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EN
From the second half of the 20th century, the issue of women’s writing has been of considerable interest in literary studies, highlighting the need to know women as writers and as literary subjects, in order to understand female experience first-hand. This approach to written texts is based on two fundamental aspects of study: women as writers and the representation of women in the text. This has made it possible to examine how women are represented and what topics women writers prefer, for example, motherhood, a literary topos par excellence in Italian literature. Despite this, although motherhood is present in numerous works, the voices of actual mothers are largely absent: mothers and motherhood are in fact narrated from the point of view of daughters. In view of that, there are two main aims of this study: (1) to examine the possible reasons for the absence of the mother’s point of view and (2) to analyze some contemporary Italian literarature narrated by mothers themselves.
EN
The article analyzes the way in which the modern car-advertisement defines the identity of women as potential purchasers – to whom it is designed to get through. The research includes language and iconic instruments by which this type of advertisement aims to create a feminized market of products formerly recognized as traditionally masculine. The identification of the addressee of each publicity material might be subsumed under a set of stereotypes, thus enabling advertisers to get across their message using the code of addressee’s own values. The present paper concentrates on the linguistic specifity of the ads for high-tech goods (automobiles) targeting the feminine public and eventually points out their high degree of markedness according to the sex of addressees. Discourse analysis and a closer look at linguistic means appearing in French, Spanish and Polish automotive commercials both reveals a stereotyped woman’s image and shows how they happen to perpetutate it.
Linguaculture
|
2012
|
vol. 2012
|
issue 1
53-64
EN
In Margaret Atwood’s fiction and poetry, wounded female bodies are a frequently used metaphor for the central characters’ severe identity crises. Atwood’s female protagonists or lyric personae fight marginalization and victimization and often struggle to position themselves in patriarchal society. In order to maintain the illusion of a stable identity, the characters often disavow parts of themselves and surrender to a subversive memory that plays all sorts of tricks on them. However, these “abject” aspects (J. Kristeva, Powers of Horror) cannot be repressed and keep returning, threatening the women’s only seemingly unified selves: In Surfacing, for example, the protagonist suffers from emotional numbness after an abortion. In The Edible Woman, the protagonist’s crisis results in severe eating disorders and in Cat’s Eye and The Robber Bride the central characters’ conflicts are externalized and projected onto haunting ghost-like trickster figures. In this paper, I will look at various representations of “wounded bodies and wounded minds” in samples of Margaret Atwood’s The Edible Woman, focusing on the intersection of memory and identity and analyzing the strategies for healing that Margaret Atwood offers.
EN
The article presents the process of constructing female identity with the reference to the traditional model of womanhood. The arguments presented refer to the changes in the division of housework. According to the stereotypical model of a womanhood, the ‘polished floor’ that appears in the title is described as one of the effects of a diligent fulfillment of the obligations assigned to women. The autoethnographic narrative that demonstrates personal experience of the author accompanies the conducted analyses. The article presents an analysis of a popular Facebook fan page ‘Sh* Housewife’, which constitutes an embodiment of the women’s resistance strategy against the housework being treated as a ‘natural’ calling and obligation of a woman. The final conclusions clearly indicate that the social and cultural changes that have led to the equality of women and men have not altered the convictions and models of performing housework.
EN
The article presents the foundations, symptoms and consequences of self-hatred as experienced by Geraldine, the black female character portrayed in Toni Morrison’s first novel, The Bluest Eye. Primarily, based on the psychological concepts of Rosenberg, Higgins and Horney, it defines self-loathing as an extremely negative self-concept, a depreciation of one’s own physical attractiveness, intellect and abilities which is accompanied by anger towards oneself. The key characteristic of this process is expressed by a decreased level of self-esteem that is effectuated by an internalization of negative in- and out-group concepts based on racial prejudice and sexism, as well as on a sense of social rejection and intolerance. An additional reason behind the black woman’s conviction of her inferiority and unworthiness is her idealization of white culture, of its standards of beauty and lifestyle with which she is bombarded. In consequence, the black female character tends to overestimate the image of whiteness and to underestimate her blackness. Instead, by being an organic part of the culture that detests her, she learns to hate her dark skin, her poverty, otherness and funkiness. This acquired hatred generates a discrepancy between her actual self and the ideal or ought self, effectuating in a neurotic desire to eradicate all attributes of the actual, despised self. Therefore, Geraldine disparages, doubts and discredits the epitomes of her blackness and bitterly endeavors to eradicate it. To achieve this, she firstly obliterates her native and cultural identity, both in the physical and mental dimension, and secondly she invents a new identity which allows her to escape from her hopelessness and ugliness.
EN
This paper presents a small case study based on the narratives of three women in Malawi to ascertain how they negotiate female identity in a changing world. The socio-historical context is that western discourses relating to women’s empowerment and gender equalities are being absorbed in developing countries which can influence people’s perceptions of the way they view themselves and their own practices. This may present a conflict between western and traditional expectations and values. In Malawi, new opportunities are starting to open up for women causing them to adapt to new life styles. Close study of the ways in which women of different generations and of different socio economic backgrounds recount their experience of being a woman in Malawi seems to reveal common themes both in the structure and in the content of the narratives which connect what are in fact richly individual and personal stories. In line with Bamberg (2003:222) ‘rather than seeing narratives as intrinsically oriented toward coherence and authenticity, and inconsistencies and equivocations as an analytical nuisance’, this micro analysis finds the latter aspects to be the most interesting. Therefore, it will aim to unpack how participants orient to, ascribe and negotiate female identity through language. In recent years, narrative analysis has been used to examine real life stories. In this study, an ethnographic approach to data collection is adopted by interviewing women in the home environment. The recordings analysed are stories but they are elicited in the context of an interview which inevitably produces the ‘researcher effect’. Further work is needed to assess the value of narrative analysis in gauging the impact of western cultures on gender identity construction.
PL
Artykuł stanowi niewielkie studium przypadku opartego na opowieściach trzech kobiet żyjących w Malawi. Ma na celu ukazanie ich poszukiwań kobiecej tożsamości w zmieniającym się świecie. W krajach rozwijających się kontekst socjologiczny i historyczny pozostaje pod głębokim wpływem dyskursu toczącego się w krajach zachodnich o równouprawnieniu kobiet i równości płci, co może mieć istotne znaczenie w postrzeganiu samego siebie oraz własnych zachowań. Może to rodzić konflikt pomiędzy kulturą zachodu a przyjętą tradycją i wartościami. W Malawi otwierają się dla kobiet nowe możliwości, które pozwalają im zaadoptować się do nowego stylu życia. Dogłębne studium tego jak kobiety różnych pokoleń oraz z różnych warstw sołpołecznych w Malawi przedstawiają swoje doświadczenia, prowadzi do wysunięcia wspólnych wniosków w odniesieniu zarówno do struktury jak i tematów ich opowieści, które stanowią bogaty obraz osobistych przeżyć. Idąc za Bambergiem, kluczowym punktem zainteresowania analizy jest pogląd, iż opowieść nie jest nieodłącznie spójna i prawdziwa, lecz skłania się ku względnej niezgodności, dwuznaczności jak i złożonej niedogodności. Głównym zamierzeniem jest więc ukazanie jak kobieca tożsamość przejawia się poprzez język. W ostatnich latach analiza narracyjna jest źródłem wielu badań historii życia codziennego. Niniejsze studium oparte jest na podejściu etnograficznym. Bazuje na materiale zgromadzonym podczas rozmów z kobietami przebywającymi w ich środowisku domowym. Źródłem badań są więc opowiedziane historie, przy czym forma wywiadu pozwoliła nadać im wymiar naukowy. Należy podjąć dalszą analizę, która pozwoli ocenic wartość przeprowadzonych badań w zakresie wpływu kultury zachodniej na strukturę tożsamości płci.
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