摘要:本文是英语论文范文,本文研究探讨了女性在大众文化中的代表性,认为女性一般都是第二性。巴克mentionsthat戴安娜米汉分析女性的形象在流行文化和建议女性表示约束一个好女人是顺从的,敏感和驯化而坏人是叛逆的,独立的和自私的。
thoutrealizing that their gender roles are integrated unconsciously. When they are born,they receive gender messages from many resources, such as different toys they aregiven, different dressing codes they are following, and the different social behaviors.Throughout history, gender roles have generally been stereotyped. The differences ofgender roles have always been associated with the sex difference. Sex differencecould trace back to Greek society. Aristotle once declared that: “the female is femaleby virtue of a certain lack of qualities”. S.T Thomas Aquinas stated that women is an“imperfect” man (Selden 121). It seems that women have been stereotyped intobeing less intelligent, less competent for a long time. This gender roles:over-simplification and over-generalization of women, have always been critiquedby feminists represented by Virginia Woolf, Margaret Mead, Simone de Beauvoir,and Kate Millette.
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Chapter Two Feminine Men Image..........31
2.1 Traditional Male Image.........31
2.2 Subversion of Traditional Gender Roles of Men.........33
2.2.1 Men as the Subordination.........33
2.2.2 Men as the Object.........38
2.3 Subversion of Traditional Male Characteristics.........41
2.3.1 Submissive Men.........41
2.3.2 Vulnerable Men.........45
Chapter Three Cross-dressing Image.........48
3.1 Female in male Disguise.........51
3.2 Male in Female Disguise.........57
Chapter Three Cross-dressing Image
Described as the “queer feminist”, Judith Butler accused feminism of assuminga white, heterosexual, middle-class female subject, which excludes females of otherraces, sexualities and classes. She questioned the long-held binary of sex asbiological and gender as cultural, and then argued that actually both wereconstructed. In her book, Gender Trouble: Feminism and the Subversion of Identity,Judith Butler proposes her theory of gender performativity. For her, performativityconsists of the “mundane way in which bodily gestures, movements, and enactmentsof various kinds constitute the illusion of an abiding gendered self (179)”. In her view,the assumption of gender, which is not a singular act but a reiteration of a set ofnorms, is secured through being repeatedly performed (Barker 298). The reiterationof hegemonic norms is understood as performativity.She has collapsed the distinction between sex and gender, arguing that there isno “natural body” that pre-exists its cultural inscription. In Gender Trouble, shepoints out that gender is not something one is, but it is something that one does, orprecisely, it is an act, a “doing” rather than a “being” (25).For her, the performativity of gender is analogous to the performance in thetheater where each individual is the actor of their gender. However, she carefullydistinguishes the difference between the performance and performativity. Firstly, thecrucial difference between them is the consciousness. In theater, we consciouslyknow that there is a distinction between the actor himself and the role he plays.However, most of us in our daily life are not aware of that almost everything we do and take for granted is the product of conditioning. We do not need a script like theactors in the theater. We know it by heart. Thus, we perform it so naturally andinnately. But it doesn’t mean the performance of gender, sex, and sexuality--forexample, the heterosexual desire in male bodie
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