Examples Of Postmodern Fragmentation Of Gender

While many will agree that Shakespeare’s Twelfth Night is critically acclaimed to be one of the most entertaining and well-liked pieces that he has written, there tends to be a discrepancy over how the characters in the play are portrayed when it comes to the importance of gender roles. After reading James C Bulman’s article over the Globe’s more recent performance of Twelfth Night and Shakespeare’s original written version, I realized that there are many ways that this famous piece has been portrayed and each has its own pros and cons.

Femininity is a concept whose attributes are contingent on the culture it is in—what one culture may consider typically feminine traits could largely vary from what another culture views as being feminine. While theater can sometimes subvert theses ideals and present women who function in ways that are not typically feminine, theater can often present idealistic representations of women who exemplify that culture’s ideals of femininity. Take, for example, the female characters in both Guan Hanqing’s Snow in Midsummer and Hroswit’s Martyrdom of the Holy Virgins. While both texts come from largely different cultural contexts—Snow in Midsummer was written in thirteenth century China for a general population whereas Martyrdom of the Holy Virgins was written in tenth century Germany as a closet drama—both texts have female protagonists whose rebellions exemplify feminine ideals of the respective cultures.

The woman’s role in society had many changes during the era of WWII to the baby boom era. It went from the strong independent woman that can work in a factory to a house wife that takes care of the family to the final slightly dominant, but still dependent female. All of these different feminine mystiques were changed because of society and through indirect propaganda in TV shows and

An individual's social location - meaning their ascribed identities, roles and relationships - are of central significance to feminists as it influences the power one possesses, which in traditional IR theory is gendered and patriarchical. According to Christine Sylvester, these scholars suggest that conventional IR has avoided thinking of men and women in the capacity of embodied and socially constituted subject categories by classifying them into 'neutral' categories . Most theorists too readily accept that women are located inside the typically separate sphere of domestic life and "...retreating to abstractions, i.e. the state, that mask a masculine identity." Feminist analysts are suspicious of ungendered IR texts and champion for their subversion while many seek to implement replacement theories. These theorists contend that identity, gender, and indeed women, are social constructs. Key feminist conceptions include liberal ideas of women's equality, socialist conceptions of a sexual division of labour and the Freudian suggestion that identities are produced, often within the evolution of patriarchy . Many academics share the assumption that the world would be less competitive and less violent if women gained dominance in positions of power .

Though its primary function is usually plot driven--as a source of humor and a means to effect changes in characters through disguise and deception—cross dressing is also a sociological motif involving gendered play. My earlier essay on the use of the motif in Shakespeare's plays pointed out that cross dressing has been discussed as a symptom of "a radical discontinuity in the meaning of the family" (Belsey 178), as cul-tural anxiety over the destabilization of the social hierarchy (Baker, Howard, Garber), as the means for a woman to be assertive without arousing hostility (Claiborne Park), and as homoerotic arousal (Jardine). This variety of interpretations suggests the multivoiced character of the motif, but

The concept of gender is evolutionary and difficult to define, though it can be argued that traditionally females have been predominantly defined by their desirability, and males by their masculinity. The way a director presents gender in film can either inspire social change and conversation, or alternatively it can further reproduce social norms. In the case of the film’s discussed in this essay, it is clear that Baz Luhrmann captivates a younger audience and intentionally uses actor selection and the presentation of gender to transform a well-worn Shakespearean story into something new and evolved to inspire a younger audience. On the other

Cross-dressing comedies, according to Cressy, does not signal a sex-gender system in crisis but a system robust enough to be “played” with. Contrary to the anti-theatricalists’ views, Cressy argues that cross-dressed men appeared energized and proactive in the Elizabethan and Jacobean stage. In other words, Cressy suggests that cross-dressing was played for laugh in the early modern period, without suggestion of a gender system in trouble. In fact, Cressy makes a case that theaters treated costume playfully without the moral or religious weight. Drawing from historical cases of crossdressing, Cressy argues that the evidence points not to homoerotic ambivalence or subversive androgyny but to problems of social discipline.

The essential part of Butler’s theory is that performativity exists “within a highly rigid regulatory frame”—meaning that it is the expectations and assumptions of discourse that enable gender’s performativity, not subjects themselves (Gender 43-44). Ainsley does not consciously choose her gender Instead, Ainsley is responding through performance to the patriarchal expectations that inform this regulatory frame—she dresses as a young and inexperienced girl not only because she chooses to, but also the regulatory expectations demand this type of performance from her specially, Len (Fleitz

Whatever the direction for the future, we will still be faced with the question of explaining the 1990s reversal, which our analyses have shown had little basis in any structural or broader ideological changes in American society. Instead, we need to explain period changes with changes in period events: the rise and decline of feminist and antifeminist movements; the shifts in popular culture, especially the rise of a new cultural frame that incorporates traditional gender roles without implying

I would argue, however, that Lady Macbeth's "unsex me here" speech tends to deconstruct gender categories, unfixing the rigid cultural distinctions as well as attributes which define male and female” (Chamberlain 79).

Post Feminism simply can be referred to as the way of moving to the next step after feminism which is an absolute need for equality of man and woman that based on gender equality. Example of this is gay and lesbian right marriage equality. As result this issue on gender binary which classify sex and gender into opposite and disconnection of both femininity and masculinity. This issue that arose in 2012 of the acceptance of the status which brought about the feminist exercise that striving to achieve real gender equality (cox 2012). It will be appropriate to discuss about feminism. The ideology of feminism believes that in the equal right of woman and man. As feminist are striving to accomplish this theory. The whole idea was established 1970s by woman right movement. According to (2000) states that “ in the 1970s and 1980s person of colour and woman played the game of altering their subjectivities for the prospects of gaining acceptance in the workplace” which means it has being a long time woman or feminist have been

In Twelfth Night Shakespeare uses gender roles and cross dressing to create disguise. This creates a sense of gender ambiguity and this is what makes the audience laugh - but although it creates a sense of fun and liveliness it also examines

According to Judith Butler’s theory, gender is a social concept and not a natural part of being, therefore making it unstable and fluid. Gender identities are produced through what Butler calls “performativity,” the repetitive acts of expression that form and define the notions of masculinity and femininity. These repeated performances are engrained within the heteronormative society and impose these gendered expectations on individuals. In this respect, gender is something inherent in a person, however Butler writes “gender is always a doing, though not a doing by a subject who might be said to pre-exist the deed.” In Olga Tokarczuk’s House of Day, House of Night identity is undoubtedly central to the characters’ stories, specifically the strict social constructs of gender that is snarled with one’s identity. Tokarczuk’s novel presents a mosaic of stories that put into question heteronormative gender roles, while offering an alternative way of existence. Analyzing House of Day, House of Night with Judith Butler’s gender theory demonstrates the characters struggles within the rigid constructions of gender and how some ultimately deal with moving past such restricting expectations.

Shakespeare’s Twelfth Night is a play with themes that parallel the folly of the festival it is named after. The main storyline of the plot plays on this a lot by mixing up the stereotypes around gender that were very present at the time. However, a sub-plot involving secondary characters defines this theme even more. It takes the idea even further by relating servants’ attempts to blur the lines between social classes. Twelfth Night’s Maria and Malvolio both have great aspirations to rise above their social class. However, Maria succeeds where Malvolio fails because of her capability to make use of the satiric ambiance of her mistress’s household to achieve her goals.

It seems fitting that the 'marriage' of feminism and postmodernism is one fraught with both difference and argument. The fact that these disagreements occur within the realm of the intellectual undoubtedly puts a wry smile on the face of either party. While feminism and postmodernism share several characteristics, most notably the deconstruction of the masculinised western ideology, feminism chooses to place itself within the absolutism of the modernist movement. While feminism argues for the continuation of the subject/object dichotomy, aiming largely to reverse the feminine position of the latter to the former, postmodernism would have the modernist movement deconstructed in its entirety, including