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يحاول البحث دراسة ملامح الكتابة بالجسد في كتابات المرأة، وبخاصة أن هذه الكتابات شكلت رؤية جديدة مغايرة للكتابة في حد ذاتها، لما تتمتع به كتابتهن من وعي عميق بالجسد، ومع ازدياد كتابات المرأة التي تعلن عن جرأتها في التعامل مع الجسد وفضح المسكوت عنه والإفصاح عن العالم الداخلي، مما يحمل تحولًا وتغيرًا في التعبير عن هويتها الأنثوية، نابعًا من رفضها لأن تقف عاجزة تكتفي بقراءة ما تنتجه الكتابات عنها إلى أن تتولى زمام العملية الإبداعية، لتعبر عن وعي عميق بخصوصيتها في الإبداع الأدبي. وقد اختار البحث دراسة الأعمال الروائية للكاتبة الجزائرية فضيلة الفاروق؛ لما تميزت به تجربتها الروائية من احتفاء بتيمة الجسد وكيفية إبرازه بصورة مغايرة، تحمل الجمع بين نظرة المجتمع الذكوري في التعامل مع الجسد وبين جرأتها في التعبير والانتقال من الجسد حسيا إلى الجسد كنص، وقد حاول البحث الإجابة على مجموعة من التساؤلات، أهمها : كيف استطاعت الأعمال الروائية التعامل مع الجسد والكشف عن الهوية الأنثوية، وكيف استطاعت العبور من الوعي العميق بالجسد الأنثوي إلى كتابة الجسد نصًا، وقد اقتضى ذلك التعامل مع آليات المنهج التحليلي الوصفي، مع الاتجاه صوب النقد الثقافي؛ رغبة في فضح الصورة الذهنية الثابتة في الموروث الثقافي، وانتهى البحث إلى مجموعة من النتائج، لعل من أهمها: جرأة النصوص الروائية في التعبير عن الجسد، بصورة أخرجته من الصورة الثقافية التي عاشت داخل الموروث المجتمعي، وعدم حصره في كونه رمزا للعار أو أداة للشهوة ، بل التعامل معه كجزء من الهوية الأنثوية، التي لا يمكن حصرها في أطر أو قيود، بحكم كونها أنثى.Abstract The research attempts to study the features of writing with the body in women’s writings, especially since these writings formed a new vision different from writing itself, due to their writing’s deep awareness of the body, and with the increase in women’s writings declaring their boldness in dealing with the body, exposing what is kept secret and disclosing The inner world, which carries a transformation and change in the expression of her feminine identity, stemming from her refusal to stand helpless and content herself with reading what writings produce about her until she takes control of the creative process to express a deep awareness of its specificity in literary creativity, the current research chose to study the novels of the Algerian writer Fadela Al-Farouq. Because her novelistic experience was distinguished by her celebration of the theme of the body and how to highlight it in a different way, it carries the combination of the male society’s view of dealing with the body and its boldness in expression and the transition from the body sensually to the body as text. The research attempted to answer a set of questions, the most important of which are:How were fictional works able to deal with the body and reveal female identity, and how were they able to cross from deep awareness of the female body to writing the body in text? This required dealing with the descriptive analytical approach, and the research ended with a set of results, perhaps the most important of which is: the boldness of fictional texts in expression. About the body, in a way that removed it from the cultural image that lived within the societal heritage, and not limiting it to being a symbol of shame or a tool of lust, but rather treating it as part of the feminine identity, which cannot be confined to frameworks or restrictions, by virtue of being female.

The implementation of development programs of the second Pahlavi is analyzed from an economic or political view, while they are implied in the field of culture. The Iranian woman's identity has undergone changes under the influence of these cultural development policies. In this article, we study the representation of female identity in the movies of this period with the aim of investigating the changes of that. Considering that this representation was made under the programs of capitalist development, the theoretical framework of Adorno and Horkheimer's cultural industry from the Frankfurt school was used to critically show the representation of the implications of capitalist development on the cultural industry in the cinema of this period. In accordance with the framework of the Frankfurt school, the critical discourse analysis method of Laclau and Mouffe was used to identify the discursive changes of this representation in different periods of production and distribution of cinematographic works. Based on the findings of the research, four discourses have been identified from the beginning of the second Pahlavi period to 1327, the implementation of the construction program (1327-1343), the Ministry of Mehrdad Pahlabad (1343 to 1357) and the emerging discourse of the "new wave of Iranian cinema" (1340-1357). The analysis of these discourses shows that the representation of female identity in the cinema of this period has gradually changed from the traditional veiled identity to a more naked western identity, and the latter identity has been represented as the identity of the progressive and developed class.

Feminist criticism emphasizes the position of women within society. The novel Alati Ta’ud al Salalim (She who counts the staircases) was authored by the Omani author Hoda Hamed. In her novel, she takes a critical approach to women’s position in society critically in her novel, addressingconcepts like social class inequality among women, cultural challenges they face, and masculine dominance. The present study aims to investigate this novel based on four gynocriticism models that Elaine Showalter has proposed: biological, linguistic, psychoanalytic, and cultural. The objective of this study is to provide an answer to the following inquiry: “how does the writer reflect women’s components in her novel?” She has brought up concerns regarding childbirth, female circumcision, and pregnancy, considering the biological model. In terms of the psychoanalytic model, she has made reference to bipolar disorder, obsessions, compulsions, and sleep. Hamed has produced an exemplary and enlightening piece by utilizing noticeable linguistic characteristics, including vocabulary and Arabic dialect, to address women’s concerns and cultural challenges, like women trafficking and physical abuse. According to the findings of the research, she has effectively identified women who are concerned with the social and cultural issues of women. Furthermore, its feministic nature is confirmed by the high frequency with which the components of Showalter’s model appear in the novel under study. The narrative places such an emphasis on the cultural dimension of women that fundamental and profound cultural concerns are overshadowed by biological and psychoanalytic issues.

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Feminist criticism emphasizes the position of women within society. The novel Alati Ta'ud al Salalim (She who counts the staircases) was authored by the Omani author Hoda Hamed. In her novel, she takes a critical approach to women's position in society critically in her novel, addressingconcepts like social class inequality among women, cultural challenges they face, and masculine dominance. The present study aims to investigate this novel based on four gynocriticism models that Elaine Showalter has proposed: biological, linguistic, psychoanalytic, and cultural. The objective of this study is to provide an answer to the following inquiry: "how does the writer reflect women's components in her novel?" She has brought up concerns regarding childbirth, female circumcision, and pregnancy, considering the biological model. In terms of the psychoanalytic model, she has made reference to bipolar disorder, obsessions, compulsions, and sleep. Hamed has produced an exemplary and enlightening piece by utilizing noticeable linguistic characteristics, including vocabulary and Arabic dialect, to address women's concerns and cultural challenges, like women trafficking and physical abuse. According to the findings of the research, she has effectively identified women who are concerned with the social and cultural issues of women. Furthermore, its feministic nature is confirmed by the high frequency with which the components of Showalter's model appear in the novel under study. The narrative places such an emphasis on the cultural dimension of women that fundamental and profound cultural concerns are overshadowed by biological and psychoanalytic issues. [ABSTRACT FROM AUTHOR]

The implementation of development programs of the second Pahlavi is analyzed from an economic or political view, while they are implied in the field of culture. The Iranian woman's identity has undergone changes under the influence of these cultural development policies. In this article, we study the representation of female identity in the movies of this period with the aim of investigating the changes of that. Considering that this representation was made under the programs of capitalist development, the theoretical framework of Adorno and Horkheimer's cultural industry from the Frankfurt school was used to critically show the representation of the implications of capitalist development on the cultural industry in the cinema of this period. In accordance with the framework of the Frankfurt school, the critical discourse analysis method of Laclau and Mouffe was used to identify the discursive changes of this representation in different periods of production and distribution of cinematographic works. Based on the findings of the research, four discourses have been identified from the beginning of the second Pahlavi period to 1327, the implementation of the construction program (1327-1343), the Ministry of Mehrdad Pahlabad (1343 to 1357) and the emerging discourse of the "new wave of Iranian cinema" (1340-1357). The analysis of these discourses shows that the representation of female identity in the cinema of this period has gradually changed from the traditional veiled identity to a more naked western identity, and the latter identity has been represented as the identity of the progressive and developed class. [ABSTRACT FROM AUTHOR]

Social identity theory argues that social creativity strategies undermine tendencies that foster social change, such as collective action orientation, and provide continuity for the existing social status system by reinforcing it. However, various findings indicate that this is not the case, at least for the strategy of “changing value of the in-group dimension”. The findings suggest that as identification with the ingroup increases, this strategy motivates individuals to engage in social competition and thus bring about social change. This study, conducted with 219 female college students in Turkey, aims to examine the mediating role of social creativity strategies in the relationship between identification with female identity and participation in collective actions intended to improve women’s social status through structural equation modeling. Political view was included in the model as a control variable to ensure that the possible relationships were not due to political view. The present study is unique in that it examines the relationship between social creativity strategies and collective action orientation, on the one hand, and reveals a new mechanism that plays a mediating role in the relationship between identification and collective action orientation, on the other. The structural equation modeling results show that changing the out-group strategy negatively predicts collective action orientation, while the new dimension and changing the values strategies predict it positively. In addition, as participants’ political views shift to the left, their collective action orientation increases. In the relationship between identification with female identity and collective action orientation, changing the out-group has a negative mediating role, while the other two strategies play a positive mediating role. These findings indicate that social creativity strategies can have important implications for collective actions aimed at reducing social inequality and increasing social status. Based on the findings, it can be said that social creativity strategies are not only cognitive strategies affirming ingroup identity and enhancing self-esteem but also instruments that reinforce or weaken collective action motivation. [ABSTRACT FROM AUTHOR]

This paper explores the multifaceted representations of food as a symbolic medium in constructing and negotiating female identities, tracing the lineage from mythological narratives to postmodern feminist texts. By delving into the thematic intersections of food symbolism and female agency within a broad spectrum of literature, the arts, and media, the study elucidates how culinary motifs articulate power dynamics, social politics, and resistance movements. It engages with Vandana Shiva’s critique of global food politics in Stolen Harvest: The Hijacking of the Global Food Supply (2000), and Michaela DeSoucey’s analysis of culinary resistance in Contested Tastes: Foie Gras and the Politics of Food (2016). Furthermore, it highlights the contributions of Jessica B. Harris in High on the Hog: A Culinary Journey from Africa to America (2011), illustrating the profound connection between gastronomy, identity politics, and the feminist movement. Employing a multidisciplinary approach, the research juxtaposes mythological depictions of women as nurturers and providers with postmodern representations that challenge and subvert traditional roles through culinary metaphors. It highlights the evolution of female identities from passive subjects of mythic lore to active agents of feminist resistance, underscoring the transformative power of food imagery in articulating and contesting gender norms. Furthermore, it examines how contemporary feminist narratives harness the symbolism of food to critique societal structures, thereby reinforcing the connection between gastronomy and the politics of identity. By analyzing the contributions of scholars like Carole Counihan, and Penny Van Esterik in Food and Culture: A Reader (2013) and the critical perspectives offered by Arlene Voski Avakian and Barbara Haber in From Betty Crocker to Feminist Food Studies (2005), the article reveals the nuanced ways food serves as a vehicle for exploring and asserting female identities across temporal and cultural divides. It contributes to the broader discourse on gender, power, and resistance by showcasing the enduring relevance of food symbolism in the ongoing struggle for female autonomy and empowerment. [ABSTRACT FROM AUTHOR]

Katabasis represents a narrative trope which refers to the hero’s journey into the underworld, a descent into the realm of the dead, and whose presence can be found across the world, from ancient mythologies to contemporary literature. The aim of this paper is to point to the possibility of reading Margaret Atwood’s The Handmaid’s Tale as a katabatic narrative, more precisely as a variation of the archetypal hero’s journey into the underworld, where, instead of the land of the past, the descent is directed towards a dystopian future and where, instead of a mythical superhero, the protagonist is a modern-day heroine. Having already tackled the subject of Western capitalism governed by patriarchal power relations, its obsession with controlling nature, especially the process of reproduction, and the ensuing feminist descent from it, in The Handmaid’s Tale Atwood adjusts and adapts the dynamic topos of the katabasis so as to suit the contemporary reality and modern traumas. She presents a female narrator, a superheroine, trapped within the boundaries of a claustrophobic world, where women live subjugated and segregated by the oppressive male regime. Following the generic features of the term katabasis, the paper analyses the katabatic experience of Offred in the Republic of Gilead, a topos of Hell in not such a distant future, where the past has been erased and the citizens, especially the female ones, have been denied any right to identity and individuality. As there are numerous instances of carnivalesque elements, it is possible to approach the community of Gilead from the perspective of the carnivalization of the katabasis, both in the way it was defined by Mikhail Bakhtin and in a modern rendition explained by Linda Hutcheon, i.e. both a positive and an ironizing version of the concept.

The article draws a parallel between the two “récits de formation” that can be found, respectively, in Émile and in La Nouvelle Héloïse. In the pedagogical treatise, Sophie is presented to the reader as someone naturally endowed with the social and psychological characteristics functional to her encounter with Émile, and the story ends with the description of the two young people’s conjugal happiness. The novel, on the other hand, takes Julie on a painful journey of amorous sublimation and renunciation; despite its stated aims, the work culminates in the protagonist’s death and the desolation of all the other characters. From this point onwards, we can see that, as far as the theme of formation is concerned, the novel elaborates a vision of things that is much more complex than the one developed by the pedagogical discourse: Julie’s final death belies the possibility of the formative journey of a woman who has renounced love-passion in order to sublimate it into family and social love, according to the thesis of the Émile. What Rousseau maintains as a philosopher he disavows as a novelist.

Several studies on anthropogonic myths and on the origins of patriarchy agree in pointing out that the myth of Adam and Eve is one of the most influential in shaping the identity and destiny of women in Western civilization. This paper analyzes a corpus of literary works from the 20th and 21st century written by Spanish and Latin American women writers that offer a female vision of the myth. By transferring the voice to Eve, they rewrite the plot and redefine the characters. The article focuses on the analysis of two of the modifications that these works, manifestly hypertextual, introduce with respect to the hypotext: Eve's perspective and voice, and the transformation of the story of the creation of the primordial couple. [ABSTRACT FROM AUTHOR]

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Women comprise one of the major population groups of any society that have been studied separately in recent decades due to their specific sexual, social, economic, and cultural traits. They make up half of the country's population, so their potential abilities and injuries should not be neglected. Identity is a complex concept in social sciences that it is very difficult to reach a consensus on its definition. The aim of this study was to explore female identity through the systematic review of the literature. This was a systematic review in which the sources addressing female identity and its characteristics available in credible Persian and English databases were analyzed. Then an operational definition was provided for the concept under study. To analyze the data, the text of each source was read carefully, and each sentence, phrase, or words contributing to the meaning, definition, attributes, and measurement of the concept were collected in a separate Microsoft Word file. In the next step, the data collected were coded and finally categorized. The features of the concept of female identity in reproductive health appeared in three themes: adaptation to the changes of the identity concept based on individual, temporal, and spatial conditions, facing life crises, and peace arising from constructive interactions. Female identity in reproductive health is a dynamic, complex, and multidimensional concept. [ABSTRACT FROM AUTHOR]

Adolescent motherhood raises questions that are always current and transversal in socio-cultural contexts as South American countries facing birth policies. It expresses a fundamental dimension of sexuality that needs to be analyzed from a clinical and cultural point of view in the educational field. Based on a research experience carried out in Colombia, this article analyzes the psychic, intersubjective and cultural stakes of the relationship to contraception and motherhood during adolescence, in the face of the medical and educational discourse on family planning and, in the background, on the voluntary interruption of pregnancy. Through certain themes, female subjects express themselves in their relationships with others, with parents before sexual partners, defying health and academic knowledge and discourse, in the cultural contexts of socalled "southern" countries. [ABSTRACT FROM AUTHOR]

Background: Premature ovarian insufficiency (POI) occurs in women before the age of 40. Although the outcomes of POI in women include its adverse effects on general health, sexual-reproductive health, and finally reduced quality of life. One of the first adverse consequences is a threat to female identity of the patients. The purpose of the present study was to investigate the perception and experience of women with POI about female identity. Methods: In this qualitative study, interviews were conducted with 15 women having POI. Data included participants' recorded voices that were analyzed using conventional content analysis. Results: After content analysis of the interviews with a focus on the perception and experience of women with POI about female identity, four categories emerged; they included the failure in realization of motherhood dream, the importance of menstruation, construction of female identity, and attempts to normalize the situation. Conclusion: After analyzing the emerged categories obtained by interviewing with POI women, it seems that physicians need to pay special attention to the distortion of the female identity of these patients and educate the medical team about the importance of the effect of treatment on improving their emotional health. [ABSTRACT FROM AUTHOR]

Campbell (1990) argues that the myth is present in social actions in which man cannot understand and/or resolve through rationality. Durand (1998) corroborates this theory by stating that human thought is a representation of symbolic articulations. When there are problem-situations, man often takes possession of symbolic representations and myth, in order to seek clarifications that guide him in the understanding of interpersonal relationships. Based on these theoretical assumptions, the objective of this research is organized, which aims to make a literary analysis from the interpretative reading of the social role of the Amazonian myth to explain the behaviors and characteristics of the character Dinaura - associated with the hybrid figures that live in the rivers of Manaus by the narrator of Orphans of Eldorado (2015) by Milton Hatoum, to justify his love frustrations and masculine legitimation in the face of female non-domination. Therefore, this investigation started from a bibliographic theoretical-methodological procedure of literature review of authors such as those already mentioned, in addition to others that contributed to the foundation of the argument that in the narratives of a writer like Hatoum, sculptor of novels by an engaged and critical political-social Literature, there are also themes with an approach to the Amazonian myth in his work. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Miscelánea: A Journal of English & American Studies is the property of Miscelanea: A Journal of English & American Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper examines gender and relational issues in the amorous and family context in Tre donne. Una storia d’amore e disamore of Dacia Maraini. Through mythological and literary antecedents, the author analyzes with a lively irony the male / female relationship, the mother-daughter bond, the generational conflict, the female genealogy, the sentimental ambivalence and she interprets the archetypes of the Feminine and the Great Mother, the antithesis life / death, the double, the birth, the female identity. The critical analysis, which also recognizes autobiographical motifs, makes use of psychoanalytic, psychological, theoretical and literary references.

The article analyses how Doris Lessing's short story To Room Nineteen (1963) is a particularly relevant case study because it stages the crisis of language and the very possibility of adopting the realist fiction by inscribing them in the crisis of a female character who questions the traditional roles socially attributed to women. The essay opens with an exploration of Lessing's literary background and her complex relationship with the Marxist literary theories of the 1940s and continues with a close-reading of the text to show how the textual strategy of employing madness, the protagonist's silence and her final suicide are used a form of resistance to speak out against the phallus-logic-centric symbolic order by questioning the mimetic quality of language. The article concludes with an analysis of the chronotope of the room to show the intertextual dialogue with the works of Charlotte Brontë, Charlotte Perkins Gilman, Virginia Woolf and Jean Rhys that allow Lessing's short story to be placed within a feminist genealogical approach.

The Second World War which lasted from 1939-1945 left a deep dent in the lives of many victims in the world. The four-year Japanese rule in Malaya created a permanent scar in the hearts of the Malayans which lingered on even after many decades. The sufferings of the Malayan people under the inhuman Japanese army are clearly depicted in the two novels selected for this research, Rani Manicka's The Rice Mother (2002) and The Japanese Lover (2010). The novels are about how women are subjected to the effects of war during the Japanese occupation, the pain of separation from a mother and her child, and the challenges a woman goes through to survive within a community. Manicka has used the Japanese occupation in Malaya as part of the settings for both novels. The characters will be studied under the light of trauma theory to highlight the irreparable damages caused by war on the psyche and the emotions of the characters as portrayed in the two novels. Trauma describes experiences that are emotionally painful and distressing whereby the victims face the inability to cope with life and it leaves behind a fundamental life-altering effect. This study aims to highlight the atrocities of the Japanese army in Malaya by studying the female characters in the selected novels. Secondly, this study will analyze the damages brought by the war to the female characters in the novels using the trauma theory and finally show how the war left a permanent damage in the lives of the female victims. The novelist highlights the injustices done to women in such societies and how they suffer even more after colonization. This double marginalization shatters and traumatizes the female identities. Therefore, this article will further break down the coping mechanisms used by the female characters to survive. [ABSTRACT FROM AUTHOR]

Marie-Luise Kohlke’s concept of neo-Victorian ‘sexsation’ characterises the project of contemporary novelist Sarah Waters to explore sensational representations of the Victorians’ sexual lives. In Fingersmith, Waters re-imagines patriarchal Victorian pornography rife with masculine stereotypes of male domination and female subjugation embodied in the pornographic archive of Mr Lilly. Subverting the structures of subjugation, however, she describes Maud and Susan’s own discovery of lesbian sexuality; a sexual awakening accompanied with Maud’s journey towards literary creativity for she eventually emerges as a writer of erotica in her own right, thus recalling New Woman figures of the 1890s. The aim of this essay will be first to explore how such a sexsational narrative enables a radical revision of patriarchal discourses on sexuality. Then we shall examine to what extent Waters’s plot of lesbian creativity is indebted to the artist’s novel of the 1890s and to the late-Victorian New Woman novel. With its emphasis on ‘dissident’ sexualities and woman’s emancipation through writing, can Waters’s Fingersmith be considered as neo-New Woman fiction?

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Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the global North to the global South, there is increasing debate on motherhood, with Brazil emerging as a fruitful field of research in this context. As a country that preserves conservative ideologies and also absorbs new technological and cultural manifestations, it displays particular phenomena that establish dialogue with foreign practices. This article explores the sociocultural conjunctures around the wealth of discussions about motherhood, aiming to find similarities and divergences between dynamics of Brazil and other countries. To do so, the paper contextualizes historical movements that have led to the current situation of women and motherhood in the capitalist West; examines the tensions in the coexistence between contemporary and historically constructed practices; and discusses to what extent the processes of continuity or rupture between them occur.

Starting from the assumption that socio-cultural changes have an impact on the formation of women's identities, this article explores the construction of female identities in Egypt and in Italy from a cultural perspective. This perspective analyzes texts in relation to socio-cultural changes that have occurred over time and allow people to rethink the concept of women's identity, comparing styles and cultural differences between Elena Ferrante (1943) and Laṭīfa al-Zayyāt (1923 –1996). The first section of this work focuses on the perspective of Elena Ferrante, analyzing the conflict between the traditional woman and the intellectual woman in the Neapolitan cycle of My Brilliant Friend (2011-2014) and explores the identity of woman in the light of condition of Italian women in the second half of the 20th century up to the present days. The second section focuses on the conception of women's identity and family in Egypt in the first 20th century, referring to the historical novel al-Bāb al-maftūḥ (1960, The Open Door) and focusing mainly on the struggle for the affirmation of women’s right and what this coincides with the liberation of the country from colonialism. The final results of the comparison are highlighted in the conclusion.

Copyright of Revista de Ciencias Sociales (13159518) is the property of Revista de Ciencias Sociales de la Universidad del Zulia Venezuela and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Disease and its effect on the body and personal autonomy, as well as its influence on the social position of the diseased person, are among the key themes in the novels of the 19th century French writer Émile Zola. When it comes to female characters, illness has a multifold impact, having both physical and psychological effects, erasing in extreme cases female identity itself. The aim of this article is to offer insights into how sickness is depicted as a menace that leaves female characters deprived of any power they might have by affecting their appearance, which is the main indicator of their social identity and the key instrument they can use to establish and maintain relationships, and by taking away their ability to control themselves and how they are seen by others. [ABSTRACT FROM AUTHOR]

The aim of this paper is to scrutinise the influence of teaching on the female identity of Anna Vorontosov, the protagonist of Sylvia Ashton-Warner’s Spinster. Kristeva’s theory of the semiotic and the symbolic is referenced to argue that the work of a teacher enables the heroine to transcend the patriarchal model of experience, predicated on rationality, self-restraint and stability. Through teaching, Anna renews her bond with the semiotic, surpassing the bounds of a unitary and fixed self. After providing an overview of Ashton-Warner’s own career in education, the paper analyses the tensions inherent in the role of a female teacher as represented in the novel and explicates them in Kristevan terms. Subsequently, detailed attention is paid to how the peculiarities of Anna’s teaching method contribute to her enhanced experience of the semiotic and shape her female self.

The article deals with the poetics of spatial images in the story “To Room 19” (1963) by the famous British writer Doris Lessing. Complementing the psychoanalytic approaches traditionally taken by critics to the interpretation of the story, this study offers a “close reading” of the text with an emphasis on the semantics of marginal and “transit” spatial localizations devoid of social markers (the attic of the house, the hotel room, the rented room, the rented room at the railway station). The stages of the existential crisis of the heroine are presented in the dynamics of spatial topos: from the crisis of the patriarchal “idyllic space” of house (M. Bakhtin) through marginal and transit “non-places” (M. Auge) to final nothingness. The painful search for authentic “Self”, free from the roles prescribed by society, is associated with the search for the “room of one’s own” (V. Woolf). However, the space corresponding to the protagonist’s self-fulfillment is found in a rented room of the Paddington railway station hotel, in which she chooses to die.

The use of women's themes in the works of female artists is common and noticeable. It seems that by using this method the artist is able to retrieve latent inner layers and individual identity. At the same time, self-taught female artists are paying special attention to this way of expressing themselves. This study, by examining the representation of women's identity in the works of a self-taught artist, “Parvin Jalali”, aimed to address the formal and contextual analysis of her works from the point of view of the feminist critic and theorist “Linda Nochlin”, who emphasizes two aspects of fragments and contradiction. The findings from the study of six paintings by Parvin Jalali revealed that the artist presents a supra-realistic image of the combination of human and vegetarian forms in order to show women's identity and social status. In the works of this artist, the concept of the fragment is depicted through linking women's traits with nature. In Jalali's works, controversy has been shown to be related to such concepts as dual contrasts and narrative representation of chaotic and restlessness of today's world and emphasis on the feminine principle of the world. This was a descriptive analytical study conducted based on library resources and documentation.

The present study compares identity statuses among three groups of women: Iranian, Lebanese and Lebanese immigrants in Iran. The age of the samples varies from 22 to 33 years old. Persian and Arabic versions of The Objective Measure of Ego Identity Status (EOM-EIS-2) were distributed to 39 Iranian women, 40 Lebanese women residing in their home country and 39 Lebanese immigrant women in Iran chosen by convenience sampling. The data was analyzed using inferential statistical models related to independent groups, ANOVA and Post-Hoc tests. The findings showed no significant differences in identity statuses between the groups, although one sub-scale (ideological moratorium identity status) was significantly more prominent among Iranian women in comparison to local Lebanese. Furthermore, there was a significant negative correlation between one EOM-EIS subscale, interpersonal moratorium identity status, and the length of the immigrants' residency. The findings of this study indicate the role cultural factors play in psychological structures, especially in identity formation. Keywords: Identity Status, Migration, Iranian women, Lebanese women, cross-cultural differences, Lebanese migration, Introduction Erikson (1968) conceptualized identity development as an essential task of adolescence that optimally results in a coherent and self-constructed dynamic organization of drives, abilities, beliefs, and personal history and [...]

Este trabajo estudia el volumen autobiográfico de Joy Harjo Crazy Brave: A Memoir (2012), donde la autora narra los procesos mediante los cuales ha podido reclamar su propia voz y construir su identidad como mujer y escritora, en un contexto dominado desde su infancia por la violencia, el miedo y el silencio. Estos factores estructurales, junto con las formas de resiliencia desarrolladas por Harjo, que incluyen varios canales de expresión artística, darían, con el tiempo, cohesión a su identidad a través de un proceso creativo resiliente consistente en integrar y liberar dichas experiencias de violencia a través de su obra escrita. Se ofrecen también ejemplos de su obra poética como muestras de una alteridad resiliente frente a las experiencias de la violencia y el miedo. Palabras clave: Joy Harjo; literatura indígena; violencia; memorias; poesía; resiliencia This article examines Joy Harjo's autobiographical memoir Crazy Brave: A Memoir (2012), where the author narrates the processes through which she was able to claim her own voice and construct her identity as a woman and as a writer, within a context dominated from her early childhood by violence, fear and silence. Those structural factors, together with the various forms of resilience Harjo developed, which included a variety of creative expressions, would eventually give cohesion to her identity, in a long-term, resilient creative process that involved integrating and then releasing through her writings her experiences of violence. Some poetry works by Harjo are also explored as examples of an alterity resilient to the experience of violence and fear. Keywords: Joy Harjo; indigenous literature; violence; memoir; poetry; resilience, Joy Harjo's Poetics of Memory and Resilience I release you, my beautiful and terrible fear. I release you. You were my beloved and hated twin, but now, I don't know [...]

Este artículo propone una interpretación queer de The Yellow Wallpaper (1989), una adaptación de PBS del relato canónico de Gilman. Consta de tres partes: una aproximación al término queer, una lectura queer (y feminista) del texto de Gilman y un análisis de los aspectos queer (y feministas) del film. La tercera parte también responde al único ensayo académico sobre dicha producción, escrito por Janet Beer, el cual omite el carácter queer de la misma. Esta sección explora el tratamiento queer de los temas--identidad inestable, autoerotismo, tendencias lésbicas, enfermedades mentales, solidaridad entre mujeres y desigualdades de género y clase--a la vez que dialoga con críticas de cine como Linda Hutcheon y Laura Mulvey. Se señala además el uso queer de los recursos formales--luz, planos, sonido, música, simbolismo y motivos escénicos. Mi objetivo principal es demostrar que The Yellow Wallpaper es una innovadora adaptación queer de la obra de Gilman para un público moderno. Palabras clave: teoría queer; estudios de cine; crítica literaria feminista; Charlotte Perkins Gilman This article puts forward a queer interpretation of PBS's The Yellow Wallpaper (1989), adapted from Charlotte Perkins Gilman's canonical story. It is structured in three parts: an approach to the term queer, a reading of the queerness (and feminism) of Gilman's text and an analysis of the queer (and feminist) aspects of the film. The third part also responds to the only academic essay about PBS's production, by Janet Beer, which ignores the movie's queer character. This section discusses the queer treatment of topics--the instability of identity, autoeroticism, lesbian tendencies, mental illness, women's solidarity, and gender and class inequalities--while dialoguing with film critics such as Linda Hutcheon and Laura Mulvey. The queer use of formal resources--light, shots, sound, music, symbolism and scene-motifs--is also highlighted. My ultimate aim is to demonstrate that The Yellow Wallpaper is an innovative queer adaptation of Gilman's piece for a modern audience. Keywords: queer theory; film studies; feminist literary criticism; Charlotte Perkins Gilman, A Queer Eye for Gilman's Text: The Yellow Wallpaper, a Film by PBS I. What is Queer? From Sexuality and Gender to Race and Class An adjective, a noun and [...]

This essay is based on a series of interviews with Soni Sori, an activist, educationist, and a political figure, who has become the face of adivasi (tribal) resistance to state-corporate acquisition of community land for industry, in Chhattisgarh, India. Soni Sori, who is a prominent figure in the resistance movement against State atrocities on poor adivasi farmers, was accused of Left extremism, and subsequently arrested and sexually tortured in police custody. In her own words, this was to shame her into silence and prevent her from participating in public life, again. In this essay, I ask how does pain enter political discourses and animate the resistance around jal-jangal-zameen (water-forest-land). Soni's post-rape narrative, where she embraces the identity of a raped woman, does not draw from a discourse on chastity or shame and dishonor; instead, she powerfully questions the dominant perceptions of rape as sexualised violence, which extinguishes the subject, either through silence or death. In fact, the discursive representation of the raped woman residing in the margins of society, in need of rehabilitation--the object of sympathy or the abject victim--the pathetic 'other', is central to both questions of justice in the legal realm, as well as healing processes. In this essay, I suggest that there are different modes of healing that do not necessarily draw from such patriarchal constructions of the subject, one of which is politicising the wound, rather than fetishising it. In this essay, I argue that moving from feelings of shame associated with loss of honour that primarily define the violated woman as a victim, to acknowledging pain and making it central to healing processes, can become a feminist response to hegemonic modes of understanding violations and seeking justice. Keywords: Sexual Violence, Shame and Honour, Politics of Pain, Soni Sori, Chhattisgarh, India., Introduction Historically, India has been home to a number of vibrant democratic movements and peasant uprisings, particularly around the question of land, against feudal landlords and state apparatuses, where women [...]

A journey responds to the human need to go out in search of a new experience that changes the perception of the world: it is an invitation to immerse oneself in interwoven paths that help to understand the past and transgress it. But nevertheless, in the canon of travel literature an unequal relationship has been consolidated in which the male hero (Ulysses) assumes the role of the traveling explorer, while the female heroine (Penelope) is confined to private space and condemned to wait. As a result, the journey that the heroine must undertake is a journey and path that originally belonged to a male world. The starting point of this work is the chronotope of the road (Bajtin 1989), together with the ideas of rebellion and curiosity as the backbone of the search for identity as a female subject on the heroine's journey. Using Elisabeth Mulder's Historia de Java (1935) and Luisa Valenzuela's short story "Si esto es la vida, yo soy Caperucita Roja" (1993), the journey and path are analysed as a symbolic place of learning and finding female identity to re-appropriate a space that traditionally belonged to men. During their inner and outer journeys, the heroines of both stories set out to encounter and discover otherness and their emancipation. They explore the forest of life, with the final journey leading them to the self-discovery of a new female identity, decrypted from the precepts of patriarchy. To this end, we will draw on both the reflections of the authors themselves (Mulder 1979 and Valenzuela 2002) and the research of Bacucz (2015), Cassole (2013), Mañas Martínez (1988, 2006), Díaz (1996), Marković (2013), Martínez (2001), Medeiros-Lichem (2007), Muñoz (1996), Noguerol (2001), Prada (2018), Regazzoni (2012), Zapico (2015) and Zipes (2006). [ABSTRACT FROM AUTHOR]

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I intend to explore Philip Roth’s strategy of affirming youth as core value among his major themes revealing the experience of aging, illness and loss by revealing its particular framing in the novels of his later work. I shall analyze the contexts that connect youth to vitality and survival, revisiting some key moments in the long imaginary biographies of his notorious characters David Kepesh and Nathan Zuckerman. Although central in Roth’s work, youth has been commonly investigated in connection to allegories that anchor the writer’s oeuvre in a territory marked by nostalgia, loss, and a sense of impending vital exhaustion. My aim is to isolate this issue more clearly and focus on its specificity rather than its connectivity.

Identity is political rather than natural. It is always influenced by the politics of race, class, gender, religion, education, disability, and so on. This paper examines the complexity of political forces that shape female identity at the beginning of the 20th century Java and the reaction the women show in response to the circumstances where they find themselves, with reference to Pramoedya Ananta Toer’s Gadis Pantai. The novel, which is based on the true story of his own grandmother, portrays the life of a practice wife of priyayi, the hereditary governing class of Java. Using interpretive analysis and close reading of the text, the study argues that feudal and patriarchal circumstances help shape female identity in the 20th century Java. Women are doubly discriminated; they find themselves subject to higher powers, i.e. the powers of the feudal lord and the male. However, throughout the novel, the author displays a brand-new female image different from the socially dominant discourses, an image that has qualities of rebellious fervor to trouble the discriminating social category of identity.

Provoked by the outbreak of femicides in Ciudad Juárez in the 1990s, a wave of socially critical narrative has circulated in Mexico since the turn of the twenty-first century. Taking into account this broader corpus of literature, the article contextualizes Antonio Ortuño’s 2014 novel La fila india within a unique sector of this critical narrative, which highlights the interaction of gender violence and migration. The violent novel exposes an expansive social hierarchy that has developed in response to migration in Mexico, and which discriminates against all women, but targets migrant women in particular. Ortuño steps away from traditional characterizations of the Third World female migrant as a helpless victim, and instead orients his narrative around this figure’s means of achieving agency in the face of intense discrimination and violence. The article demonstrates how Ortuño interweaves systemic, symbolic, and subjective violence and subverts the chingón-chingada relationship in order to offer a pessimistic, but revolutionary view of both Mexican and Central American women’s future in Mexico. By tracing narrative strategies that normalize violence and uncovering Ortuño’s connection of gender and ethnic discrimination, the author invites us to reconsider both the genre of social criticism in Mexico and the politics of female identity in the face of violence.

Copyright of Revista Crítica de Ciências Sociais is the property of Centro de Estudos Sociais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)