Femenism

Image of women in fiction has also undergone a change from traditional portrayals of enduring self-sacrificing women towards conflicted females searching for identity who cannot be defined simply in terms of victim status.

The quest for identity has been an eternal one plaguing mankind since times immemorial. This identity is not the genuine identity but a distortion of the self;

Chitra Banerjee Divakaruni has very dexterously juxtaposed the world of spices with that of women, as a metaphor of her life and identity;

In Oakland, Tilo is stripped of her youth and constrained in her role as the mistress of the spices, yet her original ‘self’ is not destructed, only suppressed, which often reveals itself in her silent rage;

Tilo's fluidity of identity translates into a fluidity of identification, for Tilo's gift is her ability to read into the lives of all those who enter her store, seeing all of the problems they endure as they assimilate, feeling their daily sufferings and understanding even their most private thoughts and wishes.

Tilo's female patrons view her as a traditional "older" South Asian woman, unattractive in her age, sexless in terms of her desires and submissive to the will of others.

.Real Indian," and since Tilo is estranged from her own self-perceptions, she eventually comes to view herself as Raven's Orientalist fantasy, hyper-sexualized and representative of all that is seen as Indian in American culture."

Defying all codes of conduct and warnings of the spices and the Old One she embraces the love of Raven in whose quest of identity and struggle she recognizes her own dilemma.

Self-perception is the foundation of identity, but the "self' that emerges from the various selfperceptions is one characterized by multiple selves existing together, conflicting with each other but ultimately, to one degree or another, accepted in their contradictions. Tilo realizes that self-perception is a matter of acknowledging the multiple processes and factors that influence the formation of identity, of embracing each of the contradictory characteristics and consciousnesses as legitimate identities.

In The Mistress of Spices, the process of self-perception is the foundation of identity formation for the central character . As Tilo strives to define herself as South Asian and American, she develops multiple consciousnesses that manifest themselves in both her experiences and her subsequent relationships.

Tilo views herself through the lens of her surrounding society, thereby leading to various and often conflicting simultaneous visions of her identity. At first, Tilo allows these perceptions of herself (as created by others) to dominate her thinking, yet as she assimilates herself to American culture and comes to claim her own self-perception. The result of this knowledge is Tilo's recognition of her Multiple consciousnesses, and although this multiplicity is replete with contradictions, Divakaruni nevertheless presents it as a possible "solution" for Tilo's dilemma of cross-cultural identity formation. Interestingly, "Maya" is also an ancient Sanskrit name, and the juxtaposition of a name so representative of a cultural past with Tilo's present power suggests that Tilo still lives in between spheres, with contradictory spaces and times comprising the rather ambiguous landscape of her existence. In naming herself, Tilo reveals that which she is made of: multiple consciousnesses that allow her to exist as not as South Asian or American only, but rather as everything in between, living a life that spans the endless boundaries of space and time and in which identity is filled with the promise of endless possibility and eternal evolution.

Es una guía, fue distribuida a los 10 países integrantes de la Red
Latinoamericana de Mujeres defensoras de Derechos Sociales y
Ambientales, quienes han trabajando el concepto cuerpo-territorios
en el marco de los conflictos por actividades extractivas mineras en el
que trabajan sus integrantes.

From the beginning, feminism was bent to shatter stereotypes and create a new vision of womanhood in the mainly male-dominated society. One important endeavor of feminism has been to oppose the objectification of the female body. In the male-dominated culture, femininity is mostly associated with young-and sexy-body of the female object. Surprisingly, in the past decade or so, we have witnessed a new wave of feminism which contradictorily tries to appeal to the old notion of the objectified young sexy female body in order to fight the very phenomena of oppression and objectification of the female body. In this study, I will have a review of four Iranian feminist pages on Instagram to show that femininity in these pages is mainly limited to young, beautiful, and sexy women. It seems older women (20% of female population) and even young women in bad living conditions who consist a majority of women in the society are systematically omitted from these pages just because this networked feminism perceives them not appealing to male audiences.

Comment la nudité peut-elle encore être subversive, alors que les corps dénudés se sont très largement banalisés dans la publicité et à la télévision ? C’est sur cet étonnement que s’ouvre le livre d’Hubert Prolongeau, écrivain et journaliste, qu’il publie après le succès de son récit d’une « randonue » dans Le Nouvel Observateur [1]. « Nudiens », solidarnue », « non-textiles », de nombreux néologismes jalonnent l’ouvrage, où le lecteur découvre tout un vocabulaire propre à l’univers du naturisme et de la nudité militante, le premier étant un mode de vie, le second un moyen d’action contestataire. Ce lexique n’est pas sans rappeler la circulation du néologisme « manufestation » lors des rassemblements, en 2012, contre la hausse des frais de scolarité dans les universités québécoises, durant lesquels les étudiants déambulaient partiellement dénudés. Ces événements illustrent un mouvement plus global : depuis quelques décennies, la pratique contestataire consistant à se mettre à nu se généralise et s’internationalise dans les manifestations. Dans quelle mesure poser ou manifester nu est-il une nouvelle forme de militantisme ? Quelles normes juridiques et sociales régissent ces pratiques ? Que nous disent-elles de l’évolution du rapport au corps dans notre société ?

La Residencia de Señoritas fue el primer centro oficial destinado a mujeres universitarias o que preparasen su ingreso en Facultades, Escuela Superior de Magisterio, Escuela Normal, Escuela del Hogar, el Conservatorio Superior de Música o cursos de Biblioteconomía.  Fundada en 1915 por la Junta para  la Ampliación, la pedagoga María de Maeztu fue su directora hasta 1936.
La presente exposición presenta la situación actual de las fuentes documentales de archivo para realizar futuras investigaciones en  el Archivo Histórico de la Residencia de Señoritas 1915-1936.

William Shakespeare, the English bard of Avon, inaugurates a Feminist approach in Love’s labour’s Lost which is comparable with the Holy Quran’s mandate and Hadith. He reminisces Muslim association (including Ethiop, black, moors, Africans, and so on) through deeply-seated words of the Elizabethan era in order to signify in his work the Islamic concern for the Muslim women in terms of respect, love, and revival of rights. Riffat Hassan’s theology of honor killing and progressive Islam could be argued to be in thematic affinity with Gayatri Spivak’s concepts of the ethical responsibility of the agents and subalterns. The area of concern in Shakespeare’s plays encompasses men’s sanction in shunning women, intellectual men vs. slave, black and inferior women, and love, marriage, and infatuation with women. This is in line with Quranic principles namely poor Muslim lifestyle vs. the affluent pagan hegemony, Muslim’s faith, migration to Ommat, and reception by the hegemonic pagans. The major objective of the present paper is to read Shakespeare’s dramatic works in terms of Riffat Hassan’s Islamic feminist approach.

Históricamente, la creación textil ha sido considerada artesanía, o como "aquello otro" ligado al no-arte, debido a su naturaleza funcional y su practicidad. A pesar de que a partir de los años setenta, fue legitimado como soporte para la creación artística, hoy en día, el textil sigue considerándose un medio para la expresión artística de menor importancia. Asimismo, los productos textiles que se han visibilizado dentro del marco artístico, la mayoría, han sido expuestos como trabajos de carácter reivindicativo del género femenino, sin tener en cuenta, que existen creadoras que trabajan el textil por su valor formal, técnico o metalingüístico. Esta resignificación del textil, se ha producido, sobre todo, por el modo en que este ha sido expuesto. Por ello, nos es de vital importancia centrarnos en los discursos expositivos en los que la creación textil ha sido mostrada. Con este objetivo, se analizarán tres exposiciones de arte textil, muy diferentes entre ellas, en el contexto artístico del país vasco.

En su obra de creación, la escritora toledana Pilar Pedraza traduce a inquietantes y perversas historias, protagonizadas por seres amorales y monstruosos, un ideario que va cobrando forma explícita en sus ensayos y declaraciones públicas. Considerada una de las máximas representantes de la literatura no mimética en España, su obra demuestra la profundidad discursiva y el potencial crítico de un tipo de ficción secularmente relegado al apartado de la evasión o el mero entretenimiento. Sin desatender el aspecto lúdico de los géneros implicados –el terror, lo fantástico, lo gótico– ni renunciar a los caudales de la imaginación, sus novelas y cuentos inciden en algunos de los problemas más acuciantes del mundo contemporáneo. Si el terror, como producción artística, se nutre de nuestros miedos, la narrativa de Pedraza abreva en uno de los más recurrentes en la historia de la modalidad: el papel de la mujer en la sociedad occidental. Tradicionalmente conceptualizada como uno de los grandes Otros en una cosmovisión de signo mayormente masculino, se presenta en la narrativa pedraciana como un sujeto agente, poderoso, capaz de poner en jaque el orden patriarcal. El asedio se produce, por lo general, con el concurso de fuerzas ajenas al entendimiento y la concepción racional del universo. Partiendo de la asociación del hombre con la ciencia y la tecnología, las narraciones de la autora acuden a personajes, ámbitos y prácticas situados en los márgenes del plano asentado en tales ejes: parias, monstruos, indeseables, cuyo sexo tiende a ser femenino (pero no solo). Son ellos los que encarnan la alternativa al statu quo dominante, la amenaza que debe ser silenciada, pero también quienes aportan un grado de esperanza a un sistema ahogado por el pensamiento y la moral únicos. El resultado es un planteamiento ambiguo, desestabilizador, en el que las categorías sancionadas por los guardianes de lo aceptable se ven subvertidas, enfrentadas a un hondo cuestionamiento. El envite, por lo demás, no se queda en la simple afirmación de la otredad –usualmente femenina– ante la autoridad –siempre masculina–, sino que el movimiento suele enlazar con otros planos de significación, igualmente reivindicativos, igualmente alineados con seres marginales y causas impopulares o, más bien, incómodas para el poder. Es lo que ocurre en Paisaje con reptiles (1996), donde el empoderamiento de la protagonista va unido a preocupaciones de corte ecológico, y el horror surge como respuesta al nocivo impacto del hombre (entendido aquí tanto como sinónimo de raza humana cuanto en sus atributos masculinos) en la Madre Naturaleza (donde también cabe marcar el género, aun el aspecto reproductor). En la comunicación propuesta pretendemos explorar las vías por las que dichas asociaciones se hacen efectivas en el discurso, dando lugar a un relato no solo de orientación profeminista, sino también militante en un nivel medioambientalista; todo ello en el marco de un género cada vez más definido y reconocible en el dominio de la creación popular: el ecoterror.

Riff’at Hassan is one of the most important Muslim thinkers in the US and is the leader of Muslim feminists. Influenced by Feminist theology in Christianity, she proposes “feminist theology in the Qur’ān”. From the viewpoint of Riff’at Hassan, three theological factors in the world of Islam and the Qur’ān have led to the appearance and expansion of the belief in the supremacy of the man over the woman: the subordination of the woman to man in creation, Eve’s deception of Adam which led to their fall from the Eden paradise, and the creation of the woman for the cause of man. Suchlike factors and attitudes are basically proposed in the Sunnī interpretations and traditions, and the themes of traditions she has used are rejected in Shī‘a narrations. Nonetheless, even if we accept the claims of Riff’at Hassan, her arguments lead to the proposition that the man and the woman are not different in creation, both have been deceived by Satan, and both have been expelled and fallen from Paradise, and there is no difference between them in these regards. However, the key point here is that this theory does not prove the legal-jurisprudential equality between men and women, and the Qur’ān gives in different orders in this regard, especially with regard to inheritance and retaliation.

Pengenalan
Benua Melayu Sunda atau lebih dikenali dengan Pentas Sunda telah wujud pada zaman ais yang berlaku pada 14,000 hingga 30,000 Sebelum Masihi adalah sebuah benua yang satu. Akibat banjir besar yang diturunkan oleh Allah s.w.t terhadap kaum Nabi Nuh a.s. yang ingkar terhadap kerasulannya seperti yang terdapat di dalam al-Quran juga adalah sebagai peringatan untuk umat selepasnya mengambil iktibar. Selain dikenali oleh zaman moden ini dengan banjir magnitud besar, kejadian bencana alam seperti letupan gunung berapi, gempa bumi dan pencairan ais telah menyebabkan permukaan tanah yang satu ini kemudiannya berair menjadi cetek seterusnya lama kelamaan ditenggelami air yang membentuk lautan sebagaimana bentuk muka bumi Asia Tenggara yang terasing-asing dipisahkan antara tanah besar dan gugusan pulau-pulau (archipelago) seperti yang dapat kita lihat peta pada hari ini.

It is a misconception that multidisciplinary research is new and is only applicable to the disciplines of science and technology. Recent trends have witnessed a sea change, and new innovations and multidisciplinary research are being practiced by the subjects of humanities too. Research in English Literature is no longer confined only to studies based on themes, characters, and rhetoric. Recent research practices in English Literature have not only embraced multidisciplinary collaborations with other disciplines of humanities and social sciences, but also with disciplines of science and technology. In the present time we have witnessed how literary texts are being treated not only as stories but as alternative histories, subaltern narratives-providing voices to the economically weaker and the socially downtrodden people, whose stories are generally ignored in the state sponsored documents. Even popular genres like the Fairy Tales, comics and graphic novels are being reinterpreted in multidisciplinary researches, through the lens of Gender and Culture Studies, to show how through them culture and or behavioural patterns were being codified and propagated for women and children. Also, we notice the concept of the "text" in English Literature, which traditionally meant a book has now broadened to include street signs, advertisements, movies, paintings, songs, styles of clothing, or even body language, or anything that has meaning and we can draw information from. It will be the endeavour of this paper to analyse how this evolved concept of the "text" and use of research methodologies from other disciplines have helped research in English Literature become multidisciplinary and innovative. We will analyze the changed "text-methodology" relationship with respect to the use of philosophy in Calvin and Hobbes, cultural studies and postcolonialism in Tintin and feminist studies in popular Fairy Tales, to see how research in English Literary has embraced multidisciplinarity and innovation.