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The article is devoted to gender analysis of socio-political views KN Leontiev. Samples are considered ideal masculinity in Leontiev's concept. Abstract masculine attributes such state as the power and violence. To analyze social and political roles of women.
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In the present study, the effect of teachers’ gender on EFL learning in primary education was investigated separately for males and females. The participants were 86 volunteer students of different grades (3rd, 4th or 5th) from 3 different primary education schools in Istanbul, Turkey. 34 participants were female and 52 participants were male. In order to evaluate the effect of teachers’ gender, two questionnaires were developed by utilising a three-degree frequency scale (Yes/Sometimes/No). These questionnaires included the same statements but prepared for the two different teacher genders. In the piloting session, the questionnaires were also applied on 10 college students to assure the reliability and validity issues. After that, the questionnaires were forwarded to the participants. The questionnaires’ results were analysed considering the grades and genders. Analyses were done regarding the average score of the responses given to the statements. Students’ responses who have received education from a female teacher and a male teacher were evaluated separately. Also evaluation was done according to the participants’ gender.
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Since the Industrial Revolution female workforce has always been seen as cheap labor. However, women’s labor force participation is one of the most important factors in ensuring sustainable growth and development for a country. The labor force participation of women in developing countries are given a special emphasis on the need to increase this rate and it is stated that the formation of consensus. One of the major problems of the labor market in Turkey is, the very low participation rate of women in the labor force. In recent years, despite of the increasing of female labor force participation rates in our country, when compared with other countries, it does not meet the expectations. In this study, determination of the factors that affect the labor force participation rate of women in Turkey is aimed. For this purpose, the data of the 12 regions in the IBSS- 1 level for the period 2008- 2013 panel data analysis was performed. Analysis indicated that; fertility rate, divorce rate, informal employment, economic crises and education are the most important factors that affects on female workforce.
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In the article the author describes diverse, textual strategies of Polish homosexual diaries from the 20th century. The author discusses the issue of their complex genetical relation to the founding texts of gay autobiography by André Gide and Oscar Wilde and he is pointing at resemblances and differences in the ways they construct the homosexual subjectivity. Basing on observations by Judith Butler, Eve Kosofsky Sedgwick and Michel Foucault, the author is pointing at the performative contradiction of genres deduced from the autobiographical tradition of confessing in the situation of homosexual subject, and I am also reconstructing rules of textual visibilities of the homosexuality on the example of diaries of Jarosław Iwaszkiewicz and Jerzy Zawieyski.
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This study takes a number of popular films from the New Cinema of Turkey as references to investigate a dominant psychosocial condition in Turkishness. Based on the myth of Crazy Dumrul that represents the transition from Turkish-Paganism to Turkish-Islam where Dumrul faces the angel of death, this study looks through a subject’s conscience in the eye of the “Law”, which in Dumrul’s case restrains access to “truth” while he is trapped between two worlds: Earth and the hereafter, material and spiritual. This is conceptualized as a tragic condition, as the dominant psychosocial condition over male subjectivity in the recent cinema of Turkey.
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The present study focuses on Michael Blakemore’s turn-of-the-millennium revival for Broadway and the London stage of the 1948 musical comedy Kiss Me, Kate by Cole Porter (music and lyrics) and Bella and Samuel Spewack (book). The metatheatrical structure of Blakemore’s revival of this famous adaptation of Shakespeare’s Taming of the Shrew impresses, among other things, by the multiplication of intertextual links as it projects Porter and the Spewacks’ as well as Shakespeare’s ‘battles of the sexes’ against the realistically ‘painted’ background of a world populated by actors, gangsters and, as an element of novelty, politically-involved US army representatives. Thus, Blakemore’s directorial perspective on the text(s) in performance turns out to be thought-provoking, drawing the present-day audience’s attention to a wider range of gender, culture and power-related forms of conflict, and making excellent use of subversive humour, the mechanisms of which this study will explore, to subtly comment on history-shaping political ‘games’.
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Conceptual integration theory, proposed by Fauconnier and Turner in 1993, has been successfully used in the study of a wide range of phenomena of human thought and action, from counterfactuals to metaphors, proving blending to be present in the simplest kinds of human thinking. In that sense, conceptual integration theory has emerged as a powerful theory that can account for a wide variety of linguistic and non-linguistic phenomena. Therefore, it is not surprising that conceptual integration theory has found its application in the study of advertising. Advertising requires both conscious and subconscious mental interpretation of the hidden messages. The primary objective of this paper is to show that conceptual integration theory is equipped with the mechanisms that can explain the construction of the meaning of text-image advertisements. Specifically, analyzing several text-image advertisements in women’s magazines, this paper attempts to explore to what extent hidden cognitive mechanisms involved in the interpretation of advertising can be explained using the postulates of conceptual integration theory.
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Cet article tente d’examiner la question de l’exil comme espace d’émancipation de l’écriture féminine dans le roman Femme nue, femme noire de Calixthe Beyala. L’exil n’est plus simplement perçu comme un prétexte d’éloignement, mais devient l’espace dans lequel la plume féminine se déploie, se libère en essayant d’aspirer à la reconstruction d’une posture féminine déliée de la tutelle masculine. C’est le personnage d’Irène Fofo qui permet ici cette réalisation.
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The author of the article draws attention to the historical inheritance of the national tradition in the creative works of the representatives of the Ukrainian art movement of the 60-s. The establishment and strengthening of the national tradition in the Ukrainian society was happening wave-like because of the complicated geographical and historical conditions. The periods of the Ukrainian baroque, "Executed renaissance" and the Ukrainian art movement of the 60-s are the peaks in the history of national culture. Artistic avant-garde of the 1960-s became the highest phase of raising and strengthening the national tradition in the Ukrainian art. Its representatives began to revive actively the traditions of the Ukrainian baroque epoch and the period of "Executed renaissance". The methodological base for researching the problem of traditions and innovations in art is the monograph of the art critic Olena Zinkevich "Dynamics of Renewal", in which the researcher analyzes historical correlations of tradition and innovation, builds up the conception of inheritance in art as a complicated dynamic system, defines the channels of inheritance and its genetic, typological and contact connections. Analyzing mentioned by O. Zinkevich connections in the Ukrainian painting, the author draws attention to the fact that the genetic link of the works of the painters of 1960-s is connected with the continuation of traditions of the monumental art school of boychukists, the founder of which was Mykhaylo Boychuk. Young artists of 1920 1930-s oriented on national symbolics, used national particularities of the language of art, appealed to the icon painting traditions of the ancient Rus – Ukraine and to the Byzantine monumental painting. Boychukists combined the newest achievements of the European artistic culture with the artistic qualities of the Ukrainian baroque painting. The base for creative work of painters-monumentalists of the 1960-s was the depiction of the modern human, their internal world, feelings, emotional experience, moods, common to mankind eternal values, mode of life, beauty of the Ukrainian nature with the help of bright symbolics and new expressive possibilities. In music art the men of the 60-s renewed the traditions of the Ukrainian music avant-garde, which lay in the base for creative work by Borys Liatoshinsky. The composer based himself on the Ukrainian folklore and used in his variations of the Ukrainian folk songs intonations of carols and vesniankas, typical intonations of the kozachok and the West-Ukrainian kolomyika and Ukrainian folklore genres formed in the 16–17-th centuries – ballads and historical songs. Composers of the 1960-s synthesized new techniques of composition with the Ukrainian folklore sounding. In the foreground is their interest to the human, nature and their connection, the fight of the Ukrainian people for independence. It is manifested through their using the intonations of ancient bylina tunes, kobza playing, lamentations, historical songs, ballads, the Old Russian monoactions, chants, calendar and ritual, lyrical Ukrainian dances and other genres of folk music. At that time one could observe the combination of the professional and folk music. The men of the 60-s experimented bravely on the genre sphere by means of new techniques of composition, and it resulted in the appearance of polygenre works. Artists synthesized those genres which belonged to one sphere of music art (symphony and concert, cantata and oratorio), combined instrumental and vocal genres, and integrated music into other kinds of art – literature, painting, architecture. This is a bright example of contact connections described by O. Zinkevich. In the cinematograph of the 1960-s artists revived the traditions of the famous film director, the classic of the world cinematograph, Olexandr Dovzhenko, who with the help of his stylistics gave birth to the phenomenon of the Ukrainian poetical cinema, the basic distinctive feature of which was national character. Reproducing in their films Ukrainian customs and rituals, using national clothes, folklore, objects of everyday use, folk songs, theatre, picturesque landscapes of the native land, film directors experimentalized in the sphere of artistic form with the purpose of depicting the inner world of the Ukrainian person, his mentality and national idea. Young artists of the cinematograph of the 60-s years in the 20th century worked actively in a new direction of impressionistic cinema with the depiction of realities of life. This direction was based on the principle of "uninhibited camera", namely putting the camera as a competent participant of actions that turned around its axis, moved together with heroes, constantly changed directions. Revealing the process of inheritance of the national tradition by the avant-garde of the 1960-s is important for realizing the significance of its deep roots that come back to the epoch of the Ukrainian baroque and the period of "Executed renaissance". On the base of analysis of genetic, typological, international and contact connections in painting, music and cinematograph the author has come to the conclusion that revealing the process of inheritance of the national tradition by the avant-garde of the 1960-s, the representatives of which made an explosive art break, is important for realizing the significance of its deep roots that spring from the epoch of the Ukrainian baroque and the period of "Executed renaissance".
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A paucity of studies has examined the association between gambling and pain interference. We examined differences in the associations of gambling problem severity and psychiatric disorders among a nationally representative sample of adults with varying levels of pain interference. Methods: Chi-square tests and logistic regression analyses were performed on National Epidemiologic Survey on Alcohol and Related Conditions data from 41,987 adult respondents (48% men; 52% women), who were categorized according to two levels of pain interference (i.e., no or low pain interference [NLPI] or moderate or severe pain interference [MSPI]) and three levels of gambling problem severity (i.e., non-gamblers or low-frequency gamblers [NG], low-risk or at-risk gamblers [LRG], and problem or pathological gamblers [PPG]). Results: MSPI respondents exhibited higher rates of PPG than NLPI respondents. Categories of Axis I disorders and clusters of mood, anxiety and substance-use disorders showed similarly strong associations with problem-gambling severity in MSPI and NLPI groups. Similarly strong associations between Axis II disorders (and each cluster – A, B and C) and problem-gambling severity were also observed in MSPI and NLPI groups. Exploratory analyses suggested potentially stronger relationships between PPG and dysthymia, panic disorder, and dependent personality disorder and LRG and specific phobia in NLPI compared to MSPI respondents. Discussion and conclusions: While MSPI is associated with PPG, largely similar patterns of associations across pain-interference levels were observed between problem-gambling severity and Axis I and Axis II psychiatric disorders.
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Association for emancipation, solidarity and equality of women in R. of Macedonia in year 2009 conducted survey among the population in Macedonia, regarding the sexual and reproductive health and rights. The survey was conducted on representative random sample consisted from 2500 interviewees, both male and female, from the eight statistical regions in Macedonia. From the total number of interviewees 1346 were women. This article shows the findings from the research regarding: 1) knowledge, usage and availability of the contraception means and methods among women in Macedonia, and 2) availability and access to the health care services for the women, regarding the sexual and reproductive health. The findings from the survey revealed that the contraception usage rate is on a unsatisfactory level among the women, and that is even lower among women which are married or wedlock in comparison with single women. There are differences in the contraception usage rate between the women living in rural and urban areas, and the rate is lower among the women in the rural areas. There is difference in contraception usage rate among women from different ethnic groups living in Macedonia; it is higher among Macedonian women and lowest among Roma women. The main factor that is influencing the lower contraception usage rate is the lack of information for the methods and means of contraception among women. The coverage of the women with primary gynecological health care, and with preventive gynecological check-ups with Pap smear is on an unsatisfactory level. There are differences in the coverage between women living in rural and urban areas, and the coverage is lower among women from the rural areas. The factors that are influencing on the low coverage of the women are the following: unequal territorial coverage with gynecologists from the primary health care, insufficient number of gynecologists in the primary health care, and lack of information among women for the necessity of performing the regular preventive gynecological check-ups. The health care coverage for the women in pregnancy and during the delivery is universal and it covers the women from the entire territory of R. of Macedonia. Yet, a significant percentage of women report partial dissatisfaction from the received health care services during pregnancy and delivery. The coverage with the primary health care service for polyvalent patronage is on a low level for the women during pregnancy and delivery.
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This publication part of the Human Rights Papers Series of Sarajevo Open Centre. Human Rights Papers include general and thematic reports, as well as other relevant publications on human rights in Bosnia and Herzegovina. The reports and publications serve as basis for advocacy activities directed at both the state of Bosnia and Herzegovina and international bodies. The publications relative to the work of national human rights institutions / bodies for the protection of equality published in this Series are: Saša Gavrić and Adrijana Hanušić (authors): Model Law on the Institution of Human Rights Ombudsman of BiH, Sarajevo: Sarajevo open centre for Initiative for Monitoring the European Integration of BiH, 2015.
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This article is an attempt to reconstruct the involvement of an illiterate peasant woman Mariya Gritsenko into politics and her behavior during the Great Terror. Besides, the author tries to work it out if a specific strategy of silence could be a kind of protest. The research is based on a limited number of sources such as archival materials of investigatory files, references, interrogation records, correspondences. These turned out to be not only important sources for the reconstruction of the biography, the practice of terror, but also for understanding the strategy of human’s behavior in case of choice. Mariya Gritsenko and her husband were “harbintsy” (Harbinese) — former employees of Chinese Eastern Railway (CER), who returned to the Soviet Union from Manchuria. They were away from Russia for almost 30 years, and were unable to adapt here. Their behavior did not fit in established Soviet Canon of slanders and defamations. At one party meeting Communist Mariya Gritsenko didn’t take part in the condemnation of “the enemy of the people” — a person she knew in Harbin. This person was arrested and convicted as a Japanese spy. Mariya Gritsenko’s file gives an opportunity to ask some questions in historical context: “harbintsy” and their features, creation of the Soviet man, role of women as keepers of life foundations, concept of conscience as the base of peasant mentality, and broader — essence of Russia. In this article the author used the anthropocentric approach, which allowed to put Mariya Gritsenko’s case in context of the 1930s epoch and research emotions, spiritual life and women’s ambition to express themselves.
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Vitalism is a vague and ambiguous philosophical notion which researchers try to apply to describe modernist literature, especially from the period of the Young Poland. The author of the article suggests that vitalism should be approached as an interpretive category. She examines whether it is possible to distinguish feminine vitalism and conducts an analysis of selected types of literature (H. Poświatowska, A. Świrszczyńska, W. Szymborska, A. Szymańska, U. Kozioł, M.B. Kielar). The analysis shows that modernist feminine vitalism in the poetry of the second half of the 20th century encompasses various types of affirmations: of nature, corporeality and existence. In late modernity it transforms into post-vitalism, which signifies new understanding of life and the reduction of the anthropocentric perspective, both determined by new discoveries of science.
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The following excerpt from Paul B. Preciado’s book “Testo Junkie: Sex; Drugs; and Biopolitics in the Pharmacopornographic Era” (2013) introduces the concept of pharmacopornography. The term is used to address the processes of a biomolecular (pharmaco) and semiotic-technical (pornographic) government of sexual subjectivity of which; according to the theoretician; “the pill” and Playboy are two paradigmatic offshoots. Drawing on the works of M. Foucault; A. Negri; D. Harraway; G. Agamben; M. McLuhan; etc.; Preciado attempts to map out the cartography of transformations in industrial production during the 20th century; using as an axis the political and technical management of the body; sex; and identity. Preciado states that the real stake of capitalism today is the pharmacopornographic control of subjectivity and argues that changes in capitalism that we are witnessing are characterized not only by the transformation of “gender;” “sex;” “sexuality;” “sexual identity;” and “pleasure” into objects of the political management of living but also by the fact that this management itself is carried out through the new dynamics of advanced technocapitalism; global media; and biotechnologies.
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The text draws critical attention to the place of queer cinema in the world: what might or could the world mean to queers; and what does queer cinema mean for the world? By bringing the reader to the intersection of queer politics and world cinema; it asks both how queer films construct ways of being in the world and what the political value is of the worlds that queer cinema creates. Cinema is always involved in world making; and queerness promises to knock off kilter conventional epistemologies. Thinking queerness together with cinema thus has a potential to reconfigure dominant modes of worlding. The authors use the term “worlding” to describe queer cinema’s ongoing process of constructing worlds; a process that is active and incomplete; and does not presuppose a settled cartography. A critical awareness of the global frame has challenged and revised the traditional rubrics of film studies and Western models of gender and sexuality.
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The article takes as a point of departure the “born in the wrong body” trope frequently used to describe transgender embodiment in early transgender narratives. Drawing on different; sometimes clashing; theoretical perspectives on transgender embodiment this work argues that it is compulsory for transgender people to speak about their bodies; yet transgender people cannot make statements about their bodies.
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The article traces two queer (homosexual) writers’ biographies under communist regime in Poland. Wilhelm Mach (1916 – 1965) believed that the new communist morality (in contrast to his traditional peasant Catholic environment) will allow him to live more openly as a homosexual; so he became regime’s supporter. When he realized that his expectations won’t be fulfilled; he experienced very deep crisis. This crisis together with his fatal love affair with his Bulgarian friend resulted in author’s suicide in 1965. Jerzy Andrzejewski (1909 – 1983) soon after the thaw in 1956 became very critical towards the communist system and joined political underground opposition. Andrzejewski decided not to hide his homosexuality in order to avoid potential secret police’s blackmails. As “open” homosexual Andrzejewski may be considered as a hero of non-existent Polish sexual revolution.
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This article focuses on the short story ‘Lawyer Kraykowski’s Dancer’ from Witold Gombrowicz’s debut collection ‘Memoirs from a Time of Immaturity’ (later published under the title Bakakaj or Bacacay in the English translation). Warkocki reads this collection as a ‘memoir of negative affects;’ with the opening story being a story about shame. Drawing on Silvan Tomkins and Eve Kosofsky Sedgwick; Warkocki suggests that shame is an affect that interpellates the identity of the outcast and the misfit. Thus the short story represents a particular instance of queer performativity.
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