Oppression and Racism Toward Black American in “12 Years a Slave” Movie

The study deals with those oppressions faced by Black American in “12 Years aSlave” movie and what resistances they showed toward those oppressions. Theobjectives of the study are to describe the oppressions faced by the two maincharacters – Platt and Patsey and to explain the resistances they shown in “12Years a Slave” Movie. This research focuses the study merely on oppressionfaced by two main characters; they were Salomon Northup or Platt and Patsey.This research was conducted by using descriptive qualitative design and limitedon two of main characters. The data analysis result was found five kinds ofoppression faced by black American in this film, those were: powerlessness,exploitation, marginalization, culture imperialism and violence. The resistancesshown by American toward those oppressions were revolt, radicalism, asking forhelp and religion or spirituality. The issue of racism with oppression had been thecrucial issue since long time ago which could not be denied that until nowadaysthe issue of racism is still happening though without oppression. The stigma ofBlack was being inferior and white was being superior had driven mind into thedestruction of race relationship between Black and White. However, in this filmwe could see how badly the oppression faced by black American and how theystruggled for fighting toward those oppressions

The Portrayal of Main Black Woman Character from Linguistic Aspect of Gynocriticism Perspective in Alice Walker’s Now Is The Time To Open Your Heart

Skripsi ini bertujuan untuk menggambarkan karakter utama wanita berkulit hitam dalam novel Now Is The Time To Open Your Heart karya Alice Walker. Pendekatan Gynocriticis dilakukan untuk mengetahui cara penulis mengilustrasikan karakter utama wanita berkulit hitam melalui aspek linguistik penulis wanita yang terdapat di dialog dan narasi dalam novel. Teori Elaine Showalter digunakan untuk menentukan pendekatan gynocriticis, sedangkan teori Robin Lakoff dan Deborah Tannen digunakan untuk mengetahui aspek linguistik yang digunakan oleh penulis wanita dalam menggambaran karakter utama wanita berkulit hitam. Skripsi ini merupakan studi deskripsi analisis interpretatif, penulis menginterpretasikan karakter utama wanita berkulit hitam sesuai fakta dan teori yang ada. Penggambaran karakter utama wanita berkulit hitam terlihat melalui pemilihan leksikal, performa linguistik, dan imajeri yang digunakan oleh penulis wanita. Aspek linguistik ini terbatas pada bahasa wanita. Hasil dari studi ini dapat disimpulkan bahwa penggambaran karakter utama wanita berkulit hitam dalam novel ini melalui bahasa feminin tampak dari pemilihan leksikal, performa linguistic, dan imajeri yang digunakan penulis untuk menunjukkan karakter utama wanita berkulit hitam yang mandiri dan yakin pada dirinya sendiri. Kata kunci: linguistik aspek, perspektif gynocriticism, bahasa wanita, Elaine Showalter, Robin Lakoff, Deborah Tannen

A reescrita de Lady Macbeth por Leskov e os processos de adaptação e de apropriação

This article tries to provide a thorough analysis of Nikolai Leskov’s rewriting of Lady Macbeth, the Shakespearean character, in the novella Lady Macbeth of the Mtsensk District, from the perspective of Translation and Adaptation Studies. The focus will be placed on the ideology of the author who, with full knowledge, rewrites a previous work to adapt it to a specific context. Apart from Leskov’s work, attention will be also paid to two of its subsequent adaptations: Dmitri Shostakovich’s homonymous opera and William Oldroyd’s filmic version, Lady Macbeth. Finally, the importance of these processes for the development of target literary systems will be discussed and emphasized.Este artículo trata de ofrecer un exhaustivo análisis desde la perspectiva de los Estudios de Traducción y Adaptación sobre el proceso de reescritura de Lady Macbeth, el personaje shakesperiano, en la novela corta Lady Macbeth del Distrito de Mtsensk del escritor Nikolai Leskov. Para ello, se prestará especial atención a la ideología del autor, quien, de manera plenamente consciente, reescribe una obra anterior con el propósito de adaptarla a un contexto concreto. Aparte de la novela corta de Leskov, también analizaremos dos de sus adaptaciones posteriores: la ópera homónima de Dmitri Shostakovich y la versión cinematográfica de William Oldroyd, Lady Macbeth. Por último, destacaremos la importancia de estos procesos para el desarrollo literario de la cultura de llegada.Este artigo propõe uma análise exaustiva de Lady Macbeth, a personagem shakespeariana, na novela Lady Macbeth do Distrito de Mtsensk, na perspetiva dos Estudos de Tradução e de Adaptação. Será prestada especial atenção à ideologia do autor, que, de maneira plenamente consciente, reescreve uma obra anterior com o propósito de a adaptar a um contexto concreto. Para além da obra de Leskov, serão analisadas ainda duas adaptações posteriores da sua novela: a ópera homónima de Dmitri Shostakovich e a versão cinematográfica de William Oldroyd, Lady Macbeth. Finalmente, será discutida e enfatizada a importância destes processos para o desenvolvimento de sistemas literários de chegada

Toward an Affective Problematics: A Deleuze-Guattarian Reading of Morality and Friendship in Toni Morrison’s Sula

It might sound rather convincing to assume that we owe the pleasure of reading the novel form to our elemental repository of physical perception, to our feelings. This would be true only if mere feelings could add up to something more than just emotions, to some deep understanding of the human. After all, a moment of epiphany, where we begin to realize things that dramatically disturb our normal state of mind, is not just emotional, nor indeed a simple moment. Despite its root in the corporeal, a mo(ve)ment of affective realization reaches beyond the realm of the human and opens up the plane of virtual potentials. In this work, we intend to map out the points and relations of affective singularity that pervade the narrative of Toni Morrison’s Sula (1973). Also, we will discuss how these mo(ve)ments of sensation give form to Sula’s and Nel’s experiences and contribute to an affective transformation in morality and friendship

Beautiful Looks Created by Women: New Aesthetics on Makeup for Overturning the Traditional Japanese Beauty

ABSTRACT BEAUTY LOOKS CREATED BY WOMEN: TRADITIONAL BEAUTY AND NEW AESTHETICS FOR WOMEN MAY 2021 YURINA YOSHIKAWA B.A., NANZAN UNIVERSITY M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Amanda C. Seaman In this thesis I focus on comparing the styles of beauty or “looks” that women have created for themselves, as well as concepts of traditional beauty. By doing so, this thesis will clarify how women try to change traditional beauty concepts and express themselves. As anyone who has watched TV in Japan has noticed, Japan has stereotyped aesthetic values of women that mass media such as magazines or TV dramas have created and disseminated. Pictures of beautiful women (bijinga 美人画) and beauty pageants are just two examples. In Japan, women having black hair, white skin, almond-shaped eyes, and well-defined noses are considered beautiful, and this aesthetic has not changed much since the Heian period (794-1185). After the work of Takehisa Yumeji (1884-1934), whose pictures created the foundation of kawaii culture in the Taishō period (1912-1926), women have adopted this new aesthetic category in order to get around the fixed aesthetics of the bijin look. In other words, the start of kawaii culture is one of the turning points for women to evade a monolithic image of what is considered beautiful. However, as kawaii culture spread across the world due to the popularity of manga and anime, the notion of kawaii also began to be fixed by the mass media, becoming as rigid as the notion of bijin. For example, Japanese idols from the Shōwa period (1926-1989) through the Heisei and Reiwa all look alike by design. Many idols have bangs, natural black or dark brown hair, and flat-shaped eyebrows which are attractive to men. To overturn this tendency, some women have created new kinds of makeup styles to express their own version kawaii aesthetics. Ganguro, yamamba, or “gal” makeup were all created by women and popular among young women. In general society—particularly men—did not accept these makeup styles as aesthetically beautiful; the public regarded these looks as not kawaii but rather ugly (busaikuブサイク). However, even though society found looks ugly, this kind of makeup nevertheless became extremely popular among girls and women in their 10s and 20s who regarded such looks as kawaii and trendy. This aesthetic can be seen as what happens when women get around fixed notions of beauty by adopting and transforming the idea and look of kawaii. In this thesis I discuss the development of the kawaii aesthetic and how it becomes a way for women to break out of the tyranny of bijin. I look at a trend of new bijinga and talk about how women are trying to break away from the traditional notion of bijin. Using a collection of contemporary bijinga, I examine how actresses are fighting to do their own makeup for their films, TV programs, or dramas; in particular, actresses Ishihara Satomi and Nanao try to express their own beauty by creating the characters’ looks themselves. In this respect, the characters are original styles of beauty created by these women

Elaine Risley’s Character Development in Margaret Atwood’s Cat’s Eye

This research explores the character development of Elaine Risley, the main character of the novel Cat’s Eye by Margaret Atwood (2009), throughout her childhood, adolescence, early adulthood, and adulthood years. The objectives of this research are to explain how the character of Elaine Risley develops in Cat’s Eye and to examine the factors which affect Elaine Risley’s character development. This research employs the objective approach proposed by Abrams (1976) as its theoretical framework and the library research as its method of research. The results show that Elaine Risley always experiences development in her character throughout her life; she develops from a bullied little girl in her childhood, a mean but passionate girl in her adolescence, and an independent young woman in her early adulthood to finally become a woman who struggles to let go of her past in her adulthood. Elaine Risley’s character development is affected by several factors, namely, Toronto as her environment, her experiences with bullying, the men and women in the society around her, her own paintings, the cat’s eye marble, and the Virgin Mary

An analysis of gendered speech and changes over time in American TV shows

For my bachelor’s thesis I am going to analyze gender linguistics from the 1960’s and the 2020’s. I will be looking into changes in language over time by watching and comparing a few episodes from two different TV shows. I will be using the two popular American TV shows, “The Dick Van Dyke Show” which aired in the 1960’s and “Modern Family” which aired in the 2020’s. My focus will be on language in context with gender, I am more specifically interested in assumed generalizations and frequent claims about the ways the people of different genders speak, in other words: stereotypes. I am also going to explore how gender stereotypes can affect linguistic research and if they should be used or not. I want to specify that when it comes to stereotypes and assumptions about how the different genders speak, I will mainly be using generalizations. Even though it can be assumed that for example women use certain varieties in their language, the variety should not be assumed for every single woman in that speech community. I also want to find out if the use of gendered stereotypes when conducting linguistic research can be damaging, and if it can be mainly helpful or not helpful to use such stereotypes in research. In addition, I want to find out if there are any linguistic differences between the men and women’ language in “The Dick Van Dyke Show”, as well as if there are any in “Modern Family”. I also want to find out if there have been any differences or changes in language between the two TV shows.For my bachelor’s thesis I am going to analyze gender linguistics from the 1960’s and the 2020’s. I will be looking into changes in language over time by watching and comparing a few episodes from two different TV shows. I will be using the two popular American TV shows, “The Dick Van Dyke Show” which aired in the 1960’s and “Modern Family” which aired in the 2020’s. My focus will be on language in context with gender, I am more specifically interested in assumed generalizations and frequent claims about the ways the people of different genders speak, in other words: stereotypes. I am also going to explore how gender stereotypes can affect linguistic research and if they should be used or not. I want to specify that when it comes to stereotypes and assumptions about how the different genders speak, I will mainly be using generalizations. Even though it can be assumed that for example women use certain varieties in their language, the variety should not be assumed for every single woman in that speech community. I also want to find out if the use of gendered stereotypes when conducting linguistic research can be damaging, and if it can be mainly helpful or not helpful to use such stereotypes in research. In addition, I want to find out if there are any linguistic differences between the men and women’ language in “The Dick Van Dyke Show”, as well as if there are any in “Modern Family”. I also want to find out if there have been any differences or changes in language between the two TV shows