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VOLUME XIX, NUMBER 1 ne key to an emotionally healthy life is having the backing of a strong, supportive family.
Margaret Sullivan ENG 242 5/2/17 Critical Introduction This researched web anthology will include visual and textual examples of the concept of gender within women’s writing and modern literature, television, and comics. The need to explore the societal contradictions that other authors and writers reveal is definitely a personal importance but is also relevant to the subject gender itself. Although the concept of gender is extremely broad, it is necessary to express concern with societal expectations and breaking the unspoken barriers. To help formulate this analysis on gender, it will be divided into things like gender roles, issues, equality, identity, and stereotypes. Critical theory suggests that these concept are far too crucial for society to ignore. Not only does every person perceive gender in stunningly different ways, but many of those perspectives have created controversial topics and have created discussion among scholars. Not only is textual evidence of theses concept important, but also visual content like visual novels or comics can also show phenomenal examples of the list above. How female characters are depicted in comic books and visual texts as well as exploring gender within these different types of texts to also read and visually see these things come alive through art. Many people have dedicated their lives to this dire field of work, so that goes without saying that these types of approaches affect everyone very differently. These ideas are expanding rapidly and there are new theories, thoughts, and views every day. Every female lives a different life, but it is what similar things we go through that drive us to stick as one and stand together. There are many male authors who understand the struggle of living an everyday average life as a woman, who also offer interesting ideas to the table about an already interesting wide social subject. This is all immensely important to help mold a future generation to teach. History, Theory, and Meaning In The Critical Theory of Gender, Elia Ntaousani specifically focuses on gender as a social construct, and suggests that the word “gender” was initially meant to be used as a neutral term, rather than just “male or female”. A term that would eventually create tons of conversation. Ntaousani compares “gender” to “race” in terms of creating a word that can be considered unbiased. However, she also argues that “gender” has often times replaced the word “women” in different forms of literature. To clarify, she considers this a type of objectivity to women, becoming almost a substitute for the word itself, and shows how the misuse of ‘gender’ has the very opposite result of its intention. She explains further by saying that gender is no longer used for its political definition; it has been reinstated by others who are given deluded misinformation of the true usage of the word. She uses the word “class” to show how a term could have “analytical association”. She uses binaries to help interpret this concept, including very obvious things such as “feminine/masculine”, “nature/culture”, and “animal human”. “In other words, gender ’ did not manage to offer the possibility of a new world where the social relations between the sexes would be redesignated; its ‘ usage insists that the world of women is part of the world of men, created in and by it.” This is part of the history as gender as a social construction. There is very interesting sub-concept with gender that involves women in animated/live action movies, tv shows, video games, and comics. “Trinity Syndrome” refers to female characters who are very interesting and complicated, but most importantly have a lot of potential. However, the story surpasses this excellent character and the story virtually gives them nothing to do. This absolutely has to do with gender because typically there is a male protagonist; then an alluring female character is introduced with nothing but her personality (not really a “backstory”). A personality is an extremely important role in characters because that makes them who they are; it gives them something to identify with. However, when a character is loosely shown based on how they act, is this fair? Fictional and nonfictional characters must “deal” with this. A problematic example of this would be when females are categorized as loud, strong, or outspoken they are usually considered mean and rude. If this were a male character being described as such, he would be considered to be strong while having leadership characteristics. In an article titled We’re Losing All our Strong Female Characters to Trinity Syndrome by Tasha Robinson, she gives strong examples from commonly-known movies to help others understand her claim. In the beginning of this text, she gives credit to the people who seemingly care enough to push forward a strong female lead in many different things. She talks about the importance of having a female character and how there has been a “cultural push” to have female characters become confident and capable, and also starring a main role. The author of this article suggests an interesting outlook on how the term “strong female character” can actually be almost against what it is literally intending to say. That expression has been dissected and shown to do more harm than good in a lot of different ways. In a great read titled “I hate Strong Female Characters” by Sophia Mcdougall, although it seems misleading, the very first few lines are incredibly accurate. “Sherlock Holmes gets to be brilliant, solitary, abrasive, Bohemian, whimsical, brave, sad, manipulative, neurotic, vain, untidy, fastidious, artistic, courteous, rude, a polymath genius. Female characters get to be Strong.” She shows that men characters can have an infinite amount of synonyms describing them, and female characters merely get “strong”. She says that typically, men characters are assumed to be strong due to the societal thoughts on masculinity. The Trinity Syndrome is “more than a marketing term than a meaningful goal”. Visual Examples Currently in this era, there are countless examples that could be used to help further define gender and its importance in literature of all forms. Starfire, a character originally from the famous comic “Teen Titans” is an absolutely great example of a feminist icon in comics. From the very moment Starfire was a mere thought, she was sexualized. She is initially introduced as a sexy alien who is extremely naive and culturally unaware with a small hint of anger. She has been described as a “male fantasy.” On the other hand, once the audience actually has a chance to read, see, and watch Starfire’s actions and dialogue, she becomes so much more than just that. In the animated TV show version of Teen Titans, Starfire’s stories come to life and her character is able to express her true self and the way she was written way more effectively. Regardless, in either of those ways, the audience progressively sees through stories and character development that Starfire is arguable the strongest female superhero. Not to say she is a “strong female lead” but she proves her mental and physical strength to not only her team, but the readers as well. Starfire is proven to be physically strongest out of her entire team, thanks to her super strength alien powers. Being mentally strong is a large portion of Starfire’s entire character and backstory; the women of her planet were usually captured and chosen to live out their days as servants. In multiple different universes of the Teen Titans, Starfire eventually becomes the leader of the Teen Titans. This is remarkably relevant to gender because when one thinks of a “strong character” a common thought is frequently something like “Superman” or “The Hulk”-- two very masculine characters. Starfire shatters our culture’s notion that women should be submissive, fragile, or perhaps simply not as strong as other characters. She is not pure or innocent; she embraces her sexuality and gender without ever having to distinctly say it through confident dialogue and actions.
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