Assignment Answers Biblical Perspective on Gender Beginning with the first book of the Bible, human distinctions have been made on the basis of gender. The assigned readings this week provide a rich discourse on gender roles. What main ideas did the authors convey about gender roles?
Feminist narratology is thus also concerned with the ways in which various narratological concepts, categories, methods and distinctions advance or obscure the exploration of gender and sexuality as signifying aspects of narrative.
Explication Usually pursued under the rubrics of feminist narratology and, increasingly, queer narratology, the study of sex, gender, and sexuality as signifying elements of narrative encompasses a diversity of approaches and inquiries.
Indeed, the three modifying terms—sex, gender, sexuality—are themselves subject to multiple definitions. The field of gender and narrative stakes its diverse approaches on the shared belief that sex, gender, and sexuality are significant not only to textual interpretation and reader reception but to textual poetics itself and thus to the shapes, structures, representational practices, and communicative contexts of narrative texts.
In claiming that these key vectors of social positioning carry narratological weight, feminist narratology marked a significant departure of value from classical narrative theory.
Yet some early formulations do remind us that seeming universals may be unwittingly gendered. Nor did narrative theorists such as Booth  and Chatman raise the possibility of gender differences between the writers on whose works they relied. The narratological landscape was soon challenged from within and without, however, in response to a broader shift in literary studies that questioned the abstraction of formal elements from cultural contingencies.
Perhaps the earliest internal reconfiguration of narratology appeared with Balwhose emphasis on works by women may not be unrelated to her integration of form, content, and context. Through a psychoanalytic lens, de Lauretis exposed the gendered Oedipal structure both of narrative desire and of narratological language in conventional understandings of narrativity and plot.
She argued that narratology could help to offset an overly mimetic approach to narrative by feminist readers and that, conversely, feminist studies could demonstrate the utility of narratology for non-narratologists.
To those compatible ends, Lanser proposed a range of interventions toward creating a more supple, rhetorically invested and gender-aware narrative poetics. Neither of these essays escaped critique. Feminist narratology has also faced criticisms from feminist theorists who find narratology esoteric, elitist, and politically unconcerned.
Dannenbergwhich offers new understandings of plot that synthesize cognitive, ontological, and spatial approaches, also quietly focuses on deep history of writing by and about women.
Rather than advancing a monolithic feminist narratology, these projects collectively yield a range of gender-conscious interventions in narrative thought that are not necessarily compatible with one another but each of which recognizes the legitimacy and indeed necessity of addressing gender in tandem with narrative inquiry.
Moreover, all of these books and most work on feminist narratology of the s and s rests on a canon of English, American, and French writers that dates primarily to the 19th and 20th centuries. Using engaging strategies of her own, Warhol takes up the question of the embodied and gendered reader by exploring affective responses to serial narratives from soap operas to detective novels.
These contextual projects, Sommer claims, must therefore work inductively to build an inclusive corpus of texts from which to theorize. While of course no narrative poetics is entirely separable from individual instances, feminist narratology has been approached in both ways: While the former group is more likely to favor deductive methodologies and the latter inductive ones, the more central difference concerns the extent to which it is possible to develop any narrative poetics that could account for all texts.
This imbalance has underscored the need for intersectional approaches that, rather than isolating the presumptive implications of gender, examine narratives within the specificities of multiple social vectors.
Named in by legal scholar Crenshaw, the theory of intersectionality argues that diverse aspects of identity converge to create the social positions, perceptions, limitations, and opportunities of individuals and groups  Discourse (from Latin discursus, "running to and from") denotes written and spoken communications.
In semantics and discourse analysis: Discourse is a conceptual generalization of conversation within each modality and context of communication.; The totality of codified language (vocabulary) used in a given field of intellectual enquiry and of social practice, such as legal discourse, medical.
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· An essay is a formal piece of writing which. Modern medicine can’t reassign sex physically, and attempting to do so doesn’t produce good outcomes psychosocially. Here is the evidence. One common theme in the ethnic discourse is the notion of culture, or shared history of a given people.
It is this shared history, with common rituals, worldviews, In summary, race, ethnicity, class, and gender are anything but “neutral” concepts. Each is socially, his-torically, and culturally embedded in .
The purpose of this essay is not to address every facet of gender that Henig explores.
Rather, our goal is to address some of the more glaring errors in the piece. Many of the criticisms below apply not only to Henig’s article, but to the broader philosophical problems inherent within the transgender movement.
1 gender, discourse, ideology and power: a critical reading of (sex)text in cosmopolitan, maxim, mens health, and womens health by tasha shangvi a thesis presented to the graduate school of the university of florida in p artial fulfillment of the requirements for the degree of master of arts in mass communication university of florida