Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Gender identity
Character development introduction
Gender identity
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Gender identity
In general, when someone speaks, they reveal something about gender, either by upholding or subverting social expectations and ideology about gender. By analyzing the linguistic forms of a conversation, we can gather information about the ways in which gender ideologies permeate language. Examining a conversation from the media can additionally reveal something about how gender is viewed and upheld or subverted in our society. In the animated children’s television show Avatar: The Last Airbender, there are a variety of characters who challenge gender roles, but there are also instances in which characters uphold them. A conversation from the episode “The Blind Bandit” includes examples of both of these, and shows how the characters perform …show more content…
gender and reveal their views on gender through their speech, as well as what this says about gender ideology in society as a whole. The show exists in a universe where some people are “benders” who can telekinetically control an element of nature – fire, earth, water, or air.
Aang, a twelve-year-old boy, is the Avatar, meaning he has the ability to control all four elements, though at this point in the show he only knows how to airbend well. He, Katara, a waterbender, and Sokka, her nonbending (meaning he can’t control any elements) brother, are on a mission to save the world from the Fire Nation. The conversation in question is between Aang, Katara, Sokka, and Toph, a master earthbender who happens to be the young blind daughter of an aristocratic family. The first three are hoping that Toph will teach Aang earthbending, since they saw her beat multiple older, strong men in an underground earthbending competition, which Toph secretly participates in under the pseudonym “The Blind Bandit.” Aang had tried to talk to her there, but she fought him instead of listening, and lost because although she has the ability to “see” by feeling vibrations in the earth – she couldn’t find Aang easily or anticipate his moves since he spent much of the fight (though he wasn’t trying to hurt her) in the …show more content…
air. The conversation begins after the trio uncover Toph’s true identity and show up on her property – she finds them immediately: Toph: “What are you doing here, Twinkle Toes?” Aang: “How’d you know it was me?” Sokka: “Don’t answer to Twinkle Toes, it’s not manly!” Katara: “You’re the one whose bag matches his belt.” In these first few lines of the conversation, the characters establish a few things about how they perform their gender.
Toph speaks commandingly and with hostility, in a way that wouldn’t normally be expected for a young aristocratic girl, and insults Aang with a nickname that, according to Sokka, is not “manly,” because men should be strong, not gentle and light on their feet. Aang, however, didn’t seem to be bothered by the insult, and easily ignored it. The fact that Sokka then berates Aang for his lack of manliness shows that the two of them have different concerns and beliefs regarding gender, and Sokka’s views are clearly based in a stricter gender ideology than Aang’s, one that aligns more with the common views of masculinity and femininity. Katara’s retort reveals two things. The first is that she also has a stricter view of gender roles and expected gender performance, or at least that she is aware enough of Sokka’s to use it against him. The second further shows that Aang doesn’t care about masculine and feminine ideologies, because he makes no attempt to defend himself. Katara, however, does feel the need to defend him, which means that she does, to some extent, believe that there is something shameful in being a man who acts in a more “feminine” way, such as caring about one’s appearance and
clothing. The next part of the conversation offers further insight into the gender dynamics of the group: Toph: “How did you find me?” Aang: “Well, a crazy king told me I had to find an earthbender who listens to the earth. And then I had a vision in a magic swamp and –” Katara: “What Aang is trying to say is, he’s the Avatar, and if he doesn’t master earthbending soon, he won’t be able to defeat the Fire Lord.” Toph: “Not my problem! Now, get out of here, or I’ll call the guards.” In this piece of the conversation, Aang begins to tactlessly ramble until Katara cuts him off and explains the situation concisely.
A third major point in the film is the roles of the men and women of the Baka village. In Laicono’s family, the women are seen as the ones who built the camps for shelter when they traveled during the rainy season. Laicono’s wife Deni is seen making the framework of the shelter and cuts part of the stems of big leaves to be put on as roofing. When women are searching for fruit, the men are hunting for meat. The film also shows the different ways men and women hunt for fish. The men use the chemicals of vines that are called rotenones and in order to get the chemicals out, they have to beat them into a pulp. The men put the pulp in baskets and by washing out the pulp in the river, the chemicals are spread causing the fish to float to the surface;
Deborah Tannen’s, “Fighting For Our Lives,” explores the ideas and concepts behind human sociology. She delves into the sociolinguistic relationship between women and men in conversation. Tannen amplifies the importance between language and gender and how they affect interpersonal relationships. Tannen showcases her analytical thinking processes by using rhetorical strategies to support her claim on conflicted communication within the argument culture. Specifically, focusing on politics, the law, education, spousal relationships, the media and within work environments. She gives many examples to support her claim by using figurative language and literary devices such as metaphors and logic and reasoning to accurately convey her message.
The Disney movie, Mulan, is a fantastic movie that depicts gender-stereotyped roles, socialization of gender roles, and consequences of over stepping one’s gender role. Both males and females have a specific role in the Chinese society that one must follow. Mulan made a brave choice pretending to be a man and going to war against the Huns in place of her father, risking serious consequences if she were to get caught. She broke the socialization of gender roles and could have been faced with very serious consequences of her actions. The Chinese society in Mulan exemplifies the typical gender roles of males and females, the consequences of displaying the opposite gender role, and showed what the society expected in males and females in characteristics and attitudes.
Gender Matters is a collection of various essays on feminist linguistic texts analysis, by Sara Mills. Mills develops methods of analyzing literary and non-literary texts, in addition to conversational analysis based on a feminist approach. The author draws on data from her collection of essays gathered over the last two decades on feminism during the 1990s. The essays focus on gender issues, the representation of gender in reading, writing, and in public speaking. Furthermore, it highlights the importance of feminists’ analysis of sexism in literature and the relation between gender and politeness. The article is informative for my research paper, as my topic is going to cover language analysis of the text and who women reading and writing differs according to the discourse analysis within linguistic, psychology, case studies audiences and surveys. The book would be helpful, particularly the last three essays that discusses gender, public speaking, the question of politeness and impoliteness in public speaking. Mills’ analysis is not complete without including the idea of global notions of both women and men, to see whether women and men write and read in the same way globally. Therefore, an update would enrich the book’s discussion section. Although, Mills addresses the class and race theme in language and public speaking, I will only look into the role of language that plays a part in doing or reducing gender in literary, non-literary texts and in conversation.
In recent years, gender differences have already been one of the most controversial issues in various research. As an important communication tool of mankind, language is inevitably involved in controversies. However, Rachel Rafelman, a Canadian journalist and the author of “The Party Line” express her thought and opinion in her essay. She not only have some great points on what and how women and men are likely to talk, but also have different points on the talking environment. She comes up with facts and fit real and particle examples in her essay to make it understood. Whereas, Ronald Macaulay, a professor of linguistics and the author of “Sex Difference” uses words of novels to argue and promotes them as a cause of reinforce to men’s and women’s stereotypes in his essay. He argues through his whole as rebuttal and gives some examples to oppose the preconceived notion of sex differences. Over all, both Rafelman and Macaulay are the good writer but Rafelman is having upper to prove her essay better organized using her tones as per requirement.
There are so many codes of cultural context to learn, social rulebooks to observe and accept norms to understand. It’s flung at us in disjointed bits and pieces, seemingly offhand phrases and at informal moments. Maybe the core stereotyping role we are all passed from birth is based on gender and the norms that surround it, that never leaves our side. Director Siebel Newsom is no newcomer to gender issues. With 2011’s “Miss Representation,” a study of the damaging effects of mainstream media on women and girls, she addressed the frequently accepted underdog gender in an inspirational
A little girl sits on the floor with her gaze fixed on the television screen in front of her, watching magical images dance before her eyes and catchy songs flow through her ears. Even though she had seen it at least twenty times before, she still loved The Little Mermaid just as much as she did the first time she watched it. As she watched it, she longed to be a beautiful mermaid with a curvy body and wonderful singing voice like Ariel. She longed to be saved by the handsome Prince Eric, and fall in love and live happily ever-after like Ariel did. In today’s society, women strive to achieve equality between the sexes. Despite the tremendous steps that have been taken towards reaching gender equality, mainstream media contradicts these accomplishments with stereotypes of women present in Walt Disney movies. These unrealistic stereotypes may be detrimental to children because they grow up with a distorted view of how men and women interact. Disney animated films assign gender roles to characters, and young children should not be exposed to inequality between genders because its effect on their view of what is right and wrong in society is harmful to their future.
I have decided to examine gender role expectations and inequality in modern media and see how and if expectations and norms have changed over the years. I have studied three modern day teen comedy movies and found examples of many things including gender stereotypes, gender role socialization, gender inequality, and heteronormativity. Each movie contained examples of each and I have analyzed them by describing how each example shows what I interpreted it as.
Alleen Pace Nilsen began a study of Sexism in American English after returning from a two-year stay in Kabul, Afghanistan. Trying to avoid social issues in her research, Nilsen used the dictionary, as her main source and guide, making note-cards on every entry that seemed to tell something about male and female. She soon discovered that language and society go hand and hand. Furthermore, that the language a culture uses is evident in its values and beliefs. Amore careful look at the English language revealed three main points that Alleen Nilsen elaborates more on.
Dill, Karen E., and Kathryn P. Thill. "Video Game Characters and the Socialization of Gender Roles: Young People’s Perceptions Mirror Sexist Media Depictions." Sex Roles 57.11-12 (2007): 851-64. Print.
Wood, Julia T. Gendered Lives: Communication, Gender, and Culture. Belmont, CA: Wadsworth Pub., 1994. Print.
During a review by Vox, of the gender biases in Hollywood that were reported by the data visualization website Polygraph, over 2,000 movies underwent scrutiny in determining why men have more dialogue in movies, even in those that are supposed to be focused on the lead female characters. In what was stated to be one of the largest analyses of script reviews of all time, it was determined that the male characters within the study overrule women in over 78% of the analyzed films. This was concluded through a cross-analysis of character information such as name, gender, and age, with the information reported by the popular movie database, IMDB. The results of their study are astonishing. In the 2,005 screenplays across all movie genres that were reviewed by Polygraph, only two movies were delivered 100% by the lead female character. Conversely, the male dominated list has not only the largest number of results;
For example, the representation of women on television was for a long time restricted to roles of “loving wives, dutiful daughters, gossiping girlfriends, fashion plates, and the occasional dowdy maid, nanny, or granny” (Zeisler 2008, p. 9), which is a reflection on the roles it was considered ‘acceptable’ for women to take on in real life. Often going against the hegemonic gender ideal is used as shorthand for comedy within popular culture, such as men dressed femininely being played for laughs on countless sitcoms. Popular culture that genuinely challenges hegemonic ideology often faces backlash, as was the case when Ellen DeGeneres’ character coming out on Ellen (1997), as did the actress in real life, resulted in the show being cancelled after only one more season. This is reflective of what was the pervasive belief, that heterosexuality is the only acceptable option, though the changing attitudes about this can be seen through the increased inclusion of gay and bisexual characters in pop culture over the past two decades. Looking at the relationship between gender and popular culture consequently becomes important to the field of gender studies as it provides a way to study not only what is considered to be the gender norms in a society, but how these norms have
Stereotyping women is not only rampant in the adult world; it also flourishes in the kiddie universe as well. Here, there are depictions of women and girls as motherly or innocent, silly, and passive. This occurs not only in popular programming on Public Broadcasting, but also on television in other countries. Mothering images on Philippine TV has shown some of the same trends that is seen in the United States. Although “Teletubbies and Barney & Friends display an equal representation in number, each show displays gender stereotyped qualities,” it is obvious that these programs are sometimes reinforcing the wrong ideas about gender roles to children, roles that feminists have been battling for almost half a century. “Both programs demonstrated clear gendered roles with males being more active and females being more social and passive. This distinction appeared most obviously in the real-life segments of both programs with women as mother or passive viewer of action. Neither program shows women or men in non-stereotypical roles, indicating at an early age children are exposed to gender-specific occupational expectations.” Each show has children as additional characters, and each episode consists of a live action activity.
Our capacity as human beings to acquire and express complex methods of communication has been one of the biggest driving forces of humanity’s success. These complex linguistic systems are what we know as language. Language gives us a method of expressing concepts, emotions, and ideas in a varied way which sets us apart from all other animals. Language and gender is an area of sociolinguistics and related fields which attempt to define the differences in language related to gender, and what the inferences of these differences may be.