Military is a profession which is mostly dominated by men. Often the words like combat, war and bravery are used for men folk. However, the scenario has changed in last few decades and women have also been commissioned in the forces in many countries. Despite the induction of women in forces they are mostly assigned desk jobs and not taken for combat role or command positions. Since their induction, women are having only 15% or less representation in forces worldwide. They continue to strive to achieve professional competence in the field. Women today are excelling in every field but military is a field where their potential has not been recognised yet. The current paper presents a review of relevant studies in order to investigate the root of gender variance in forces and provides an in-depth understanding into the issues and challenges in achieving gender equality in forces. Various psychological theories along with supporting studies have been discussed to critically analyse the pros and cons of employing women in combat role. It is recognized that armed forces need the fittest and finest, irrespective of gender. Hence, a competency based approach in deployment for combat role is recommended as it will give women equal opportunity to prove their competency and serve in combat role.

In Sicilia, il romanzo storico incarna una parte consistente dell’identità e delle ideologie dominanti sin dall’Unità del 1861. Dopo la morte di Sciascia, l’avvio della fortuna di Camilleri e l’uscita del romanzo "La lunga vita di Marianna Ucrìa" di Dacia Maraini, gli anni Novanta prestano la scena a numerosi ripensamenti, sospingono e incoraggiano una dislocazione della Sicilia storico-letteraria fissata in stereotipi e formule stantie.
Sopraggiunta la fine dei generi, sembra aprirsi anche per la letteratura siciliana la stagione del genere. Questo libro guarda al romanzo della Storia nel luogo Sicilia – meta fisica, mentale, simbolica – scrutando l’universo di alcune autrici capaci di lasciare segnali indelebili sul corpo di una scrittura in continua evoluzione, proprio a partire dagli anni Novanta. Attraverso analisi testuali e riflessioni teoriche, nascono ipotesi e domande. Cosa significa interrogarsi sulla condizione delle donne attraverso la scrittura? Si può davvero parlare di ‘differenza di genere’ per le narrazioni a firma femminile in Sicilia? Qual è il peso dell’orizzonte discorsivo radicatosi con la creazione (anche letteraria) di una regione ‘colonizzata’ dal Nord dopo l’unificazione? E poi, quale contributo offrono oggi queste scritture alla nostra percezione del genere storico?
Le storie e microstorie qui esaminate escono dal territorio sicuro della tradizione spostandone il baricentro, intridono la lingua di miti, dialetti e interferenze documentarie, dialogano con i fantasmi letterari dei padri, evocano umanità non convenzionali, ritrovano voci femminili e maschili perdute. Ma soprattutto rompono, consapevolmente o meno, l’ossatura culturale e ideologica di un certo immaginario potente, paradigmatico, consolatorio.

During a smallpox epidemic in April 1721, Lady Mary Wortley Montagu asked Dr. Charles Maitland to "engraft" her daughter, thus instigating the first documented inoculation for smallpox (Variola virus) in England. Engrafting, or variolation, was a means of conferring immunity to smallpox by placing pus taken from a smallpox pustule under the skin of an uninfected person to create a local infection. The introduction of infectious viral matter, however, could trigger fullblown smallpox, and the practice was controversial for both this reason and the pervasive conviction that it was immoral to intentionally infect a human body. Eventually, engrafting was phased out altogether in favor of vaccination, a much safer procedure established by Edward Jenner in the late eighteenth century. Montagu's decision was influenced by her experiences in Constantinople, where she had spent a year, and where engrafting was commonplace. As a smallpox survivor herself, Montagu had taken an interest in Turkish inoculation practices, and had had her son Edward engrafted while in Turkey. She was not the first person to import the idea of smallpox inoculation to England, nor the first English person to have their child inoculated (other English children had been inoculated while visiting Turkey), yet she quickly became known for importing and popularizing smallpox inoculation. At the request of her acquaintances, she took her inoculated daughter with her on a round of visits into elite households to demonstrate the safety of the procedure. The reputation she gained was both positive and negative:

We start with a theatre, and two moments of astonishing gender transgression. One happened in a theatre on a hillside in the center of Athens on a spring day in late March of 431 BCE. The second happened there sixteen years later, in March of 415 BCE. Both took place as the audience watched tragedies by the poet Euripides. These plays were about gendered oppression, sexual pain, rape, slavery and the horrors of war.

Many of the feminist readings of the Dinah story in Genesis 34 in recent years have focused on the question of whether Dinah is raped. The interpretations that perhaps Dinah was not “raped” span the spectrum from a teenage love affair between Dinah and Shechem, to a case of statutory rape, to a marriage by abduction. Guilty of exploring this question myself, this paper will address what’s at stake in determining whether Dinah were raped. It does not make the conclusion of the story (the brutal slaying of the people of Shechem at their weakest moment, while using the sign of the covenant as a weapon) any more palatable. Instead, we should ask why this chapter is included in the larger Jacob narrative. Dinah arrives just in time to walk out among the women of the land and disappears again as soon as the brothers bring her home. She isn’t even the star of her “own” story. The narrative could certainly progress without the chapter. Should Genesis 34 be interesting to gender critics?  Does decrying the story as “not rape” further objectify Dinah? Does a gendered reading help us to understand this story better?

This article examines recent TV (True Blood, The Vampire Diaries) and cinematic stories (Twilight saga) from a feminist perspective. It focuses on the the gender relations and female agency embedded in these stories in order to determine if they conjure up any liberating potential for their audience.

Science fiction is a genre in which anything is possible. It therefore comprises the perfect litmus test of any given culture’s prevailing hopes and fears about the future. One such source of anxiety that has been particularly conspicuous in works of fiction since the Industrial Revolution is the development of automata and other machines – specifically, whether they might eventually become strong or intelligent enough to overthrow their creators. As I will try to elucidate in this essay, fears about some sort of robot uprising fit into a more general worry among dominant groups about a reversal of fates between them and an oppressed group. The cyborg character, however, complicates this formula because it is a hybrid of human and machine, a boundary figure. This is a clear, perhaps uncomfortable reminder that the Other is also the Same.
In this thesis, I will be looking at five key examples from the last five decades of literature about cyborgs, namely: The Ship Who Sang by Anne McCaffrey; ‘The Girl Who Was Plugged In’ by James Tiptree Jr.; Proxies by Laura J Mixon; ‘Silently and Very Fast’ by Catherynne M Valente; and Ancillary Justice by Ann Leckie. Though these texts I will seek out ways in which cyborgs might disrupt binary understandings of identity and thereby challenge real-life social hierarchies. Most important to this investigation is the potential of cyborg disembodiment – that is, any kind of cybernetic separation of the consciousness from an organic body – to confuse how identities are perceived and constructed.

This was a research paper for a course entitled Feminist and Multicultural Theologies. I unpack what gender complementarianism is, examine its history, and compare it to how Scripture and earlier Christian Tradition understood gender. This allows me to establish that gender complementarianism is a recent innovation in secular and Christian thinking about gender, and that it can be described as a "trajectory" from Scripture and Tradition on gender, influenced by social, ideological, and intellectual developments in secular societies. I then pursue a critique of gender complementarianism, arguing that it is an "unsatisfactory trajectory" because it has troubling implications for orthodox theology, is not borne out by empirical experience and observation, and has harmful effects on human beings and societies and on ethical development.

This is the catalogue to an exhibition of the same name, which took place at the Worshipful Company of Mercers and Leeds University Art Gallery. It presents fifty outstanding artworks by fifty British Women artists working between 1900 - 1950. There is an introductory essay by curator, Sacha Llewellyn, and fifty commentaries about each picture by fifty different writers. The exhibition marks the centenary of the Representation of the People's Act, and aims to readdress the dominant 'master' narrative of British art history.

“Power is war, the continuation of war by other means”: Foucault’s reversal of Clausewitz’s formula has become a staple of critical theory — but it remains highly problematic on a conceptual level. Elaborated during Foucault’s 1976 lectures (“Society Must Be Defended”), this work-hypothesis theorises “basic warfare” [la guerre fondamentale] as the teleological horizon of socio-political relations. Following Boulainvilliers, Foucault champions this polemological approach, conceived as a purely descriptive discourse on “real” politics and war, against the philosophico-juridical conceptuality attached to liberal society (Hobbes’s Leviathan being here the prime example).
However, in doing so, Foucault did not interrogate the conceptual validity of notions such as power and war, therefore interlinking them without questioning their ontological status. This problematic conflation was partly rectified in 1982, as Foucault proposed a more dynamic definition of power relations: “actions over potential actions”.
I argue, somewhat polemically, that Foucault’s hermeneutics of power still involves a teleological violence, dependent on a polemological representation of human relations as essentially instrumental: this resembles what Derrida names, in “Heidegger’s Ear”, an “anthropolemology”. However, I show that all conceptualisation of power implies its self-deconstruction. This self-deconstructive (or autoimmune) structure supposes an archi-originary unpower prior to power: power presupposes an excess within power, an excessive force, another violence making it both possible and impossible. There is something within power located “beyond the power principle” (Derrida). This (self-)excess signifies a limitless resistantiality co-extensive with power-relationality. It also allows the reversal of pólemos into its opposite, as unpower opens politics and warfare to the messianic call of a pre-political, pre-ontological disruption: the archi-originary force of différance. This force, unconditional, challenges Foucault’s conceptualisations of power, suggesting an originary performativity located before or beyond hermeneutics of power-knowledge, disrupting theoreticity as well as empiricity by pointing to their ontological complicity.
The bulk of this essay is dedicated to sketching the theoretical implications of this deconstructive reading of Foucault with respect to the methodology and conceptuality of political science and social theory.

La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle.

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Joanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.

Ancient Greek poetess Sappho is widely regarded as the oldest known lesbian and feminist in the Western literary history. However, this common notion represents just one in the millennia-long series of reinventions of her persona, since before the fin de siècle her heterosexuality was viewed as an almost indisputable truth. This paper
argues that, throughout the history, the reception of Sappho’s poetry was inevitably faced with the question of her sexuality, which was addressed in very divergent ways. It first uses the theoretical concepts of “Trojan horse” and “compulsory heterosexuality” as outlined by feminist critics Monique Wittig and Adrienne Rich to demonstrate that (homo)erotic sentimentality of Sappho’s magnificent poems produced a moral complex in Western heteropatriarchal societies, which sought to tame and reclaim that poetry by heterosexualizing it. The paper then turns to a diachronic analysis of various discursive strategies of heterosexualization within the Western literary and philological discourses from antiquity to modernity and contrasts them with the contemporary discourse of homosexualization, thus showing that the reception of Sappho’s poetry can be conceptualized as an ideological battle between traditional epistemological regime of compulsory heterosexuality on the one hand and modern political aspiration for women’s and lesbian emancipation, on the other hand. Finally, the article illustrates how contemporary philological and historical research on Sappho, in an attempt to escape that ideological battle, unconsciously falls victim to this millennia-long misogyny.

Ce travail s’intéresse à la poétique de la dissociation mise en œuvre par Helen Cooper dans sa pièce Three Women and a Piano Tuner (2004). Réunies pour mettre en commun leurs talents respectifs de compositrice, pianiste et productrice autour d’un projet de concert, les trois femmes de la pièce font émerger à la surface un trauma enfoui : en constant désaccord, Ella (figure de la mère), Liz (figure de l’amazone), et Beth (figure de la prostituée) matérialisent en réalité trois versions possibles du personnage unique mais intimement divisé d’Elisabeth, dont le fils possible est accordeur de piano. Dans cette pièce marquée par la prolifération du même – non pas idem, mais ipse – comme figure du clivage, où la métaphore musicale sert à évoquer le phénomène de dissonance cognitive, chacune incarne un mécanisme de défense spécifique en réaction à l’inceste subi à l’adolescence par la protagoniste. A la minimisation (Ella), au refoulement (Beth) et à l’exagération (Liz), s’articulent ainsi trois chemins de vie éventuels ou fantasmés mis en dialogue. Cette concurrence permet de dramatiser un conflit intérieur en quête de résolution, en mettant en scène les forces psychiques contradictoires, conscientes et inconscientes, qui animent ce personnage féminin, dont le choix ultime entre plusieurs options – garder l’enfant de l’inceste, le donner à adopter ou bien avorter – semble simultanément avoir déjà été fait et se reporter à l’infini. C’est autour de cette décision laissée hors du temps, qui se cristallise en creux sur la figure du fils reléguée en arrière-plan, dans l’espace du hors-scène, alors qu’il travaille sur l’instrument désaccordé, que s’élaborent les versions multiples du drame originel et d’un personnage féminin dissocié qui vise sa propre réconciliation. Redonnant symboliquement voix à un drame passé sous silence, le seul personnage masculin de la pièce illustre, par son travail, le patient processus de réparation du trauma, alors même que son existence à lui se révèle incertaine, terriblement « optionnelle ». Figure de hantise, l’accordeur de piano apparaît donc comme le maillon central qui à la fois œuvre à cette intime harmonie et l’empêche, invitant par ailleurs à réfléchir sur le processus d’écriture dramatique et le statut du personnage de théâtre, toujours en attente d’incarnation, jamais pleinement actualisé, suspendu entre la page et la scène. La métaphore musicale qui parcourt la pièce, depuis la présence en filigrane de l’accordeur jusqu’à la scène finale du concert, permet ainsi de travailler la figure du rhapsode conceptualisée par Jean-Pierre Sarrazac, qui traduit ici le travail de réintégration psychologique du Réel dans l’ordre Symbolique (Lacan). À la fin de la pièce, l’apparition de Harold, qui répète les gestes d’un père incestueux qu’il n’a pas connu, offre la vision d’un mimétisme impossible : cette coïncidence signifiante, ou « synchronicité » (Jung), évoque la dimension transgénérationnelle du trauma et laisse présager le retour du même. Elle renouvelle ainsi le sens du tragique sur la scène contemporaine en ouvrant l’espace du doute, des probabilités et du malaise. Dès lors, l’incertitude se donne comme la modalité ultime d’un réalisme traumatique de la scène qui, en interrogeant la vérité impossible du sujet, relocalise le drame de l’humain dans l’indéterminé, ce dont l’accordeur de piano, œuvrant dans l’ombre des dissonances, se fait l’image.

This thesis analyzes Margaret Atwood’s The Handmaid’s Tale and Starhawk’s The Fifth Sacred Thing from ecofeminist viewpoints by specifically examining the interconnections between women and nature in both future-societies. Essentially, ecofeminism is a radical literary theory and a political movement based on ecology and a sub-branch of ecocriticism, which proclaims that the subjugation of the females and the exploitation of nature are all interrelated stratums conducted by a prevailing masculine mindset; thus, this radical ecological criticism necessitates the analyses of these interconnected oppressions. According to the ecofeminist understanding, the patriarchy exerts and maintains its power and domination by making use of authoritative power structures that are based on dualisms like human/nature, men/women, nature/culture. Thus, ecofeminists attempt to destroy all the established dualities and they disseminate ecologically informed societies where equality and liberation are maintained for all genders. This study explores the specific ecofeminist themes prevalent within Margaret Atwood’s The Handmaid’s Tale and Starhawk’s The Fifth Sacred Thing. These novels trace the connections between gender, nature, femininity, masculinity, sexuality, religion and science. While the dystopic fiction of Atwood offers a catastrophic social order that reflects the fallacy of the modern man regarding his oppressive attitude towards nature and women, Starhawk’s ecotopia, on the other hand, proposes an ecotopia where all species, genders, the human and nonhuman communities live in equality, peace and harmony. Both fictions, thus, focus on the issues of women and nature and signal an ecofeminist message by reflecting that if the society does not change its patriarchal, hierarchal and mostly androcentric approach towards women and nature, the environmental crisis and gender-based discrimination will be sustained forever.

GİRİŞ Kürt sorunu bir asrı aşan süreç boyunca ara ara kendini gösteren siyasi ve askeri çatışma ortamıyla halkın bir kesimi olan kadını da doğrudan etkilemekte, kadın kimliğini ve onun toplumsal fonksiyonlarını evrimleştiren çok farklı koşullar meydana getirmektedir. * Yüksek Lisans Öğrencisi, Uludağ Üniversitesi, SBE, rky.tnn@gmail.com

In Palermo at the end of the 18th century, an old woman, a widow and a beggar, sells her "miraculous water" to some women who want to get rid of their husbands. A strange form of non-consensual divorce, interpreted as witchcraft and widely tolerated by the surrounding society. The judicial action of the court, influenced by enlightenment ideas, transforms magic into a crime of poisoning and condemns the witch to be hanged.

This dissertation analyzes the postfeminist tendencies and biopolitics in contemporary media practices by considering the pop culture exemplar, the Kardashian-Jenner family.

This dissertation received First Class Honors from Trinity College Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

Catalina de Erauso was a Spanish nun—turned soldier—who lived in 17th century Spain. Dressed as a man for almost two decades, she travelled to the Colonies to test her luck in the army, where she made the grade of ensign. In 1624 she wrote her memoirs. Unfortunately, the original manuscript was lost and the text which has survived is a copy, probably penned by an amanuensis. In 1996, an English translation of her memoirs was published. In my paper I will argue that the translation of the Stepto’s translation reflects a cultural bias and shows little effort at researching the nun's deeds and words. I will also examine gender attitudes in the Renaissance, and later periods, and the role of the Church in curtailing women from attaining intellectual maturity. To back my claims, I use Catalina's original text and contrast it with subsequent editions. I hope to prove that the English translation veers more towards sensationalism than to a deep and abiding respect for the nun’s misfortunes.
Keywords: Gender; translating issues; transvestite; Basque; anachronisms

This second volume in the  Illuminating Women Artists series delves into the life and work of the Baroque painter Artemisia Gentileschi. The book explores the evolution of Gentileschi’s expressive goals and techniques, and contains in-depth discussions of key artworks, such as Susanna and the Elders (1610), Judith Beheading Holofernes (c.1619–20), and Lot and His Daughters (1640–45).

Depuis quelques décennies, les théâtres du traumatisme et de la maladie mentale donnent une visibilité de plus en plus accrue à la souffrance psychologique et au trouble psychiatrique sur la scène contemporaine. Dans cette mouvance, un certain nombre de pièces de nature souvent expérimentale insèrent des thèmes, des références et des matériaux issus du domaine de la santé mentale dans les multiples formes qu'elle prend aujourd'hui pour donner la parole à une psyché en détresse – celle, le plus souvent, de personnages féminins. Qu'il s'agisse de psychiatrie, de psychologie clinique, de psychanalyse ou encore de psychothérapie, on trouve ainsi dans des pièces récentes de la scène européenne une assimilation des discours de la médecine et des sciences cognitives. Ces théâtres offrent ainsi une réflexion sur les traumatismes psychologiques et les difficultés existentielles du sujet féminin malade, dont le corps s'efface et dont la voix fragile s'élève sur scène pour dire le drame intérieur de l'errance mentale et/ou du trouble psychique, voire de la pathologie identifiée. Le présent article propose une étude des diverses approches de la maladie mentale et des troubles post-traumatiques adoptées par quatre auteurs contemporains de la scène européenne : les auteurs britanniques Sarah Kane et Martin Crimp, l'homme de théâtre français Gildas Milin, et la dramaturge italienne Francesca Volchitza Cabrini. Les pièces de ces auteurs illustrent à différents niveaux et de différentes manières mais non sans points de convergence forts la façon dont des objets empruntés aux champs de la médecine et de la psychiatrie sont récupérés, dramatisés et mis en scène par le théâtre contemporain. L'originalité commune de ces écritures réside dans le fait qu'elles puisent toutes dans la littérature théorique ou clinique de la psychologie pour recycler des matériaux essentiellement verbaux issus du domaine de la santé mentale et les transformer en poésie de la scène. Cette « psychopoésie » dit la gravité du malaise qui hante l’individu en ce début du XXIème siècle, tout en explorant la nature et les limites de l’humain poussé dans des situations psychologiques extrêmes. Par contraste ou en dialogue avec les discours et les pratiques de la médecine, la psychopathologie devient ressource psychopoétique et se donne ainsi comme une matière qui renouvelle, dans leurs formes aussi bien que dans leurs contenus, le langage, l’écriture et la structure du drame contemporain.

A famous writer Mark Twain once said that whenever he read Jane Austen's Pride and Prejudice, he wanted to "dig her (Austen) up and beat her over the skull with her own shin bone." (McRobbie, 2013) It appears that Mark Twain was not the sole person who had strong dislike for this book as Emily Bronte, Virginia Woolf, and even Ralph Waldo Emerson also expressed their dissatisfaction with Pride and Prejudice. Hundreds of years have passed since Austen's Pride and Prejudice was first published, yet the prevailing attitude among people towards it still differs; some people share the same feeling with Twain and Bronte, while the other thinks the opposite. A false perception that claims that there is no meaningful message conveyed in this book but whirlwind romance between men and women is one underlying reason why some people are not a fan of it. It is 'a universally acknowledged' misconception that Pride and Prejudice is simply a superficial novel that is not worth reading. There is a tendency to misinterpret this book as merely a story of women's desperation in entrapping men to be their husband. Although the popular belief states that Austen's Pride and Prejudice is simply about women's quest in finding a perfect husband, the author actually tries to show female empowerment during the early of 19 th century through the character Elizabeth Bennet and her unique characteristics.

Feminizm altmışlı yıllardan itibaren bütün dünyada kadınların hak arama mücadelesini arttıran bir akım olarak ortaya çıkmıştır. Sadece sosyal ve toplumsal boyutta değil aynı zamanda sanatsal düzlemde de ifadesini bulan feminizm, tiyatro sahnesinde de var olma mücadelesi göstermiştir.
Bulunduğu coğrafi bölge ve konjüktürel duruma bağlı olarak farklılıklar
göstermesine rağmen feminist tiyatro; metin, yazar, sahneleme, dil, amaç ve benzeri tiyatral noktalarda benzerliklerle üretilmiştir. Bu ortak sahneleme mantığı, özellikle altmışlı yıllarda temelleri atılan ve  günümüzde daha ileri boyutlarda ele alınan bir akımın oluşmasına da ön ayak olmuştur.
Bu çalışmada ülkelerindeki feminist tiyatro metni konusunda ürünler vermiş Caryl Churchill’ın Zirvedeki Kızlar, Dario Fo – Franca Rame’nin
Yalnız Kadın ve Sevilay Saral’ın Beş Kadın ve Kadın Masalları adlı oyunları
incelenmektedir. Ele alınan oyunlar feminist metin tanımını kendi içlerinde değişik şekillerde barındırmaktadırlar. İçinde bulundukları toplumsal sürecin de ele alındığı oyunlardan yola çıkılarak bahsi geçen ülkelerdeki kadınların durumu da gözden geçirilmektedir. Feminizmin farklı mecralarda, farklı başlık ve sloganlar dahilinde hareket etmesine rağmen ortak tiyatral duruşları, kadınların her anlamda kendilerine ait bir tiyatroya sahip olmaları için iyi bir başlangıç teşkil etmiştir. Her üç yazarın eserlerinin Türkiye topraklarında ses getiren ve üzerine düşünülen yapıtlar olması, farklılıklar ve benzerlikleri saptama açısından karşılıklı bir analiz ihtiyacını doğurmaktadır. Sahne, feminizm tarafından patriarkal düzenin araçlarını deşifre etmek, kadınları ortak sorunlar etrafında bir araya getirmek ve çözümler üretmek amacıyla kullanılan bir buluşma noktası haline getirilmiştir. İncelenen metinlerde, bu yöntem ve araçların nasıl kullanıldıkları dair açıklamalar getirilmektedir.

En 1843, Paul Lacroix publie chez l'éditeur Aubry, spécialisé dans les livres d'étrenne illustrés et les ouvrages pour la jeunesse, une Galerie des femmes de George Sand qui reprend sous forme de portraits successifs les personnages les plus emblématiques de son oeuvre. Edmée de Mauprat ouvre le bal de cette galerie féminine qui propose non seulement une relecture, mais une réécriture des personnages sandiens - Edmée de Mauprat en constitue un bon exemple.

Emma: A Dark Landscape The world of Emma shines and sparkles. The landscape is beautiful, the people are inviting, the weather is fine. If we are bothered by Emma, it is because of the character of Emma, herself. By allowing the reader to see inside of Emma's mind, Austen set off a storm. Is Emma too masculine? early readers ask. Suddenly her sexuality is tainted, her actions are scrutinized, and her failings take on sinister proportions. Mary Wollstonecraft calls upon women to dismiss, "those pretty feminine phrases. .. of weak elegance of mind, exquisite sensibility and sweet docility of manners"(8). She encourages women to ditch the feminine and become equals to their husbands. Perhaps Emma is Austen's answer to Wollstonecraft. Austen echoes Wollstonecraft by giving Emma a marriage that redefines the marriage plot.

Rediscovering Eve is a critical reexamination of the story of Eve found in Genesis 2-3, understanding it within its cultural context as a reflection of the real women and real hardships of ancient Israelite agrarian society. Meyers probes both the Biblical story and the larger historical society of Iron Age Israel to unearth for us the "Everywoman Eve", an Eve who shakes off the shackles of post-Iron-Age Jewish, Christian, and Muslim interpretations to instead provide us with her own symbolic perspective of the average Israelite woman's life, responsibilities, and struggles. Meyers tears down the traditional views of Eve as a "deceived woman", a "temptress", and a misogynistic excuse for the subordination of women, instead showing how the Eden story operated as an etiological myth for the much more functionally-grounded hardships of Iron Age Mediterranean agrarian life, with its low crop yield, high infant mortality rate, and extreme family demands.

"History Hysteria" is an analysis of Agnieszka Holland's 1981 film "Fever" in a feminist perspective. The film, which is a film adaptation of Andrzej Strug's novel "The Story of One Bullet" ("Dzieje jednego pocisku",1910) about the 1905 revolution, unlike the novel, it brings to the fore the female heroine, revolutionary, Kama.

This article has been mainly inspired by Tamara Shefer; Sally, R. Munt (2019) A feminist politics of shame: Shame and its contested possibilities
https://journals.sagepub.com/doi/full/10.1177/0959353519839755

Questo articolo è stato fortemente inspirato da: Tamara Shefer; Sally, R. Munt (2019) A feminist politics of shame: Shame and its contested possibilities
https://journals.sagepub.com/doi/full/10.1177/0959353519839755

The aim of this article is to critically analyze the feminist discourse that led to the recent enactment of Brazilian laws that increased the penalties for violence against women, in order to demonstrate that they cannot escape the cognitive traps established by male domination naturalized in Western societies and how they have served the development of neoliberal biopolitics.

Marching against Gender Practice: Political Imaginings in the Basqueland begins with the question: why is it so problematic for the majority of people in the Basque town of Hondarribia to accept the broader participation of women in their annual military march known as the Alarde? To explain this dispute, this study examines local history as well as the history of this unique parade, but most importantly considers how gender practices were and are organized. The controversy to extend female involvement in the Alarde resulted in two positions between betikoak traditionalists, (Betiko Alardearen Aldekoak, “Always the Town’s Alarde”), and local “feminists” (emakumealdekoak or Emakumeak JuanaMugarrietakoa, the Women of Mugarrietakoa, WJM), the former group wishing to preserve the ritual and the latter wanting to change it. These are not simply dichotomous stances but represent multiple levels of local identity through differing concepts of gender, history, and social experience. It will be shown throughout the Alarde’s long history (1639-present) that it represents several periods of militarism from the town’s defense in 1638 against French forces, Napoleonic resistance (1808-1813) to the Carlist Wars (1833-1840 and 1872-1876). The Alarde began as a religious procession and gradually incorporated more and more secular elements. In essence, by the end of the nineteenth century and beginning of the twentieth century, the Alarde became one of many “Basque celebrations” (Euskal jaiak), tying it to Basque nationalism.
Marching against Gender Practice centers on gender analyses of two opposing gender worldviews between the betikoak traditionalists and WJM feminists, but it aims at being applicable to gender theories in general, especially how gender may be cognized and what cognitive processes and cognitive systems may be included in the cognition of gender. By implication, it is asserted that collective imagination is not an immutable or static concept but may represent locality, regionalism, and nationalism as well as imbue concepts of communality, individuality, gender, harmony, historical narration, memory, social organization, and tradition. Commemorative, historical or re-enactment rituals like the Alarde of Hondarribia explain the duration of local identity, its transformation over time, and newer expressions of identity, which are continually being contested and reaffirmed through collective imagination.

In this paper the aim is to detect the places which refute allegations of some theorists (like Biljana
Oklopčić, Dubravka Oraić Tolić) about Miroslav Krleža as a misogynistic author, based on his forming
of female characters, in this case, through the example of the novel 'Na rubu pameti'. Considering
(often neglected) antithesis, multidimensionality, and complexity of Krleža's procedures at refining of
his characters, this paper makes a conclusion regarding Krleža's exposure of the stereotypical and
sexist understanding of womanhood through the usage of ironic acts. Based on this, the paper tries to
establish the connection between the formation of female characters in the novel 'Na rubu pameti' and
the book 'Thinking About Women' by Mary Ellmann. In this book the author suggests usage of the
political stereotypes as a strategy for their unmasking. Ellmann, in her book, talks about thinking by
using sexual analogies in the western world. The product of such thinking are eleven stereotypes
about women processed in the book: formlessness, passivity, instability, confinment, piety,
materiality, spirituality, irrationality, complaisance, and »two irreparable figures« – the Shrew and
the Witch. Aforementioned stereotypes, in this paper, are used in the forming of feminine psychic
cards in the novel 'Na rubu pameti'.

In Zadie Smith's Hanwell in Hell, Clive controls the recollection of the story, retelling his acquaintance with Mr. --Hanwell to Claire Hanwell, his estranged daughter. Clive presents a phallocentric perspective by silencing females and describing the non-white races as the 'Other'.

This paper contains quotations that some readers may find offensive. It is a critique of the novel Fear Of Flying (1974) and its representation of sexuality, in the context of sexological writing by Freud, Kinsey, Laing, and Masters and Johnson.

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This essay compares the representation of two women from the sixties - Jenny Diski (The Sixties) and Joy (Nell Dunn's Poor Cow). It focuses on how they contrast in the areas of ownership, their views on love and the relationships/perspectives they develop in relation to men.

Tous droits réservés © Recherches féministes, Université Laval, 1995 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l

From a roundtable on Joy Ladin's The Soul of the Stranger: Reading God and Torah from a Transgender Perspective (HBI Series on Jewish Women, Waltham, MA: Brandeis University Press, 2019) that consists of this excerpt, followed by commentary solicited from five respondents.