Literature and Gender

Is there such a thing as genderless narrator? How did Winterson do it?
How do we read fiction when the normal socially constructed gender markers are missing? Why is it so instinctive to place and categorize each other by sex (female/ male) and gender roles (masculine or feminine attributes)?
This critical thesis addresses the lack of ambiguously-gendered narrators in current literary fiction, focusing on Winterson, Yuknavitch, and Myles. As an agender writer, this paper looks at how to create characters that speak to the non-conforming gendered readers looking for validation, permission, and representation.

Kategorizacija muških i ženskih uloga u filmu „Skupljači perja“ (1967) omogućila je nastavak stereotipa i diskriminacije, a po modelu već uspostavljenih negativnih predrasuda i stereotipa prema Romima i Romkinjama ističići njihovu drugost u društvu, i drugost drugosti u romskoj zajednici. Radnja filma omogućuje kritiku identiteta i rodnih uloga kao i kritiku memoralizacije ženskih uloga, a koje su u ovom radu potpomogle romske studije u dijalogu sa feminističkom teorijom. Film „Skupljači perja” Aleksandra Saše Petrovića  potvrđuje i promovira nasilje, tradicionalno zastupljenu generalizaciju o načinu življenja, tradiciji, običajima i navikama Roma a kroz primjer jedne grupe Roma u Vojvodini.
Ključne riječi: memorijalizacija, žena, Romi, Romkinje, nasilje, tradicija, skupljači perja, drugost

In this short article I intend to analyze how political and social changes in western societies have contributed to a significant change in the way people relate to each other, specifically when it comes to affective-sexual relationships but, nevertheless, many people, especially women, still long for traditional relationships to fulfill what was always expected of them as a “natural” destiny. Gender roles were constructed in a way to guarantee women’s “place” in comparison to men and are rooted in a way that many of these roles are still expected of a woman.

The mind is a mixed fruit juice of all that has gone into it since birth. Neruda’s has been no exception. He had never disowned the fact that it is all a matter of chance that he was a poet. In the poem The Enigmas, there is evidence of his belief that the work of a poet is no more mysterious than any ordinary labour and not in the least magical.In the assertion that his poetry is merely a product of his experiences put together in various shapes, he assumes a kind of belongingness in the role of the earth.
The French psychoanalyst Jacques Lacan has explicitly said that for the man the woman does not exist. [On Feminine Sexuality and the Limits of Love and Knowledge, Seminar Vol XX (1972-73)]
Naomi Zack has discussed the definition of the word ‘woman’ with a long list of things: “We know that each individual woman who has ever existed, exists now, or ever will exist, is real … These are things that can be said about “women” and “woman” as abstract general nouns.”
Till the very end Neruda seems to acknowledge a woman's presence as important to him until the same question of whether her presence was as an individual or as a body resurfaces when he talks of ‘your eyes close with my dreams’. Thus, in the present world, feminists can forgive him for his headless love for the body of woman only because of his limitless praise for her body.
Twenty Love Poems and a Song of Despair (1923-24)
The Captain’s Verses (1951-52)
The Furies and Lives
One Hundred Love Sonnets (1957-1959)

Resumo: A partir da análise da obra O perdão, de Andradina de Oliveira (2010), busca-se evidenciar, principalmente, o papel da mulher na sociedade patriarcal e temáticas que se relacionam à repressão sofrida pelas mulheres, os lugares sociais por elas ocupados, a relação adúltera dentro do matrimônio, o desejo sexual reprimido e os dramas de consciência. Por fim, mostra-se, também, as principais consequências provenientes de toda a repressão sofrida pela personagem principal da obra, Estela, que encontra uma única saída para livrar-se de toda pressão social e psicológica: o suicídio. Abstract: Based on the analysis of the book O perdão, by Andradina de Oliveira (2010), the main purpose is to emphasize the role of women in a patriarchal society and issues related to the repression suffered by women; the social position they occupy; an adulterous relationship within a marriage, repressed sexual desire and dramas of consciousness. Finally, it is also important to show the main consequences of all the repression suffered by the main character of the work, Estela, that finds just one way to get rid of all the social and psychological pressure: the suicide.

Resumo: Este artigo tem como objeto a obra " Minha vida de menina " , diário escrito por Helena Morley entre 1893 e 1895, publicado somente em 1942. O intuito é analisar o diário sobre a perspectiva da memória, como elemento principal na narrativa e abordar a relação entre o contexto histórico, a memória e a literatura na obra. O trabalho visa discutir também a representação feminina presente na obra, por meio do ponto de vista da autora e do comportamento de outras mulheres presentes no diário. Abstract: This article has as its object the work "My life as a girl", a diary written by Helena Morley between 1893 and 1895, published only in 1942. The purpose is to analyze the diary on the perspective of memory as the main element in the narrative and to approach the relationship between the historical context, memory and literature in the work. The work also aims to discuss the female representation present in the work, through the author 's point of view and the behavior of other women present in the diary.

Reviews that commented on the predominance of young female talent among poets left some of the authors in question feeling not so much flattered as wondering — in conversation and in blogs — why they were being singled out as female: they preferred, some of them said, to be judged — and categorised if they must be categorised — based on some quality of their writing, not on the particular pairing of their chromosomes. It’s not that it isn’t interesting to think about the poet’s sex (and for that matter his or her gender and sexuality), they argued, but only if such interrogations yield interesting results pertinent to their work. Many of the same poets deemed that this clumping, as they saw it, did not. As might be expected, however, some bloggers (some of whom were poets, some critics) accused them of being overly sensitive: the ‘young female poets’ were being complimented, not being thrown into a
now non-existent gender ghetto.