This study is an effort to reveal how patriarchy is embedded in different societal and state structures, including the economy, juvenile penal justice system, popular culture, economic sphere, ethnic ...minorities, and social movements in Turkey. All the articles share the common ground that the political and economic sphere, societal values, and culture produce conservatism regenerate patriarchy and hegemonic masculinity in both society and the state sphere. This situation imprisons women within their houses and makes non-heterosexuals invisible in the public sphere, thereby preserving the hegemony of men in the public sphere by which this male-dominated mentality or namely hegemonic masculinity excludes all forms of others and tries to preserve hierarchical structures. In this regard, the citizenship and the gender regime bound to each other function as an exclusion mechanism that prevents tolerance and pluralism in society and the political sphere.
Although filmmakers in the Nigerian film industry, Nollywood, have consistently depict the family setting as a reference point for x-raying the struggles and trials of individuals or a group of ...people within the larger society, researchers in the field have rarely concerned themselves with highlighting this connection. While conflicts in marital relationships continues to receive attention as a significant thematic preoccupation in Nollywood, analyses of these films are usually focused at identifying issues vis-à-vis the negative representations and objectification of women. This is often to the exclusion of how the films serve as commentaries and reflections on social relations in the large society. Against the foregoing background, this study examines the role of patriarchy in the ordeal of two protagonists in the oeuvre of Nigerian filmmaker, Tunde Kelani, namely, Ngozi in Thunderbolt (2001), and Awero in The Narrow Path (2007). It adopts the conceptual frameworks of auteur theory and Womanism in the analyses of the film texts. Analyses reveal that the films are commentaries on gender relationships in African societies where women are victims of cultural inequities dictated by patriarchy. In addition, in line with womanist ideology, they emphasize the significance of cooperation between both sexes for the peaceful coexistence and development of any community.
This work is an initial analysis of some scenes of violence in the Aline Bei’s debut novel, she is a young writer from São Paulo who released O peso do pássaro morto in 2017, by the independent ...publisher Nós. Bei has fleed from the traditional form intended for novels, her transgression begins in stylistics. In this research certain scenes from O peso do pássaro morto will be analyzed as they will be pointed out how the writer works with the themes of mourning, violence and melancholy in her novel. To conclude, this work investigated how these points has been realized in the building of her novel. Also in O peso de pássaro morto's studies, considered how the male chauvinism affect negatively the society and women's lifestyle. In this work, we made use Heleith Saffioti’s studies in Gênero, patriarcado e violência (2005), Pierre Bourdieu's notes in Dominação masculina (2021), Gayatri Spivak’s inferences in Pode o subalterno falar? (2014), Chimamanda Ngozi Adich’s speech Sejamos todos feministas (2015), in addition to other scholar’s researches on the subject.
Stained Glass Ceilings speaks to the intersection of gender and power within American evangelicalism by examining the formation of evangelical leaders in two seminary communities.Southern Baptist ...Theological Seminary inspires a vision of human flourishing through gender differentiation and male headship. Men practice “Godly Manhood, and are taught to act as the head of a family, while their wives are socialized into codes of “Godly Womanhood that prioritize prescribed gender roles. This power structure privileges men yet offers agency to their wives in women-centered spaces and through marital relationships. Meanwhile, Asbury Theological Seminary promises freedom from gendered hierarchies. Appealing to a story of gender-blind equality, Asbury welcomes women into classrooms, administrative offices, and pulpits. But the institution’s construction of egalitarianism obscures the fact that women are rewarded for adapting to an existing male-centered status quo rather than for developing their own voices as women. Featuring high-profile evangelicals such as Al Mohler and Owen Strachan, along with young seminarians poised to lead the movement in the coming decades, Stained Glass Ceilings illustrates the liabilities of white evangelical toolkits and argues that evangelical culture upholds male-centered structures of power even as it facilitates meaning and identity.
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