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This paper aims to detect gender stereotypes of cultural coordinate system, recognizing the sexist prejudices and the normative gender roles in society through the narrative of the French film I Am Not An Easy Man (2018) directed by Eleonore Pourriat. The film parody script, which deals with the perverted gender roles in a feminist utopia, will be the basis for the analysis of the patriarchal residue in modern society. Through a critical reflection on biological determinism, we will try to decode the established male-female roles from an early age, recognize the inadequate representation of women in the media, literature, science and popular culture, and re-examine the contemporary post-feminist transformations of femininity and masculinity. Reconsidering the contemporary post-feminist transformations of femininity and masculinity in film and in real life, we are in fact reminding ourselves of the need for gender-sensitive cultural policies. [ABSTRACT FROM AUTHOR]

Psyche in Eros and Psyche (1904) by Jerzy Żuławski was one of the most important roles of Irena Solska (1875–1958), which she played for twenty years. The playwright confessed that he also had written The Myrtle Wreath (1903) and Ijola (1905) specifically for this actress. In spite of the fact that reviewers often criticized the texts and tried to “protect” Solska from being associated with the author’s intentions, she probably identified herself with them to a great extent. Given the lack of detailed accounts of Solska’s performance in the criticism, these texts become the most important source, although also a controversial one. They reveal some important impulses of Solska’s creativity. Her desire “to restore innocence” in her onstage creation was a way to overcome the repressive reality of her past and the burden accumulated through “the matrilineal heritage.”

The aim of this paper is to demonstrate the inviolability of „female creativity” in the works of Sylvia Plath through the symbolism of death and rebirth. „Lady Lazarus” reflects Plath’s recognition that the struggle between death and rebirth must direct every aspect of poetic structure. The woman in the poem is at the same time a victim and tormentor. She is a female Lazarus who died because of great suffering that the poet equates with the suffering of the Jews who were tortured during World War II. She is a victim of male cruelty, but also a new woman who rises from the flames. Using the myth of the resurrection of the Phoenix, Sylvia Plath shows a woman who stands up against all the men who restrain her. The allusions in the poem to the biblical, historical, political and personal take the reader into the center of a personality (of a woman).

The author discusses Ştefania Cristescu Golopenţia's regional and urban sociological research, her role in the historical study of the Sociological School of Bucharest, and her pioneering approach to the life and creativity of different generations of rural and urban women. 105 years have passed from the birth and 35 years from the death of Şt.C.-G.

The author discusses Ştefania Cristescu-Golopenţia's regional and urban sociological research, her role in the historical study of the Sociological School of Bucharest, and her pioneering approach to the life and creativity of different generations of rural and urban women in A Double Aniversary (105 years from the birth and 35 years from the death of Şt. C.-G.). [ABSTRACT FROM AUTHOR]

Bronfen discusses the language of hysteria in conjunction with recent discussions of ethics, notably in the sense that the hysteric gesture of misappropriating a grand narrative such as humanism confronts the manner in which discussions of gender might traverse alterity without effacing or occluding it. [ABSTRACT FROM AUTHOR]