fact, Marwan's world of imagination and fantasy is the main story of the novel, but not the only one. The author also includes the stories of family members in Marwan's world of turmoil, destruction, massacre, war and victory, giving the reader the opportunity to compare both worlds. While his mother Gusoun, his wife Hamide and his daughter Fatma, who later got engaged in time after being widowed, are the female characters of his real world, Professor Mari and Mariana, one of his seven wives, are the other important characters of his imaginary world. Gusûn is a devoted mother who does not leave the bedside of her comatose son, prays for him day and night and tries to do everything she can for his recovery. Gusûn, who is listened to at home to a certain extent, scolds her grandchildren to prevent the breakup of her son's home because of inheritance, defends that the existing wealth still belongs to her son and reminds them that she will not hesitate to spend money for his recovery. Gusûn's daughter-in-law Hamide also takes care of her husband, who shows no signs of recovery. Hamide, who is not as patient as her mother-in-law, is also a jealous woman. On the other hand, although both of them display false religious tendencies that have no relation with real life, Gusûn is more prone to the superstitious approaches put forward and adopted in the name of religion. Fatma is also a widow who, although she has the will to take care of her children and live her life alone, has been engaged for a long time to her uncle's son Münir, who, like her, took part in anti-regime demonstrations and whose love she believes in. Fatma, who is more conscious than her grandmother and mother, is not alien to the issues that society complains about and often participates in women's movements organised against the government. Professor Mari, one of the two important characters belonging to Marwan's imaginary world, is a psychologist and the chief physician of a large hospital who treats jealousy, anger, lying and selfishness, which are considered dangerous viruses, with vaccines developed by scientists. Professor Mari, who is personally involved in Marwan's treatment, also chairs the committee that records his memory and projects all his memories on a giant screen. Mariana, on the other hand, monitors Marwan's behaviour and thoughts through a biological chip to control the effect of the vaccines given to him, criticises him through the tragic images projected on the screen and provides information that will facilitate his adaptation to his new world. In the article, in which the author's main published works are briefly introduced along with a broad summary of the novel, the social messages that an author, who is not indifferent to the realities of the geography he lives in, tries to give directly and indirectly with a language far from locality, are tried to be determined through the mentioned female characters. It is seen that the desire to become a single nation by making; love, brotherhood, friendship and peace dominant lies behind the author's novelisation of the dream of an ideal world symbolised by the death of Satan. (shrink)

En el presente trabajo se efectúa un acercamiento a la narrativa cubana del período decimonónico por medio del diseño de sus personajes femeninos. Se atiende a las particularidades de la caracterización prosopográfica y etopéyica de la imago mujer, y se realiza una tentativa de tipologización, de acuerdo con los diversos matices conformadores de nuestros modelos femeninos ficcionales. En este propósito se privilegian aquellas obras y autores más importantes del período. In this paper, an approach to the Cuban narrative of nineteenth-century (...) period is carried out through the design of their female characters. The paper discusses the particularities of an ethopoeic characterization of imago women. It also attempts to realize a tentative typologization, based on the various nuances of forming our fictional female models. For this purpose, the works and major authors of the period are discussed. (shrink)

Inner Strength of Female Characters in Loitering with Intent and The Public Image by Muriel Spark Women characters in Muriel Spark's novels are diverse, some strong and powerful, some weak and unable to make decisions. And there are characters who develop throughout the novel and learn from their own mistakes. From being passive, they gradually start acting and making their own choices. Loitering with Intent and The Public Image present women characters who go through metamorphosis, from being dependent on (...) others into living their own lives and freeing themselves from former influences. Such kaleidoscopic change enables them not only to be able to finally make their own decisions but also to overcome many difficult situations threatening their future life.Fleur Talbot, a heroine in Loitering with Intent, finds herself at a point in which she thinks that everything she cares for is lost. Chronically passive and naïve, she cannot imagine another way of being until she understands that she is being cheated, that her life will be ruined if she does not act. Everyone around her seems to be in conspiracy against her; only taking a firm stand and opposing her surrounding world can help. Fleur's life has become totally dependent on her ability to be strong and decisive. She knows that if she remains what she is, her career and prospects for the future will be lost, so she decides to prove her determination and her will to be finally happy. Her transformation into a powerful character saves her dignity and makes her a successful writer.Annabel, a character in The Public Image is the same type of person as Fleur, as she lacks self-confidence and has no support from anybody, even her own husband. Muriel Spark, however, presents her as another example of a heroine who develops as the action progresses, able to evoke strength in herself when her situation seems hopeless. Annabel, at first treated as a puppet in the hands of other people, who use her image for their own benefit, shows that she is capable of anything by the book's end. When her career and reputation are threatened and her privacy invaded, she decides to leave the country. This requires both effort and sacrifice, as she has to leave behind everything she has worked for all her life, but this is the necessary price for her freedom.The ability of both female characters to show so much determination reveals an inherent inner strength, and their weakness and vulnerability as just superficial. When the situation requires it, both Annabel and Fleur are ready to fight for their rights, for their freedom and self esteem, and they discover that they are indeed capable of changing their lives. (shrink)

How can students’ character formation be supported such that their youthful energy can become a force for the good? There is burgeoning research on how universities can help form people of character (Brooks et al. in _International_ _Journal of Ethics Education_ 4(2):167–182, 2019 ; Lamb et al. in _Journal of Moral Education_ 1–23, 2021b ). Nongovernmental organizations can also play a role. This article explores how a leadership program for students in the Philippines cultivates character using as theoretical framework the (...) 7 strategies of character development presented in Lamb et al. in _Journal of Character Education_ 17(1):81–108, 2021a. Upon examination of how the strategies are integrated, recommendations for improvement of the program design are given. (shrink)

The article devoted to the study of an artistic image of female saint from stylistic and linguocultural perspectives. The image is represented by the characters of Judith and Juliana in Anglo-Saxon literature. Stylistic peculiarities of the image are result of the fact that it emerges as a combination of heroic and religious genres. Thus, two genre pictures of the world account for characteristics of the image: on the one hand, it is described by epithets relating to the sphere of (...) divinity, on the other, by lexis relating to military heroism. As a result, Anglo-saxon female saint stands out among other female images by a considerable degree of activity, which is manifested at all levels of analysis. Female saints are connotated positively and described as ‘bright‘, ‘wise‘, and ‘brave‘. A category binding the image and a sphere of culture is a notion of value, which is reflected in a linguocultural concept. Study ofconceptual space of female saints contributes to reconstructing values and anti-values of the Anglo-Saxon period. An interaction of heroic and religious pictures of the world account for a specific character of an image of the saint in Old English literature, namely the co-existence of concepts typical of these conceptual outlooks. On the one hand, God-related concepts: God, love, glory, on the other, such heroic concepts as strength, bravery, dignity. Anti-values within the image are associated with the macroconcept ‘devil‘ and devil-related concepts like death and feud. (shrink)

Part 1 of this essay began to develop a philosophical interpretation of The Neapolitan Novels by grounding a vision of the work's moral psychology in the tradition of Italian difference feminism, particularly as it is expressed in the texts of the influential Milan Women's Bookstore Collective. Part 2 advances the interpretive argument by presenting a more detailed literary analysis of the character of Lila Cerullo. After motivating the interest of various aspects of her symbolization by connecting them to important motifs (...) in feminist philosophy and literature, I present evidence of Lila's special status in the work, and the puzzles this status raises. I advance a reading of Lila as a brilliant woman capable of playing the superior role in a hierarchical relationship of entrustment—and of The Neapolitan Novels as a sympathetic yet critical exploration of the viability of such relationships and their connection to female friendship and female freedom. In support of this reading, I give an account of Lila's strange condition of smarginatura, the import of her perplexing earthquake speech in which this condition is explicitly addressed, and Elena Greco's troubling reactions. (shrink)

Amanda Porterfield documents the claim that for Puritan men and women alike the ideals of selfhood were conveyed by female images. Constructed largely by men, Porterfield argues, these female images taught self-control, shaped pious ideals, and also established the standards against which the moral character of actual women was measured. Porterfield's work reflects a synthesis of literary critical and historical methods, combining analysis of Puritan theological writings with detailed examinations of historical records of changing patterns of church membership (...) and domestic life. (shrink)

Resumen La figura femenina en el arte cinematográfico ha sido mostrada mediante arquetipos y cumpliendo distintas funciones. Nos proponemos en este estudio analizar los personajes femeninos por medio de la narrativa audiovisual en dos películas emblemáticas de la cinematografía de Hitchcock: Recuerda y Vértigo, en las que la mujer se contempla como empoderada, pero también sometida, llegando a una negación de su propia identidad. Consideramos que la forma del tratamiento de la mujer en el cine de dicha época radica en (...) la situación social de la misma, sufriendo un tratamiento discriminatorio, que es admitido por los personajes femeninos justificándolo en un enamoramiento, que anula la propia personalidad. Abstract The female figure in cinematographic art has been shown through archetypes and performing different functions. We propose in this study to analyze female characters through the audiovisual narrative in two emblematic films of Hitchcock’s cinematography: Spellbound and Vertigo, in which women are seen as empowered, but also subjected to a denial of their own identity. We consider that the treatment of women in the cinema of that time lies in the social situation of the same, suffering a discriminatory treatment, which is admitted by the female characters justifying it in a crush, which annuls the own personality. (shrink)

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. (shrink)

Quid ais has as its two main functions in Latin to express surprise (“what are you saying?”), and to get the addressee’s attention (“tell me something…”); the latter type has a commanding tone. It is proven that quid ais in Plautus has a decidedly male character; that is, he avoided giving the phrase to women. To explain this finding, it is noted that 91% of instances of quid ais in Plautus are of the second “attention-getting” type. With its imperatival force, (...) this quid ais was probably not felt to be appropriate for Plautus’ female characters whose speech is generally more polite and deferential than male speech. Indeed, in the three cases when a woman does utter the phrase, she either assumes a male role, or belongs to a type which in recent scholarship has been shown to have a “commanding” style of speech: the meretrix or the uxor dotata. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Radical Female Imaginary: Temporality and Embodiment in Irigaray’s EthicsEwa Plonowska Ziarek* (bio)An important intervention of Irigaray’s work on sexual difference into the postmodern debates on ethics is the mediation between two different lines of ethical inquiry: one represented by the work of Nietzsche, Deleuze, Foucault, and, to a certain degree, Castoriadis, and the other by the work of Levinas, Derrida, and Lyotard. Although the two trajectories (...) both depart from the notion of morality as a universal system of law and judgment, they represent different approaches to freedom and obligation. For Levinas, Derrida, and Lyotard, the ethical significance of alterity disrupts social systems of signification and, in this sense, marks transcendence as a break in discourse, whereas for Nietzsche, Deleuze, and Foucault, otherness is expressed within the endless variations of becoming. To elucidate this difference, it might be useful to recall John Caputo’s distinction between two kinds of postmodern ethics—the Nietzschean heteromorphism and the Levinasian heteronomy. In its emphasis on becoming and change, heteromorphism, Caputo claims, puts forward the claim of liberation but cannot accommodate an obligation to the other: “In heteromorphism, the aim is freedom from inhibition and blockage, freedom from... the weight of values... from everything that weighs the will down....” By contrast, the Levinasian ethics of alterity gives priority to the obligation to the other, which calls the freedom of the subject into question: “freedom is suspect, suspended, held in question, because it is aggressive, self-accumulative, and eventually, finally murderous. Heteronomism wants the other to be free while one is oneself held hostage” [Caputo 60].In my discussion of the radical female imaginary I would like to show that Irigaray’s work refuses to align itself with either side of this divide. Originating in the very gap between liberation and responsibility, self and other, immanence and transcendence, freedom and obligation, the feminist ethics of sexual difference cannot disregard any of these claims. For Irigaray, the ethics of sexual difference has to enable different trajectories of gendered becomings without forgetting the obligation to the other. In fact, Irigaray argues that the responsibility to the other who differs sexually is the very source of such becomings. Irigaray’s ethics maintains neither the rigid separation between freedom and obligation, as is the case in Levinas’s work, nor their symmetrical reversibility, as is the case in Kant’s ethics. By contesting the oppositions between carnal passions and ethical obligations, between the respect for the other and the becoming of the self, Irigaray allows us to think through the disjunction between the two main ethical trajectories of postmodernism and to find the means to negotiate between them. In this essay I would like [End Page 60] to focus on two moments of such negotiation: the becoming of sexed bodies and the temporality of the female imaginary.One of Irigaray’s famous claims is the charge of the forgetting of sexed bodies in the discourses of philosophy, science, linguistics, and politics. Although this claim is certainly not new in feminist theory, what is original in Irigaray’s work is the diagnosis of the numerous symptoms of such forgetting, for instance, the relation she makes between the erasure of the sexed body and the nihilism of Western culture. For Irigaray, the forgetting of sexual difference manifests itself not only in the disregard for the specificity of feminine embodiment, desires, and genealogies but also in the disembodied character of linguistic analyses, in the erasure of the drama of enunciation evident in the privilege given to predication, in the separation of the subject of knowledge from carnality and desire, in the infatuation with formalism and with its obverse side, the crippling nostalgia for the maternal body, and, finally, in the rigid separation between the immanence of flesh and the transcendence of the spirit. 1 Even more striking is the originality of Irigaray’s intervention, which links the question of sexual difference with the temporality of the body.An important element of Irigaray’s ethics of sexual difference is the recovery of “that repressed entity, the female imaginary” [TS 28]. Despite numerous excellent discussions of the imaginary in Irigaray’s work, the complexity of her negotiations around this... (shrink)

This dissertation originated in a reasoned conviction that character is of crucial importance for moral theory; that its neglect in the modern period is regrettable. Considerations of character can illuminate judgments of the rightness of actions and the goodness of ends. Indeed, good character is one of the greatest goods. Further, the understanding of character and its development provides an essential link between moral theory and social philosophy. ;The particular content of this dissertation is Kant's theory of character. Recent scholars (...) have illuminated his treatment of character and the virtues; although these interpretations are valuable, there remains a need for the systematic articulation of the theory as a whole. ;My procedure has been to establish preliminary criteria for any theory of character, in the form of questions to which any adequate theory must given cogent answers, and then to discover Kant's answers to those questions. After the theory has been articulated, its adequacy is assessed. ;In Chapter One I review recent literature, contrasting act-centered with agent-centered approaches, and propose tentative criteria for theory of character. Chapters Two and Three present the rudiments of Kant's theory, and Chapter Three addresses standard criticisms. Chapter Four presents Kant's view of the development of character in its social context, and Chapter Five the problem which Kant's view of women's character presents for his theory as a whole. The final chapter evaluates its strengths and weaknesses. ;Although Kant's theory is shown to be flawed by his underlying conception of human nature, and by his inconsistent view of female character, I shall argue that it is basically sound. His analysis of character as related to choice, reason, freedom and society is comprehensive, and his emphasis on the importance of the moral agent, rather than on outcomes or general rules, makes him preeminently a philosopher of character. (shrink)

Pamela Sue Anderson’s project about vulnerability and the silencing of the female speaker began with her realization of the female philosopher’s position within academia. Exposing the disavowal of the female “knower,” Anderson lays bare the mechanisms of excluding women from intellectual, artistic and religious discourse. Moving beyond the negative configuration of vulnerability associated with an openness to violence, Anderson refigures it as an openness to affection. The denial of thus refigured vulnerability has led to the literal and (...) discursive oppression of women through the “wilful ignorance” of their intellectual, emotional and sexual needs. In this article Filipczak analyses manifestations of this oppression exposed by female writers who illustrate the predicament discussed by Anderson in their fiction. Starting with Anderson’s refiguring of Antigone as a figure of dissent and marginality in her early work, Filipczak discusses Maggie Tulliver from The Mill on the Floss by George Eliot, Morag Gunn from The Diviners by Margaret Laurence and Mary Magdalene from The Secret Gospel of Mary Magdalene by Michèle Roberts. What connects these characters is the fact that they are disavowed as knowers in intellectual, artistic or theological endeavours by male figures of authority who deny vulnerability as an openness to affection, and rely on social collusion with such denial. The analysis also refers to Anna Karenina by Leo Tolstoy and Aritha van Herk’s Places Far From Ellesmere. (shrink)

I have taken such pains to indicate the scope, terms, and foci of Neumann's analysis because he provides one of the main pillars on which any further systematic study of the woman hero must rest. By showing Psyche's relation to the mythic or archetypal structure of heroism, by demonstrating the particular ways in which the hero is a figure distinguished primarily by involvement in particular patterns of action and psychological development, Neumann provides an invaluable service to further studies of literature, (...) heroism, and women. Without belaboring the distinction between the hero and the heroine, Neumann validates the claim that a woman can be a hero and eliminates the awkward distinction between the heroine as heroic figure and the heroine as conventional woman that has perplexed so much recent literary, especially feminist, analysis.1 He is also very good at locating the details in Psyche's dilemma that constitute significant associative images within a narrative representing heroism by means of a female character. Specifically, he indicates how Psyche's beauty is as much a burden as a boon, shows the importance of her relationship to other female characters, and points out the ways in which the apparent hostility of other women acts as a necessary goad to Psyche's own developing independence. Neumann's analysis is also suggestive in showing the appropriateness of archetypal criticism to material which is not myth in the narrow sense. To be sure, Apuleius' Amor and Psyche results from the distillation of narratives whose origins are clearly to be found in the folklore and functioning mythologies of Greek and Roman culture; just as clearly, however, Apuleius is telling his tale as part of a highly self-conscious, complexly structured narrative2 analogous, in some ways, to Chaucer's Canterbury Tales, Bunyan's Pilgrim's Progress, Milton's great religious epics, and even that seemingly least mythic set of narrative structures, the novel. · 1. See, e.g., Ellen Moers' long discussion of "heroinism" in Literary Women: The Great Writers , pp. 113-242. Moers' use of this awkward term, the female version of the presumably masculine heroism, perpetuates the idea that only men can be true heroes, while extraordinary women remain "special cases" necessitating special terminology.· 2. See P. G. Walsh, The Roman Novel: The 'Satyricon' of Petronius and the 'Metamorphoses' of Apuleius , pp. 141-223. Lee R. Edwards is an editor of The Massachusetts Review and an associate professor of English at the University of Massachusetts at Amherst. She is presently completing The Labors of Psyche: Female Heroism and Fictional Form. (shrink)

In advocating gender equality today, we should not only pay attention to women's social status but also call for the women's psychological identification of class equality. What dominates female class identification? To answer this question, based on the data of the Chinese General Social Survey in 2015, this study constructs a female class identity framework from five aspects: the mother's intergenerational influence, female personal characteristics, lifestyle, gender consciousness, and spouse status. In this study, the ordered logit model (...) is used to empirically analyze the impact of various factors on female class identification, and the results show the following: gender consciousness has a significant impact on female class identification. Lifestyle has a significant impact on the situation of having a spouse. Spouse status has a significant positive effect on female class identification. But the mother's intergenerational influence has no effect on female class identification. Therefore, this paper suggests that we should improve laws and regulations to protect women's normal rights, encourage women to establish an independent and self-improvement character, and enhance the class consciousness of women, especially rural women, in order to achieve the overall improvement of female class and psychological identification. (shrink)

This paper explores Lévinas’s philosophical reflection upon the feminine and attempts to bring it into communication with the importance ascribed to the feminine embodied in the Daodejing. According to Lévinas, the feminine is the very quality of difference that cannot be subsumed into the totality of the same. He emphasizes the importance of considering women in their own right. This is a forceful opposition against androcentrism. Daoist philosophy has often been characterized as “feminine” in terms of its orientation. This paper (...) shows the inadequacy of three readings of the references to femininity in the Daodejing, namely, quasi-feminist historical reading, correlative reading and political reading, and argues that the feminine occupies a central place in this scripture, which is manifest most effectively in the principle of abiding by the female. (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)

A popular protective chant in South‐East Asia and Sri Lanka salutes eight arahats, companions of Gotama Buddha. The chant says that these arahats “sit” to protect the person who chants to them, with the Buddha at the center. The nature of arahatship is an issue that needs to be addressed. In an early Buddhist Abhidhamma root chant, three kinds of states are described: those of beings not in training, those of beings in training, and those of beings who are neither (...) in nor not in training. Two figures tower over early Buddhism: Sāriputta and Moggallāna, the chief disciples of the Buddha. The presence and description of female arahats is a testament to the Buddha's rejection of caste, gender, or status as an impediment to meditation and the attainment of enlightenment. In the study of Buddhist texts it is inevitably the doctrinal and philosophical expositions that have received the most attention. (shrink)

For ten years, between 1903 and 1913, Gertrude Stein saw human relationships as painful mathematical puzzles in need of solutions. Again and again, she converted the predicaments of her personal life into literary material, the better to solve and to exorcise them. The revelation that relationships had a structural quality came to her during the composition of Q.E.D. , when she grasped the almost mathematical nature of her characters' emotional impasse. Stein's persona in the novel comments on their triangular affair, (...) "Why it's like a piece of mathematics. Suddenly it does itself and you begin to see."1 The theory encouraged her to examine such situations as if they were case histories: she continued to study the same piece of mathematics from different angles in Fernhurst , Three Lives , and The Making of Americans . But whatever the sexual arrangements in these triangles, the powerful generally managed to impose their wills upon the less powerful, and the triangles resolved themselves into oppositional structures, pitting two against one. Gradually, when the couple began to replace the triangle as her structural model, Stein composed numerous verbal portraits of couples and their relationships. In two of these, "Ada" and "Two Women," Stein applied her general theory of relationships to the particular puzzle of female friendships because, I think, she felt that women's characters were most intensely molded in same-sex involvements. Although she attempted to "prove" these theories in distanced, deliberately depersonalized prose, we as readers must examine "the complex interplay of self-discovery and writing" from which her portraits emerged.2Stein's portraits of women entangled in familial and erotic bonds seem to invite us into "the process whereby the self creates itself in the experience of creating art"; to read them, we must "join the narrator in reconstructing the other woman by whom we know ourselves."3 This task of reconstruction implies that we must also rethink the place of biography—generally dismissed by New Criticism and its subsequent post-structuralist permutations as "mere" biography—in feminist critical projects. If it is true that "in reading as in writing, it is ourselves that we remake," then feminist critics have a special stake in understanding the biographical, and autobiographical, impulses at work in these activities.4 Stein's portraits, which hover between fiction and biography, raise important questions about the ways in which biographical information can justify our suspicion that female writers may be "closer to their fictional creations than male writers are."5 Recently, feminist critics have adapted psychoanalytic theory to examine the particular closeness of female characters in women's writing or to suggest a related closeness between the female author and her characters. We find it useful to speak of the pre-Oedipal structures and permeable ego boundaries that seem to shape women's relationships. Although Stein used very different psychological paradigms, she approached these same issues in her own studies of female friendships. Realizing that she preferred to write about women, she observed, "It is clearer…I know it better, a little, not very much better."6 In spite of her qualifications, she knew that she could see the structuring principles of relationships with greater clarity when writing from her own perspective.1. Stein, "Fernhurst," "Q.E.D.," and Other Early Writings, ed. Leon Katz , p. 67.2. Elizabeth Abel, "Reply to Gardiner," Signs 6 : 444. For a very useful critical discussion of this complex issue, see Abel, "Merging Identities: The Dynamics of Female Friendship in Contemporary Fiction by Women," and Judith Kegan Gardiner, "The es of dentity: a Response to Abel on 'Merging Identities,'" in the same issue of Signs .3. Gardiner, "The es of dentity," p. 442.4. Jonathan Morse, "Memory, Desire, and the Need for Biography: The Case of Emily Dickinson," The Georgia Review 35 : 271. See also J. Gerald Kennedy's suggestive remarks on the "tension between personal confession and implacable theory" in Barthes' later work .5. Abel, "Reply to Gardiner," p. 444.6. Stein, The Making of Americans, cited in Richard Bridgeman, Gertrude Stein in Pieces , p. 78.Carolyn Burke, an Affiliated Scholar at the Center for Research on Women, Stanford University, has published articles on French feminist writing and on Mina Loy, whose biography she is now completing. The theoretical implications of this essay will be explored in her related study in progress on feminist biography. (shrink)

Purpose: The sensitization which this discussion engenders, has the objective of instituting an ever more formidable resilience in the advocacy against female genital mutilation (FGM) around the globe. Methodology: Besides the expository, analytic and evaluative character of this work, a particular effort is made to unveil the political and epistemological trappings that undergird the condemnable, but on-going practice of female genital mutilation in different parts of the world, especially in the continent of Africa. Findings: Some people point out (...) that the word "cutting" is less judgmental and relates better to terms used in many local languages. However, many women's health and human rights organizations use the word "mutilation," not only to describe the practice, but also to point out the violation of women's human rights. Unique Contribution to theory, practice and policy (recommendation): Ritual circumcision of young males and females is a practice seen in many cultures across the world, including sub-Saharan and North Africa, the Muslim Middle East, the Jewish diaspora, Aboriginal Australia, the Pacific Islands, Southeast Asia, etc. This work discuses female circumcision as “female genital mutilation” and rejects the view proposed by some that its practice is culturally and ethically relative. All three terms, female genital cutting (FGC), female circumcision, or female genital mutilation (FGM) describe the procedure that cuts away part or all of the external female genitalia and are used to describe the same thing, that is, mutilation. Some people fear that parents may resent the implication that they are "mutilating" their daughters by participating in this largely cultural event, and so reject the term FGM in favour of FGC. (shrink)

There is an imbalance of gender roles in everyone's favorite space saga, with the vast majority of characters played by males while the female parts are minimized at nearly every turn. But the underlying problem of womanhood in Star Wars might be even more insidious than Darth Sidious himself. This chapter explains why it is difficult to embrace a strong female identity anywhere, let alone in the midst of intergalactic war. It analyzes whether the women in Star Wars (...) have what it takes to bring feminism to the Force. While Princess Leia and Queen Amidala are instantly recognizable figures in popular culture, the question arises whether they represent women positively. While Leia and Padmé are typically recognized as the feminist icons of Star Wars, they are not all the films have to offer. The women of Star Wars offer just as much as any of the individual male characters. (shrink)

Virtues and character strengths are often assumed to be universal, considered equally important to individuals across cultures, religions, racial-ethnic groups, and genders. The results of our surveys and laboratory studies, however, bring to light subtle yet consistent gender differences in the importance attributed to character in leadership: women considered character to be more important to successful leadership in business than did men, and women had higher expectations that individuals should demonstrate character in a new leadership role. Further, the gender of (...) the research participant affected character ratings such that male respondents viewed a female leader who exhibited agentic behaviors in a professionally challenging situation less positively than a male leader who displayed the same agentic behaviors. The data also showed that male participants rated almost every dimension of character displayed by the female leader lower than did female participants. Our findings suggest that the question as to what extent gender differences may bias the assessment of virtues and character strengths is an important one, and one for which the practical implications for individuals in organizations need to be studied in more detail. (shrink)

Most commentators who consider Hegel's treatment of the female principle (Weiblichkeit) in the Phenomenology of Spirit only believe that it refers to "True Spirit" and is limited to a brief discussion of Sophocles's character Antigone. This is not actually true. The paper deals with both with the broader question of who represents the female principle and also goes into detail on the first appearance of Antigone in chapter five and on her final appearance in chapter seven, Reason. The (...) female principle returns in Religion as an aspect of Absolute Being. The female goddesses, especially the mother goddess and the Erinyes, embody this principle. Antigone reappears as offering prophetic wisdom for their mission, which is Divine Law and justice. (shrink)

In Storybrooke, the city in which Once Upon a Time takes place, live many characters of fantastic stories. A plethora of princesses resides in this town, and their history, like their representation, undergoes important variations. Moving away from the role of “damsel in distress” often found in fairy tales and their adaptations, Emma, Snow White or Little Red Riding Hood, gain independence and freedom. However, clichés are tough and heroines often get involved in stereotypical love stories, where motherhood seems to (...) be the only possible destiny. Between literary revivals and mutations, we are now going to study these female figures and their evolution through two forms: the tale and the series. (shrink)

Portrayals of female scientists in science fiction tend to be rare and often distorted. Our research investigates the social media discourse related to public perceptions of the portrayals of scientists in science fiction. We explore the following questions: How does audience discourse about a female scientist protagonist in a science fiction film compare with that about a male scientist in a comparable movie? And, what fraction of discourse in each case is dedicated to (a) comments on physical appearance (...) and (b) incredulity that the character is a scientist? Using automated nonparametric sentiment analysis software that employs an intelligent algorithm informed by human coding, we analyze Twitter discourse around the release of two summer 2011 science fiction blockbusters with scientists in lead roles: Thor and Rise of the Planet of the Apes. Although scholars have pointed to sexualized portrayals of women scientists in popular media, we found relatively few mentions of the attractiveness of an admittedly attractive female scientist. Additionally, audience discourse was not centered on the implausibility of the female scientist. This is particularly meaningful when combined with previous research showing that strong women in lead roles do not decrease profitability of science fiction films. (shrink)

This paper analyzes the ethical themes and theory portrayals by particular characters in Star Trek: Into Darkness. It is concluded that the film can be understood as explicating the pros and cons of both "male" and "female" ethical perspectives, and that a comprehensive understanding of morality requires some synthesis of both perspectives.

Woman is not simply an object, however. If we think in terms of the production of culture, she is an art object: she is the ivory carving or mud replica, an icon or doll, but she is not the sculptor. Lest this seem fanciful, we should remember that until very recently women have been barred from art schools as students yet have always been acceptable as models. Both Laura and Beatrice were turned into characters by the poems they inspired. A (...) poet as sensitive as Chaucer to this reification of the female allowed Criseyde to recognize and lament her own dilemma: "Allas, of me, unto the worldless ende,/Shall neyther ben ywritten nor ysonge/No good word; for these bokes wol me shende" . Like the words written about her, she fears she will be "rolled on many a tongue!"6· 6. I am indebted for this view of Criseyde to Marcelle Thiebaux's "Foucault's Fantasia for Feminists: The Woman Reading" .Susan Gubar, associate professor of English at Indiana University, is coauthor of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination and coeditor of Shakespeare's Sisters: Feminist Essays on Women Poets, both with Sandra M. Gilbert. They are currently working on No Man's Land: Feminism and Modernism, the sequel to their book. (shrink)

This article analyzes selected short stories in Cecelia Ahern’s thirty-narrative collection Roar to see how the perspectives of posthuman and postfeminist critique can be incorporated via the common dystopic umbrella into the mainstream female readership of romance literature. The dystopic worlds created by Ahern in Roar portray inequality and power imbalances with regard to gender and sex. The protagonists are mostly middle-aged women whose family and personal lives are either regulated by dystopic realities or acquire a “dystopic” dimension, the (...) solutions to which are provided by, among other tropes, “posthuman” transformations. Roar introduces other-than-human elements, mostly corporeal alterations, in which the female bodies of Ahern’s characters become de-formed and re-formed beyond androcentric systems of value. The article raises the question of whether feminist and, to some extent, “posthuman” approaches, need to be popularized in such an abridged way as Ahern does in her volume. The answer depends upon the identification of the target audience and their expectations. Ahern’s Roar represents popular literature intended to be sold to as many readers as possible, regardless of their education, state of knowledge, etc. Viewed from that perspective, what some critics could perceive as the collection’s structural weaknesses constitutes its utmost marketing asset. The essay argues that despite not being a structurally innovative work of art, Ahern’s book fulfils the basic requirements of the popular fiction genre, intermittently providing some extra, literary gratification and popularizing rudimentary elements of the posthuman and postfeminist thought. (shrink)

This study investigates the portrayal of five female journalists on the Aaron Sorkin television series Sports Night. The women were depicted as acting unprofessionally, displaying motherly qualities, choosing their personal lives over work, being deferential to men for ethical decisions, and showing a lack of sports knowledge compared to the male characters. The researchers use social responsibility theory to suggest why these portrayals were ethically problematic.

Reading and writing must be more than passive processes of mimetic display; rather, they should offer a platform for psychological transformations across race and gender. Thus literary sovereignty vis-à-vis ownership of creative expression and representations of self can be reclaimed. This essay offers close analysis of contemporary Australian Indigenous literature to explore the sovereignty of feminist psychologies. Does creative writing reflect a strengthening of female Indigenous psychologies, and how might this implicate race relations and the decolonization of textual worlds? (...) These questions are inspired by Alexis Wright's most recent novel The Swan Book where she writes about “the quest to regain sovereignty over [her] own brain.” This article will explore the term craziness in a metaphorical sense: looking at whether rejecting dominant white culture equates to psychological sovereignty, improved mental well-being, and better race relations in imaginary realms. Indigenous characters in Wright's The Swan Book and Marie Munkara's Every Secret Thing may appear “crazy” for living in a state of indifference, but paradoxically, it is this state of “craziness” or indifference that empowers them to find psychological peace and resist assimilation. Seeking psychological sovereignty means assuming a position so averse to patriarchy and colonization that it renders transformation in imaginary worlds, and urges transformation in the psyches of white readers too. (shrink)

Abstract:Trains, a representation of Western technology and civilization, entered China in the early twentieth century. Han Bo poeticizes this train-induced Chinese modernity and its ongoing processes by mobilizing female images and characters on, of, or around the train, itself a complex of technocultural material forces entering into the vision of the modern Chinese people both individually and collectively. This essay analyzes such a train of train images in two poems by Han Bo, “Modern Sexual Equipmentality” and “Mass-Murdering Equipmentality,” while (...) providing a brief contextual and conceptual framework for understanding some of the literary and philosophical aspects of contemporary Chinese poetry with some focus on their gender dynamics. (shrink)

This article examines a neglected ancient source for desire between women that nonetheless has a rich reception history in the context of female homoeroticism: the Callisto episode in Ovid’s Metamorphoses. The article argues that the relationship between Diana and her hunting companion Callisto can be read as homoerotic and that, unlike many ancient accounts of female-female eroticism, neither character is represented as a tribas (a gender-deviant “woman” with a masculinized body, who seeks to penetrate other women). The (...) Callisto episode is therefore an invaluable piece of evidence for ancient discourses on sexuality exceeding the bounds of the active/passive model. (shrink)

The article analyzes the types of "meek" and "proud" female images in the works of F.M. Dostoevsky in connection with the typologies of the images of the writer among the literary critics N.A. Dobrolyubov, V.F. Pereverzev and A.A. Gizetti. The article refers to the classical authors of the early critical understanding of Dostoevsky's works, who divided female images into two opposite types of the "meek" and "proud". At the same time, the article emphasizes the idea that in Dostoevsky's (...) polyphonic world every literary hero has a multidimensional consciousness, which is why the direct dichotomous division into the "proud" and "meek" can only be a rough generalization. The first part of the article examines the typologies of N.A. Dobrolyubov, as well as one of V.F. Pereverzev, who creates the most ambitious and significant typology, considering female images. He sensitively notices the ambiguity and tragedy of Dostoevsky's heroines and introduces the term "the doppelgngerwoman" into the typology of female images, on the basis of which each heroine somehow contains a certain internal conflict, the solution of which in the course of a novel allows her character to develop towards one of the indicated subtypes. The second part of the article analyzes the typology of A.A. Gizetti, who in his research focuses on such type of Dostoevsky's female images as the "proud", highlighting a new, "mysterious" subtype of the Dostoevsky's proud heroine. In the performed comparison of "meek" and "proud" types of female images it is considered to distinguish positive and negative ethical meanings of them. The article formulates conclusions about the various subtypes of "meek" and "proud" characters in the writer's artistic world, and outlines the grounds for further system of understanding of meekness and pride on a scale of correlation with vice and virtue. (shrink)

Paving the way for modern feminist thinking, Mary Wollstonecraft dared to challenge traditional eighteenth-century attitudes towards women. First published in 1787, this book discusses how girls can best be educated to become valuable wives and mothers. It argues that women can offer the most effective contribution to society if they are brought up to display sound morals, character and intellect, rather than superficial social graces. Wollstonecraft later developed her ideas in A Vindication of the Rights of Woman, in which she (...) attacked the educational restrictions imposed upon women. Her writings formed a cornerstone of the battle for women's rights in the nineteenth and twentieth centuries. Prompting deeper reflection upon the role and status of women in modern society, the present work remains an instructive and provocative read for those seeking to learn about the roots of feminism in its social and historical context. (shrink)

Gender representations reproduce and legitimate gender systems. To examine this aspect of the gendered social order, we analyze the representation of males and females in the titles and central characters of 5,618 children’s books published throughout the twentieth century in the United States. Compared to females, males are represented nearly twice as often in titles and 1.6 times as often as central characters. By no measure in any book series are females represented more frequently than males. We argue that these (...) disparities are evidence of symbolic annihilation and have implications for children’s understandings of gender. Nevertheless, important differences in the extent of the disparity are evident by type of character, book series, and time period. Specifically, representations of child central characters are the most equitable and animals the most inequitable; Little Golden Books contain the most unequal representations; and the 1930s-1960s—the period between waves of feminist activism—exhibits greater disparities than earlier and later periods. Examining multiple types of books across a long time period shows that change toward gender equality is uneven, nonlinear, and tied to patterns of feminist activism and backlash throughout the century. (shrink)

Performativity and performance of language are the subject of this re-writing of Derrida's position on the gift. Here the source of performativity is Althusser's while the source of the gift is not only Marcel Mauss, but also both the opening of Derrida's Given Time: I, Counterfeit Money and the signing through letters of Madame de Maintenon, wife of Louis XIV and founder of a school for girls. A third writing plays a role, that of a 1910 biography of Madame. The (...) paper is a ‘relay,’ a ‘re-play’ of the positions of the central ‘characters,’ -- Derrida and Maintenon -- and a semiology of their writings. Out of this a new ‘gift of pedagogy’ is evoked in a conception of ‘pedagogical retreat.’. (shrink)

This chapter is unique for several reasons. First, it brings together two unlikely authors, a PhD ethicist and her 15‐year‐old high‐school daughter, whose diverse interests include thinking about depictions of female characters in graphic novels. Second, it compares two unlikely DC female characters, Wonder Woman (the Amazonian princess heroine who protects innocent citizens from evil) and Harley Quinn (the ever‐evolving anti‐hero who vacillates between being an outright villain to being merely window dressing for her boyfriend, the Joker). The (...) conclusion of the chapter is unlikely, too: neither Wonder Woman nor Harley Quinn can ultimately succeed in their roles as moral hero and immoral anti‐hero when their popularity depends upon them being depicted as sexual objects. The chapter uses Aristotle's ethics to show that it isn't Wonder Woman's virtue that is thwarted, but her phronesis. Harley's antiheroism is similarly in jeopardy, since phronesis helps any person set and meet goals. (shrink)