Female Studies

Srž rada Žene na vlasti u srpskoj drami je u priči o položaju žena u dramama: "Jelisaveta, kneginja crnogorska" Đure Jakšića, "Kraljeva jesen" Milutina Bojića i "Maska" Miloša Crnjanskog. One su određene i omeđene etnički (ne pripadaju srpskom narodu), kao pripadnice aristokratije i rodno. Njihova moć i uticaj prkose patrijarhalnim principima zajednice i zbog toga bivaju kažnjene. Samim tim, žena je opasnost ako nije verna supruga ili "ljuba", a još veća ako vlada. Lepota i zavodljivost, pa i sama inteligencija ovih žena, predstavljaju pre prokletstvo nego dar prirode. Žena koja vlada patrijarhalnom zajednicom ili ima velikog uticaja u njoj, pogotovo ako je strankinja, predstavlja remetilački faktor. Kao strankinja ona predstavlja uticaj "drugog" na državu a kao osoba od uticaja predstavlja opasnost po patrijarhalni, aristokratski tip vladavine. Koristeći se sociološkoistorijskim metodom i paralelnom analizom pobrojanih dela, prikazao sam, na primeru drama poznatih srpskih pisaca, još jedan ustaljeni stereotip kako u našem pozorištu tako i u našoj kulturi uopšte koji je bio zastupljen u analiziranom periodu. Ključne reči žene, patrijarhalnost, vlast, Srbija, drama Žene su, u patrijarhalnoj sredini, od dolaska Slovena na Balkan pa do početka XX veka smatrane nižim bićima, radnom snagom. Docnije su, u Kraljevini Jugoslaviji, uprkos narastajućem sifražetskom pokretu i formiranju Ženske stranke, žene gurane u stranu. Zlostavljanje i porodično nasilje su bili česti. Iako je ženama u brojnim evropskim i svetskim zemljama bilo priznato pravo glasa posle Prvog svetskog rata, kod nas je zakonski regulisano tek 1945. godine. Sa visokom stopom porodičnog nasilja, Srbija je u prvoj polovini XX veka stajala pri vrhu evropske liste. Seksualnost je, s druge strane, i dalje bila potiskivana, što nije bilo slučajno s obzirom da se smatralo da je seks "ugrožavanje roda, plemena" (Konstantinović 1969: 245). Patrijarhalni ideal dominacije 1 [email protected], Nova akademija umetnosti 2 je stajao i u stihovima Milana Rakića: "I ja sam gospodar tvoj i tvoga tela Ko despot stari vladam tobom sada" (Konstantinović 1969: 250). Dakle, dok ne dominirate ženom, potpuno, kao bespomoćnom igračkom, nećete je posedovati ni seksualno. Naslov ovog rada bi trebalo shvatiti uslovno zbog toga što žene kojima se bavim nemaju nominalnu vlast. One nisu suverene gospodarice država u kojima se nalaze, ali imaju načina da utiču na društvo oko sebe. Njihova trostruka izdvojenost: polna, nacionalna i klasna, čini ih istovremeno željenim i omraženim. Generalica u Masci Miloša Crnjanskog suvereno vlada svojim salonom. Simonida u Bojićevoj Kraljevoj jeseni upravlja umovima i srcima dvorana kao i supruga kralja Milutina. Slično mesto u emotivnopolitičkoj hijerarhiji ima Jelisaveta u Jelisaveti, kneginji crnogorskoj Đure Jakšića. Pobrojane žene utiču na dešavanja oko sebe, ali je konačna odluka uvek na muškarcima: Bebeu, kralju Milutinu ili Đurđu Crnojeviću. Na srpskom dvoru su često vladale žene koje su bile omražene Simonida (vizantijskog porekla) i, docnije Dušanova žena Jelena (bugarskog porekla) a na dvoru Brankovića Jerina (vizantijskog porekla). Na dvoru Crnojevića u Crnoj Gori krajem 15.veka je bila omražena Jelisaveta Erico, princeza mletačkog porekla udata za kneza Đurađa Crnojevića. Spomenimo, među omraženim ženama na vlasti i "kučku Vidosavu" koja je uništila junaka Momčila, Maru, ćerku despota Lazara Brankovića i, u novijoj istoriji, Dragu Mašin. Setimo se tvrdnje Grigorija Camblaka da je Stefan Dečanski oslepljen, a Radoslav Nemanjić izgubio presto zbog žene. Najpoznatija među "okrunjenim vešticama" je svakako "prokleta Jerina", vizantijska aristokratkinja Irina Kantakuzin, žena despota Đurđa Brankovića. Njena je želja, po narodnoj pesmi, bila da ceo narod Despotovine podvrgne kuluku zbog podizanja Smedereva, što istorijski nije tačno. Muž se, zanimljivo, u narodnoj pesmi uopšte ne spominje, kao da je ona vladarka cele zemlje. Naravno, istina je da je Despotovinom vladao Đurađ Branković, vešt ratnik i iskusan diplomata.Dodao bih da je iisto važilo i za Đurđa Crnojevića koji nije bio ni star ni slabašan kao ostareli Milutin Nemanjić te da ga savremenici opisuju kao "veoma lepog, visokog, u haljini od zlata po grčkom" (Ćorović 1989: 110).

Le donne si sentono rappresentate dalla pornografia? Indagandone l’immaginario, le pratiche di consumo e le sensazioni a riguardo si è cercato di capire perché usufruiscano di pornografia, quanto sia importante per loro se sia necessario un cambiamento di rotta e se la pornografia femminista sia essere una valida alternativa.
La ricerca è stata condotta a partire da dati statistici di sfondo, analizzando dunque la portata del fenomeno, che non è certo nuovo, ma che non presenta evidenze importanti nel panorama italiano. Il portale di riferimento è stato PornHub Insight grazie al quale è stato possibile osservare la crescita del fenomeno e soprattutto le scelte di consumo delle fruitrici dal 2014 ad oggi.
Si è poi proceduto a sondare le discussioni sul web attraverso le keywords “porno” e “pornografia” e infine le interviste dove il campione, nonostante le differenze di età e vissuti ha denotato alcuni punti cardine su cui sembrano concordare tutte, ovvero: che la donna non conosce se stessa, il proprio corpo e le dinamiche del proprio piacere, per motivi legati principalmente all’educazione e a un retaggio culturale di base, a causa del quale provano vergogna, approcciandosi alla pornografia e in molti casi anche alla propria sessualità in tarda età. Di conseguenza l’importanza dell’anonimato e la crescita esponenziale nella fruizione di pornografia da parte delle donne, con l’avanzare della tecnologia. La messa in discussione dello statuto di realtà della pornografia, nel quale tutte le donne intervistate non si rispecchiano ricorrendo a generi specifici per sfuggire alla non autenticità del prodotto pornografico, e a pratiche vere e proprie, come quella di vedere solo il pezzettino interessante evitando tutto il resto.

Analiza tekstova napisanih o Srbiji i Balkanu, tokom i neposredno nakon Prvog svetskog rata, omogućuje uvid u dve
perspektive –1. politički ugao gledanja diplomata i novinara; 2.žena koje su bile lekarke, medicinske sestre i neposredne
učesnice u ratu. Cilj ovog rada je da istakne: 1. Načine na koje je Srbija predstavljana u engleskoj i američkoj javnosti
tokom Velikog rata; 2. Označi percepciju i ukaže na ambivalentni stav prema Srbiji u javnom diskursu, koji su još uvek
prisutni u različitim formama; 3. Da ukaže na ulogu žene i pokreta Sifražetkinja u promeni javnog mišljenja i percepcije
Srbije u Britaniji i Americi posle Velikog rata; 4. Najzad, da pokaže prirodu stereotipa i stranputice na koje odvodi svaki
oblik pojednostavljivanja Drugoga.

Chimamanda Ngozi Adichie’s works provide profound insights into the intersection of gender, race, class, sexuality, and cultural experiences. The author’s novels Americanah, Half of a Yellow Sun, and Purple Hibiscus tell the individual stories of unique characters while relating them to struggles experienced by different people all around the world. As one of the most prominent feminist authors, Adichie presents strong female characters while focusing on the veiled realities of gender politics. The explicit feminist sentiment thus connects her with the anti-sexist, anti-racist, and anti-oppressive views of feminist pedagogy. Following the premises of feminist pedagogy, Chimamanda Ngozi Adichie offers suggestions for overcoming various forms of oppression in Dear Ijeawele, or a Feminist Manifesto in Fifteen Suggestions and We Should All Be Feminists. Therefore, this thesis discusses the prevailing themes of Adichie’s works as valuable guidelines for the exploration of feminist pedagogy.


Keywords: feminist pedagogy, sexism, racism, patriarchal violence, Chimamanda Ngozi Adichie, Americanah, Half of a Yellow Sun, Purple Hibiscus

在中国当代媒介场域中，“女性脱嵌者”作为一种重要的形象/叙事范型，表面上讲述的是年轻女性离开原乡、进入大都市打拼的人生故事，而实质上提供的则是对中国改革开放以来现代性进程进行社会想象的审美文化支点。20世纪90年代初，“女性脱嵌者”开始在中国媒介场域中风行，并在总体上呈现出一种“自我选择、自我负责”的上升逻辑，以引导社会对于现代性的想象方式；而21世纪以来，这一范型却发生了明显的分化，呈现出当下现代性发展进程中创伤性、奇观性与示范性并存的复杂面貌，并在很大程度上折射出社会转型过程中公共领域价值议程的裂变。

Stereotypes of women have long existed in society and in the stories told from generation to generation.  The Wife of Bath is an excellent female stereotype in Chaucer’s Canterbury Tales.  Her self-proclaimed practices as a wife are the epitome of negative female stereotypes despite her own tale; furthermore, her character adds depth and credibility to the overall setting of this story with its many characters and tale-telling.

Dhaka is one of the most unsafe cities in the world especially for females. The unsafety translates into horrid sexual violence which further intensifies in public buses. The female undergraduate students of the Dhaka North City Corporation are to commute in a specific route at a precise time via predetermined vehicles mostly public buses, which adds to their vulnerability, as those are the hubs of gendered violence. The objective of the study is to take an account of the perception and everyday experiences of sexual violence in public buses revolving around the exchanges of undergraduate female students. The research is strongly grounded in qualitative data but also features crucial quantitative data. Primary data has been accumulated from participant observation, two focus group discussion (FGD)s, in-depth interviews of twenty-five interlucators. Secondary data is availed from articles, books, reports, newspapers, and websites. The drivers, helpers and passengers are seen to harass the females by staring, touching, poking, elbowing, making lewd comments and so on. The violence can escalate to rapes and gang rapes which mostly goes unpenalised. All of the interviewed students nominated public buses as the most unsafe means of travelling and are not satisfied with the behaviour of the driver and staff and feel unsafe commuting at night. Zero tolerance to sexual offences, boycott of sex offenders, victim support and punity, upholding law and fast and effective judicial system, uprooting taboos centring sex, and sex education are some of the probable measures that may be taken to eliminate sexual violence.

pandemic. In an empirical study, we focus on female top performing students in STEM and the humanities. Of particular interest was whether the measures associated with the pandemic constitute a risk-factor for a re-traditionalization of gender roles. Before lectures or courses began, students at a full-scale university were invited to participate in an online survey. We investigated four research questions: 1) Are women underrepresented in our sample among the top performers in STEM and the humanities? Are there gender differences among top performers with regard to (2) digital readiness, (3) socio-emotional and (4) learning related variables? The sample of the study consisted of 2,849 higher education STEM and humanities students. The study took place as an online survey. In the week before the start of the official lecture period, all students enrolled at the university were invited to take part via an e-mail correspondence from the Vice President of Education (survey access link). Participation in the survey took place via the Questback platform and was activated for 10 days. The cutoff point for the ability level was set at the 95th percentile of previous university achievements. To test Q1, we performed a hierarchical loglinear analysis with posthoc Chi² tests. In research questions Q2-Q4 two-way ANOVAs were used to test the effects of gender and subject. Results indicate equal shares of female and male students among the top performers, with women overrepresented in the humanities and men overrepresented in STEM relative to their proportion of the student population. The analysis of socio-emotional and learning-related factors showed risk factors for high performing female students such as lower self-efficacy, but no major emotional vulnerability. Overall, the data suggest that at the beginning of the COVID-19 pandemic, female top performers had still been able to compensate for the risk factors.

This article deals with changes in occupational and self-identity among migrant women from Friuli who left for the agricultural colonies and urban areas (in particular Buenos Aires) in Argentina from the second half of the 19th century to the first thirty years of the 20th century.
From 1887 (the start of the most significant flow comprised primarily of family units) until the outbreak of WWI, women engaged primarily in domestic duties. Starting in the 1920s and 1930s, migrant women began engaging in the job market outside the home in certain professions. Focussing on nurses as the most significant example, the article explains the changes in the identity of Friulian migrant women. It was in Argentina where these women began to become aware of the gap in living conditions in the rural areas of the home country and those in the Argentinian urban centers.