Confrontation in the Prevailing View; a Review of two Books: Two Friends & The Parrot and The Merchant from the Feminism Perspective

Document Type : Research Paper

Authors

1 MA in illustration, The Visual Arts Faculty, Tehran University of Art, Tehran, Iran

2 Assistant professor, Graphic design and illustration department, The Visual Arts Faculty, Tehran University of Art, Tehran, Iran

Abstract

The rise of the feminist social movement in the 1960s and 1970s challenged various dimensions of the art world. Feminists' Attention to the Art of Logical Consequence The main commitment of feminism is to address the attitudes that men and women have towards the position of women in the society of their time. Art derived from this movement, by deliberately interpreting and refuting the meaning of all traditional aesthetic values ​​and by challenging the central core concept of art and the old focus of art history on painting, architecture and sculpture, has joined important artistic movements and created movements within it. Has also been. Illustration is no exception as a branch of the visual arts that has played a key role in both storytelling and information sharing, as well as in our understanding of the modern world.
This research, which is applied from the perspective of purpose, has been done in a descriptive-analytical manner and by studying feminism and some forms of this thought seeks to answer the question of how feminist theories are reflected in contemporary works of art, especially in the field of illustration. In this regard, in the field of children's book illustration, among the works of two Iranian illustrators, the book Do Doost (Two Friends) by Hodā Haddādi and the book The Parrot and the Merchant by Marjān Vafāeiān, in which feminist approaches can be seen, were selected as an example. The results of this study show that the feminist approach in the works of these two illustrators goes beyond gender stereotypes and raises issues such as women's power of choice and activity, woman-woman and woman-nature relationship, women's presence in the public arena and women's job position in relation. Visible with power structure.

Keywords

References

Beauvoir, Simone de. (1380 [2001]). Jens-e dowom [The second sex]. Translated by Qāsem San’avi. Tehran: Tous.
Brand, Peggy Zeglin. (1392 [2013]). Feminism and zibaeeshenāsi [Feminism and Aesthetics]. Translated by Sārā Eskandari. Tehran: Golshid.
Chung, Dae Ryun; Jung, Yeon Kyung. (2001). “A Feminist Approach to Picture Books for Kindergarten Children”. Korean Journal of Child Studies. Vol. 22, Issue 2: 329-346.
Froutan, Yaqoub. (1389 [2010]). Jāme’a-paziri-ye jensiyati dar ketāb-hā-ye darsi-ye iran [Gender Socialization in Iranian School Textbooks]”. Zan dar touse’a va siyāsat. 8, 3, Autumn: 195-216.
Hāji nasroullah, Shokouh. (1382 [2003]). “Naqsh-e olgo-hā-ye jensiyat barā-ye koudak-e irani [The Role of Gender Patterns for the Iranian Child]”. Pajouheshn-nāme-ye adabiyāt-e koudak va noujavān. 3, 32, Spring: 43-59.
Hadadi, Hoda. (2017). “Art versus Storiotype: Defamilarization of a Book”. In 26th Biennial of Illustration Bratislava. 146-156.
Haddādi, Hodā. (1386 [2007]). Do doust [two friends]. Tehran: Shabāviz.
Kaufmann McCall, Dorothy. (1979). "Simone do Beauvoir, The Second Sex, and Jean-Paul Sartre". Signs. Vol. 5, No. 2 (winter), 209-223.
Khosrounejād, Mortezā. (1387 [2008]). Degarkhāni-hā-ye nāgozir: rouykar-hā-ye naq va nazari-ye adabiyāt koudak [Inevitable Readings: Approaches to Criticism and Theory of Children's Literature]. Tehran: Kanoun-e parvareshe fekri-ye koudakān va noujavānān.
Korsmeyer, Carolyn. (1394 [2015]). Darāmadi bar zibayee-shenāsi va jensiyat [Gender and aesthetics: an introduction]. Taranslated by Mojgān Dastouri. Tehran: Manshour-e Solh.
Lippard, Lucy. (1995). The Pink Glass Swan: Selected Essays on Feminist Art. New York: The New York Press.
Netz, Hadar; Kuzar, Ron. (2020). “Entanglement and feminist agency in picture books”. Gender & Language. Vol. 14 Issue 4: 386-408.
Oskamp, S., Kaufman, K., & Wolterbeek, L. A. (1996). “Gender role portrayals in Preschool Picture Books”. Journal of Social Behavior & Personality. Vol. 11, Issue 5: 27–39.
Razi, Ahmad; Hājati, Somaye. (1390 [2011]). Tahlil-e neshāne-hā-ye ertebāt ghar-ekalāmi dar dāstān-e do doust [Analysis of non-verbal communication signs in the story of two friends]”. Motaleāt-e adabiyāt-e koudak. 2, 3, Spring and Summer: 91-114.
Reckitt, Helena. )2018(. The Art of Feminism: Images that Shaped the Fight for Equality, 1857-2017. San Francisco: Chronicle Books LLC.
Tāj-e Mazināni, Ali-akbar; Hāmed, Mahdeye. (1393 [2014]). “Baresi-e tahavolāt-e farhang-e jensiyati dar kotobe darsi [Investigating the Evolution of Gender Culture in Textbooks]”. Faslname-ye oloum-e ejtemāyee. 21, 64, Spring: 73-104.
Tong, Rosemarie. (1387 [2008]). Naqd-o-nazar: Darāmadi jam’a bar nazariye-hā-ye feministi [Feminist thought a comprehensive introduction]. Translated by Manije Arāqi. Tehran: Nai.
Vafaeian, Marjan. (2015). The Parrot and the Merchant. United Kingdom: Tiny Owl Publishing Ltd.
Vandergrift, Kay. (1995). “Female Protagonists and Beyond: Picture Books for Future Feminists”. Feminist Teacher. Vol. 9, No. 2: 61-69.
Zekāvat, Masih. (1397 [2018]). “Darāmadi bar boumfemenism: motāl’a-ye moredi do doust va diling diling [An Introduction to the Ecofeminism‎: A Case Study of Two Friends and Dealing Dealing]”. Motaleāt-e adabiyāt-e koudak. 9, 18, Autumn and Winter: 55-67.
URL 1: www.nytimes.com/2018/12/19/upshot/twelve-books-for-feminist-boys-and-girls.html- Access on: 9/3/2020
URL 2: www.theguardian.com/books/2019/jun/13/highly-concerning-picture-books-bias-worsens-as-female-characters-stay-silent- Access on: 12/3/2020

Files

History

  • Receive Date: 04 December 2020
  • Revise Date: 19 June 2021
  • Accept Date: 03 July 2021

Share

How to cite

Statistics