Show simple item record

Woman drama and (male) society. The status of a woman in society and art in the case of dramas by Milena Marković, Maja Pelević and milena

dc.contributor.advisorRomčević, dr Nebojša
dc.contributor.otherVuksanović, Divna
dc.contributor.otherMedenica, dr Ivan
dc.contributor.otherRadulović, dr Ksenija
dc.contributor.otherPešikan Ljuštanović, dr Ljiljana
dc.creatorDelač, Nataša
dc.date.accessioned2018-09-06T09:29:36Z
dc.date.available2018-09-06T09:29:36Z
dc.date.available2020-07-03T17:26:09Z
dc.date.issued2017-01-30
dc.date.issued2017-01-30
dc.date.issued2017-01-30
dc.date.submitted2016-10-14
dc.identifier.urihttp://eteze.arts.bg.ac.rs/handle/123456789/193
dc.identifier.urihttp://nardus.mpn.gov.rs/handle/123456789/9811
dc.description.abstractSummary WOMAN DRAMA AND (MALE) SOCIETY. THE STATUS OF A WOMAN IN SOCIETY AND ART IN THE CASE OF DRAMAS BY MILENA MARKOVIĆ, MAJA PELEVIĆ AND MILENA BOGAVAC Status of female characters, even though not interpreted as a reflection of social reality, seeks to examine the relationship between factuality and fiction. Female characters and the world of drama are aesthetic transformation of the author, but with the strong influence of what is happening in the "real" world. Three authors, Milena Marković ("Pavilions, or Where I Am Going, Where I Come from and What’s for Dinner", "God Had Mercy on Us – Tracks" and "The Doll Ship"), Maja Pelević ("Out of Gear", "Children in Formalin", "Orange Peel" and "Maybe We Are Mickey Mouse") and Milena Bogavac ("Dear Daddy", "Tdz or A First Three Pointer" and "Red, Sex and Consequences"), on the one hand, they form the specific female characters who are often victims of the system in which they are, on the other hand, the heroine in their works can be free and self-conscious despite the system. The worlds of these authors are designed according to stereotypes, patriarchal law and are based on the gender issue, and as such represent a significant material for interpretation of the position of female characters. This paper attempts to, by analysis of the characters and their discourse, map their most striking elements which will then be interpreted with the help of relevant terms operated by feminism and woman anthropology. The aim of this study is to indicate how stereotyping, phallocentrism, androcentrism, patrocentrizam work in the field of drama, and to examine the reasons why the author decided for certain identity such as the identity of butch woman, woman as a sexual object or women-lovers. Also, one of the questions is why the identities of women that are desirable from the perspective of patriarchy are more numerous, while the identities of emancipated women occur rarely and appear to be insufficient. When taking the subject of female characters of female drama writers, there is the possibility to carry out an investigation, including a female perspective – perspective which is undeniably important for feminist theories and women's studies. In the final consideration, it is noticed that the new female identities are only actualization of existing women's identities registered in the chapter concerning the tradition of female identity in Serbian drama during the first half of the 19th century to the 80s of the twentieth century. Also, it is identified that identities are mutually interwoven which confirms the idea of identity categories performativity. Finally, the paper proved the hypothesis that androcentrism is present in the analyzed dramas as an indication of the repressive situation of female characters in relation to the position of men, which confirms that with the dramas by Milena Marković, Maja Pelević and Milena Bogavac we can identify the characteristics of male society in which the status of female characters is mostly the result of the dominant (male) order.sr
dc.description.abstractAPSTRAKT Status ženskih likova, iako ne možemo tumačiti kao refleksiju društvene stvarnosti, nastoji da ispita vezu između faktualnosti i fikcije. Ženski likovi i svet drame predstavljaju estetsko preoblikovanje dramskih autorki, ali sa snažnim uticajem onoga što se dešava u „stvarnom“ svetu. Tri autorke, Milena Marković („Paviljoni ili kuda idem, odakle dolazim i šta ima za večeru“, „Bog nas pogledao ili Šine“ i „Brod za lutke“), Maja Pelević („Ler“, „Deca u formalinu“, „Pomorandžina kora“ i „Možda smo mi Miki Maus“) i Milena Bogavac („Dragi tata“, „Tdž ili prva trojka“ i „Crvena, sex i posledice“), s jedne strane oblikuju specifične ženske likove koji su neretko žrtve sistema u kojem se nalaze, a sa druge strane, junakinje u njihovim komadima mogu biti slobodne i samosvesne uprkos sistemu. Svetovi ovih autorki su oblikovani prema stereotipima, patrijarhalnom zakonu i počivaju na polnoj problematici, i kao takvi čine značajan materijal za tumačenje položaja ženskih likova. Ovaj rad nastoji da analizom likova i njihovog diskursa mapira njihove najmarkantnije elemente koje će potom tumačiti uz pomoć relevantnih pojmova kojima operira feminizam i antropologija žene. Zadatak ovog rada je da uvidi kako stereotipizacija, falocentrizam, androcentrizam, patrocentrizam funkcionišu na planu drame, te da ispita razloge zbog kojih su se autorke odlučile za određene identitete kao što su identitet butch žene, žene kao seksualnog objekta ili žene-ljubavnice. Takođe, jedno od pitanja je zašto su brojniji identiteti žena koje su poželjne iz pozicije patrijarhata, dok se identiteti emancipovanih žena javljaju retko i, čini se, nedovoljno. Uzimajući za predmet istraživanja ženske likove ženskih dramskih pisca, stvara se mogućnost da istraživanje bude sprovedeno uključujući žensku perspektivu – perspektiva neosporno važna za feminističke teorije i ženske studije. U završnom razmatranju uočeno je kako su novi ženski identiteti samo aktuelizacija postojećih ženskih identiteta registrovanih u poglavlju koje se tiče tradicije ženskih identiteta u srpskoj drami u periodu od prve polovine 19. veka do 80-ih godina XX veka. Takođe, identifikovano je kako se identiteti međusobno prelamaju i umrežavaju što je samo potvrda ideje o perfomativanosti kategorije identiteta. I na kraju, u radu se dokazala hipoteza da je u analiziranim dramama prisutna androcentričnost kao pokazatelj represivnog položaja ženskih likova u odnosu na položaj muških što potvrđuje kako na primeru drama Milene Marković, Maje Pelević i Milene Bogavac možemo prepoznati odlike muškog društva u kojem je status ženskih likova pretežno rezultat vladajućeg (muškog) poretka.sr
dc.language.isosrpsr
dc.publisherУниверзитет уметности у Београду, Факултет драмских уметностиsr
dc.rightsopenAccessen
dc.sourceУниверзитет уметности у Београдуsr
dc.subjectstatus of female characterssr
dc.subjectstatus ženskih likovasr
dc.subjectsavremena srpska dramasr
dc.subjectfeminizamsr
dc.subjectženski identitetsr
dc.subjectandrocentrizamsr
dc.subjectpatrijarhat..sr
dc.subjectcontemporary serbian dramasr
dc.subjectfeminismsr
dc.subjectfemale identitysr
dc.subjectandrocentrismsr
dc.subjectpatriarchy...sr
dc.titleЖенска драма и (мушко) друштво - Статус жене у друштву и уметности на примеру драма Милене Марковић, Маје Пелевић и Милене Богавацsr
dc.title.alternativeWoman drama and (male) society. The status of a woman in society and art in the case of dramas by Milena Marković, Maja Pelević and milenasr
dc.typedoctoralThesisen
dc.rights.licenseARRen
dcterms.abstractРомчевић, др Небојша; Меденица, др Иван; Вуксановић, др Дивна; Радуловић, др Ксенија; Пешикан Љуштановић, др Љиљана; Делач, Наташа; Ženska drama i (muško) društvo - Status žene u društvu i umetnosti na primeru drama Milene Marković, Maje Pelević i Milene Bogavac;


Files in this item

Thumbnail
Thumbnail

This item appears in the following Collection(s)

Show simple item record