Changing Pieces

Characters: Over the chimneys, streaks of clouds and smoke across the sky. It is a wet and dismal night. A Saint-Petersburg mansion. In the lordly entrance, stands ARLEKIN in his tights and bells, and he follows the walkers with his eyes.TEACHER (enters, music is heard in the distance) ARLEKIN: Let me guide you. TEACHER: Impudent! ARLEKIN: Ah, no. Have pity! Please, let me guide you… Just from afar. TEACHER: Where are the police when you need them? ARLEKIN (somewhat breaking): My autumn looooove…TEACHER: Leave me!ARLEKIN (earnestly, and with misunderstood power): My queen…TEACHER (is silent) ARLEKIN: I love… you are so beautiful! Are you always so beautiful on autumn nights? TEACHER (as if in a frenzy): Scoff and scoff again! I am a single, thin woman. They pay me twenty rubles… like I’m a cook! I am tired! My voice is hoarse! You listen to me, my voice is hoarse, on my eternally hoarse lips, and I cannot dream of fantasies! ARLEKIN: Ah, no! It’s just, it seems, I’ve only had one dream...

In recent years, popular culture has witnessed the proliferation of violent female characters, while female criminality has also received increasing attention from many critics and academics. These women remain a fascination for both mainstream culture and researchers as their acts go against cultural conceptions and are even viewed as antithetical to femininity. And while the increasing presence of female violence in media and popular culture may be symptomatic of present-day society’s concerns about gender behavior, the portrayal of violent women still seems to be following genre conventions and familiar stereotypes that inevitably frame, and thus normalize, their acts within boundaries of traditional discourses on femininity. In that regard, Women Who Kill: Gender and Sexuality in Film and Series of the Post-Feminist Era presents itself as a particularly timely book that investigates the representation of women who kill in a so-called postfeminist context recognized principally by a...

“More liquor,” said the dark-skinned man holding out his glass.“No more liquor,” said the fat man grabbing the bottle from the counter. “Indian dance now; liquor later.”“Liquor,” said the dark-skinned man stretching for the bottle.“Afterwards,” said the fat man, shielding the bottle behind his vast bulk. “Now Indian dance.” He waggled his hips and his flabby belly shook. “Now Indian dance out front. Everyone watch Indian dancing.”The dark-skinned man stopped and stared at his fat counterpart, stared at him as a famished, skittish dog might at a person chewing a sandwich in a roadside bar. The fat man waggled his hips once more, his arms upraised, the bottle in one hand and a shot glass he was drinking from in the other. The dark-skinned man chuckled.“You like that, eh?” said the fat man. His flabby jowls wobbled with laughter, his eyes vanishing between puffy little lids. “Off you go, Indian. Bwana want to see Indian dance. Me bwana, you Indian, monkey.”“Not monkey.” The Indian shook h...

Među fjordove i gejzire, vrletne stijene i zastrašujuće ponore, smještena je priča sestara blizanki, Halldore i Sigridur, i njihove obitelji. Priča počinje opisom pokopa Sigridur i tugom ispunjenih dana preživjele sestre. Valter Hugo Mae vrlo nam živo i slikovito pripovijeda o nestabilnoj majci, koja za smrt kćeri krivi drugu kćer te je konstantnim ranjavanjem namjerno kažnjava, nanoseći joj bol. To je i priča o odnosu oca i kćeri, koji dane provode čitajući poeziju te u njoj pronalaze sve važne odgovore, snagu i smisao života. Znakovit je to početak romana, kojim Halla opisuje trenutak sestrine smrti, ujedno označen i kao novi početak života. Nakon njezine smrti, preživjela blizanka suočava se s vlastitim unutarnjim borbama, kao i s okolinom i neprihvaćanjem obitelji. Loš odnos s majkom kompenzira nježnim trenucima s ocem, a kasnije i kroz ljubavni odnos s Einarom, prožetim dubokim osjećajima. Einar, osebujni samotnjak kojeg su se sestre kao djevojčice plašile, za sobom vuče tajnovitu...

Since the dawn of history, women have always been subjected to and condemned by men’s will; their choices and power have been limited by men’s authority and domination in patriarchal societies due to their gender. This paper examines Elizabeth Gaskell’s Wives and Daughters and Parinoush Saniee’s The Book of Fate and demonstrates a reciprocal relationship between cultural capital and women’s subordination in the marriage field, the analysis of which will be based on Pierre Bourdieu’s theoretical concepts of field, capital, and habitus. Drawing on Bourdieu’s theoretical concepts as well as the contextual analysis of the selected novels, the findings of this paper indicate that women’s submissiveness, present in different patriarchal societies throughout history, is the outcome of men’s use of culture as a sort of capital to retain and reproduce their power and domination in all fields, even those related to women, including the field of marriage. Keywords: Pierre Bourdieu, field, cultura...