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Language and gender
This document discusses theories of gender and analyzes a ghazal poem through those lenses. It outlines three main theories of gender: as essence, as a social construct, and as a performance. Each theory views gender differently - as innate vs constructed vs fluid. The document then analyzes several couplets of a ghazal poem, applying the three theories to identify traits like emotionality, carelessness, and sensitivity that are portrayed or challenged. It concludes that gender is performed and fluid rather than fixed, as males and females can perform each other's expected roles.
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Language and gender
- 1. Language And Gender REJAFATIMA 3655 DEPARTMENT OF APPLIED LINGUISTICS GCUF
- 2. Language and gender GHAZAL& GENDER AND ESSENCE, CONSTRUCT AND PERFORMANCE
- 3. Theories of gender Thereare three theories of gender as follows. Gender as essence Gender as construct Gender as performance
- 4. Gender as essence Thistheory, gender as essence says that gender is fixed and biological factor. It is pre-social and pre determined. It is innate one. It is a fixed dichotomy. Gender is essential, universal, stable and is reflected in one’s personality. This view says that males and females should not be different but they are different.
- 5. Gender as construct Thistheory, gender as construct is in view that it is constructed through language and culture, language of our society. It is not an innate quality. It’s a social phenomena.
- 6. Gender as performance Thistheory says that gender is fluid one. Gender is not that we inherently have, but they are effects that we are perform by our activities. Gender is under constant construction, a series of performances, a work in progress. Gender is not an identity, someone just has, rather it involves what people “do"
- 7. Ghazal A ghazal isa short lyric poem composed of a series of about 5 to 15 couplets, each of which stands independently on its own as a poetic thought. Themes usually are connected to love and longing, either romantic desire for a mortal beloved, or a spiritual longing for communion with a higher power. The closing signature couplet of a ghazal often includes the poet’s name or an allusion to it.
- 8. Application of genderas essence, construct and performance on ghazal
- 9. Couplet 1 wo agrban sanwar gay hoon gy Daikhny waly mar gay hon gy
- 10. Application of couplet1 This ghazal is closely relevant to romantic love of male for female. This couplet shows following negative qualities of males. illogical (gender as performance) unboastful (gender as performance)
- 11. Couplet 2 zara unkishokhi daikhye ky zulf-e-kham shuda hath main mery pas aa ky aby daby mujy sanp keh ky dara dia
- 12. Application of couplet2 This couplet carries the negative traits of males. coward (gender as performance) non- practical (gender as performance and construct) emotional (gender as performance) expressive (gender as performance)
- 13. Couplet 3 hazroon wada-e-shabus ny is sort taaly han kabhi mehndi lgai hy kbhi gaasu sambhaly han
- 14. Application of couplet3 This couplet carries negative traits of females as follows: diplomatic (gender as performance) careless (gender as performance) clever (gender as performance)
- 15. Couplet 4 mareezon kadam ankhon mein hay aur vo hein mahev araish whan honton pe laaali hy yhan janoon kay laaly hain
- 16. Application of couplet4 This couplet shows the traits of males and females: beauty (female) (gender as essence) self grooming (gender as construct) extra emotional(male) (gender as performance) non aggressive(male) (gender as performance)
- 17. Couplet 5 dil meraly ky zalim ny kaha jao rasta lo tumhara kuch nahi
- 18. Application of couplet5 This couplet describes the traits of male and female. helplessness (male) (gender as performance) coward (male) (gender as performance) attitude (female) (gender as essence and performance) carelessness(female) (gender as performance)
- 19. Couplet 6 kaam aayna mushkil mein koi yhan, matlabi dost hain matlabi yaar hain es jhan mein nahi koi ahl-e-wafa, aay fana es jhan se kinaara kro
- 20. Application of couplet6 The last couplet of ghazal shows the sensitive sense of narrator and describes positive and negative traits of males as follows: sensitive (gender as performance) helpless (gender as performance) emotional (gender as performance) expressive (gender as performance) logical (gender as performance)
- 21. Two Cultural Approach it challenged deficit model and dominance model Based upon the deficiencies in males and females speech patterns
- 22. Conclusion As the analysisshows that gender is what that we perform in our activities. It is not a fixed dichotomy. It is fluid one as male can perform the roles of females and female can perform males roles.