Susan Faludi
| Susan Faludi |
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| Susan Faludi em outros projetos: |
Susan C. Faludi (18 de abril de 1959) é uma jornalista estadunidense.
Obras[editar]
Backlash (1992)[editar]
- "O backlash não é uma conspiração, com um conselho emanando ordens de uma sala de controle central, e as pessoas que se prestam aos seus fins muitas vezes nem estão conscientes dos seus papéis; algumas até se consideram feministas. Na maioria dos casos, as suas maquinações são disfarçadas e ocultas, impalpáveis e camaleônicas. E tampouco podemos dizer que todas as manifestações do backlash tenham o mesmo peso e o mesmo significado; muitas não passam de coisas efêmeras, geradas por uma máquina cultural que está continuamente à cata de “novos” ângulos. Considerados em conjunto, entretanto, todos estes códigos e bajulações, estes murmúrios e ameaças e mitos, levam irreversivelmente numa única direção: tentar mais uma vez prender a mulher aos seus papéis "aceitáveis" — seja como filhinha do papai ou criaturazinha romântica, seja como procriadora ativa ou passivo objeto sexual."
- - The backlash is not a conspiracy, with a council dispatching agents from some central control room, nor are the people who serve its ends often aware of their role; some even consider themselves feminists. For the most part, its workings are encoded and internalized, diffuse and chameleonic. Not all of the manifestations of the backlash are of equal weight or significance, either; some are mere ephemera, generated by a culture machine that is always scrounging for a “fresh” angle. Taken as a whole, however, these codes and cajolings, these whispers and threats and myths, move overwhelmingly in one direction: they try to push women back into their “acceptable” roles — whether as Daddy's girl or fluttery romantic, active nester or passive love object.
- - "Backlash: the undeclared war against American women" - página 21, Susan Faludi
- - The backlash is not a conspiracy, with a council dispatching agents from some central control room, nor are the people who serve its ends often aware of their role; some even consider themselves feminists. For the most part, its workings are encoded and internalized, diffuse and chameleonic. Not all of the manifestations of the backlash are of equal weight or significance, either; some are mere ephemera, generated by a culture machine that is always scrounging for a “fresh” angle. Taken as a whole, however, these codes and cajolings, these whispers and threats and myths, move overwhelmingly in one direction: they try to push women back into their “acceptable” roles — whether as Daddy's girl or fluttery romantic, active nester or passive love object.
- "Embora o contra-ataque antifeminista não seja um movimento organizado, nem por isto deixa de ser destrutivo. Com efeito, a falta de coordenação, a ausência de uma única liderança só servem para torná-lo menos visível — e talvez mais eficiente. Um backlash contra os direitos das mulheres tem sucesso na medida em que parece não ter conotações políticas, na medida em que se mostra como tudo, menos uma luta. Ele é tanto mais poderoso, quanto mais consegue transformar-se numa questão privada, penetrando na mente da mulher e torcendo a sua visão para dentro, até ela imaginar que a pressão está toda na cabeça dela, até ela começar a impor as regras do backlash a si mesma."
- - Although the backlash is not a movement, that doesn't make it any less destructive. In fact, the lack of orchestration, the absence of a single string-puller, only makes it harder to see — and perhaps more effective. A backlash against women's rights succeeds to the degree that it appears not to be political, that it appears not to be a struggle at all. It is most powerful when it goes private, when it lodges in a woman's mind and turns her vision inward, until she imagines the pressure is all in her head, until she begins to enforce the backlash, too — on herself.
- - "Backlash: the undeclared war against American women" - página 21, Susan Faludi
- - Although the backlash is not a movement, that doesn't make it any less destructive. In fact, the lack of orchestration, the absence of a single string-puller, only makes it harder to see — and perhaps more effective. A backlash against women's rights succeeds to the degree that it appears not to be political, that it appears not to be a struggle at all. It is most powerful when it goes private, when it lodges in a woman's mind and turns her vision inward, until she imagines the pressure is all in her head, until she begins to enforce the backlash, too — on herself.
- "Nos anos 80, o backlash andou pelos subterrâneos secretos da cultura, circulando pelos corredores da bajulação e do medo. Ao longo do caminho usou vários disfarces: desde a máscara de uma condescendente ironia até a expressão sofrida da "profunda preocupação". Os seus lábios demonstram piedade por qualquer mulher que não se enquadre na moldura, enquanto procura prendê-la na moldura. Professa uma estratégia de cizânia: solteiras contra casadas, mulheres que trabalham fora contra donas-de-casa, classe média contra operárias. Manipula um sistema de punição e recompensa, enaltecendo as mulheres que seguem as suas regras, isolando as que desobedecem. O backlash revende velhos mitos sobre as mulheres fazendo-os passar por fatos novos, ignorando qualquer apelo à razão. Acuado, nega a sua própria existência, levanta um dedo ameaçador contra o feminismo e procura desaparecer nos subterrâneos."
- - In the last decade, the backlash has moved through the culture's secret chambers, traveling through passageways of flattery and fear. Along the way, it has adopted disguises: a mask of mild derision or the painted face of deep “concern”. Its lips profess pity for any woman who won't fit the mold, while it tries to clamp the mold around her ears. It pursues a divide-and-conquer strategy: single versus married women, working women versus homemakers, middle- versus working-class. It manipulates a system of rewards and punishments, elevating women who follow its rules, isolating those who don't. The backlash remarkets old myths about women as new facts and ignores all appeals to reason. Cornered, it denies its own existence, points an accusatory finger at feminism, and burrows deeper underground.
- - "Backlash: the undeclared war against American women" - página 21, Susan Faludi
- - In the last decade, the backlash has moved through the culture's secret chambers, traveling through passageways of flattery and fear. Along the way, it has adopted disguises: a mask of mild derision or the painted face of deep “concern”. Its lips profess pity for any woman who won't fit the mold, while it tries to clamp the mold around her ears. It pursues a divide-and-conquer strategy: single versus married women, working women versus homemakers, middle- versus working-class. It manipulates a system of rewards and punishments, elevating women who follow its rules, isolating those who don't. The backlash remarkets old myths about women as new facts and ignores all appeals to reason. Cornered, it denies its own existence, points an accusatory finger at feminism, and burrows deeper underground.
- "Backlash, por acaso, é o título de um filme hollywoodiano de 1947 em que um homem arma para a sua mulher um assassinato que ele cometeu. O atentado contra os direitos das mulheres usa a sua retórica para acusar as feministas de todos os atos que ele pratica. As fileiras do backlash culpam o movimento feminista pela “feminização da pobreza” — quando os próprios instigadores do backlash votaram os cortes orçamentários que causaram o empobrecimento de milhões de mulheres, lutaram contra a isonomia salarial e carcomeram as leis para a igualdade de oportunidades. As fileiras do backlash bradam que o movimento feminista não se importa com os direitos das crianças — enquanto os seus próprios representantes nas legislaturas capitais e estatais bloquearam seguidamente todas as propostas para melhorar a assistência infantil, cortaram bilhões de dólares dos subsídios federais à infância e afrouxaram os padrões para o funcionamento das creches estaduais. As fileiras do backlash acusam o movimento feminista da criação de uma geração de infelizes mulheres solteiras e sem filhos — mas os seus defensores na mídia são os verdadeiros responsáveis por fazer com que as solteiras e as mulheres sem filhos se sintam monstros de circo."
- - Backlash happens to be the title of a 1947 Hollywood movie in which a man frames his wife for a murder he's committed. The backlash against women's rights works in much the same way: its rhetoric charges feminists with all the crimes it perpetrates. The backlash line blames the women's movement for the “feminization of poverty” — while the backlash's own instigators in Washington pushed through the budget cuts that helped impoverish millions of women, fought pay equity proposals, and undermined equal opportunity laws. The backlash line claims the women's movement cares nothing for children's rights — while its own represetatives in the capital and state legislatures have blocked one bill after another to improve child care, slashed billions of dollars in federal aid for children, and relaxed state licensing standards for day care centers. The backlash line accuses the women's movement of creating a generation of unhappy single and childless women, but its purveyors in the media are the ones guilty of making single and childless women feel like circus freaks.
- - "Backlash: the undeclared war against American women" - página 22, Susan Faludi
- - Backlash happens to be the title of a 1947 Hollywood movie in which a man frames his wife for a murder he's committed. The backlash against women's rights works in much the same way: its rhetoric charges feminists with all the crimes it perpetrates. The backlash line blames the women's movement for the “feminization of poverty” — while the backlash's own instigators in Washington pushed through the budget cuts that helped impoverish millions of women, fought pay equity proposals, and undermined equal opportunity laws. The backlash line claims the women's movement cares nothing for children's rights — while its own represetatives in the capital and state legislatures have blocked one bill after another to improve child care, slashed billions of dollars in federal aid for children, and relaxed state licensing standards for day care centers. The backlash line accuses the women's movement of creating a generation of unhappy single and childless women, but its purveyors in the media are the ones guilty of making single and childless women feel like circus freaks.
- "Culpar o feminismo pela “vida inferior” das mulheres significa não entender nada do movimento feminista, que se propõe oferecer às mulheres um leque maior de experiências. O feminismo continua sendo um conceito bastante simples, apesar das repetidas — e extremamente eficazes — tentativas de pintá-lo com cores sombrias transformarem suas defensoras em verdadeiras gárgulas. Como escreveu Rebecca West ironicamente em 1913: “Eu mesma nunca cheguei a entender direito o que quer dizer feminismo: só sei que as pessoas me chamam de feminista toda vez que expresso sentimentos que me diferenciam de um capacho.”"
- - To blame feminism for women's “lesser life” is to miss entirely the point of feminism, which is to win women a wider range of experience. Feminism remains a pretty simple concept, despite repeated — and enormously effective — efforts to dress it up in greasepaint and turn its proponents into gargoyles. As Rebecca West wrote sardonically in 1913, “I myself have never been able to find out precisely what feminism is: l only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat.”
- - "Backlash: the undeclared war against American women" - página 22, Susan Faludi
- - To blame feminism for women's “lesser life” is to miss entirely the point of feminism, which is to win women a wider range of experience. Feminism remains a pretty simple concept, despite repeated — and enormously effective — efforts to dress it up in greasepaint and turn its proponents into gargoyles. As Rebecca West wrote sardonically in 1913, “I myself have never been able to find out precisely what feminism is: l only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat.”
- "O sentido da palavra “feminista” nada mudou desde que apareceu pela primeira vez numa resenha literária publicada na Athenaeum, em 27 de abril de 1895, descrevendo uma mulher que “tem nela a capacidade de lutar para chegar à sua própria independência.” É a proposta básica feita por Nora, há um século, em Casa de bonecas, de Ibsen, “antes de mais nada, eu sou um ser humano.” É simplesmente o cartaz que uma mocinha segurava em 1970 durante a Greve das Mulheres pela Igualdade: EU NÃO SOU UMA BONECA BARBIE. O feminismo pede que o mundo finalmente reconheça que as mulheres não são elementos decorativos, biscuits preciosos, membros de um “grupo de particular interesse”. Elas são metade (mais da metade, de fato, agora) da população nacional, tão merecedoras de direitos e de oportunidades, tão capazes de participar dos acontecimentos mundiais quanto os homens. O programa feminista é muito simples: pede que as mulheres não sejam forçadas a “escolher” entre justiça pública e felicidade privada. Pede que as mulheres sejam livres para definir a si mesmas — em lugar de terem a sua identidade definida pela cultura e pelos homens que as cercam."
- - The meaning of the word “feminist” has not really changed since it first appeared in a book review in the Athenaeum of April 27, 1895, describing a woman who “has in her the capacity of fighting her way back to independence.” It is the basic proposition that, as Nora put it in Ibsen's A Doll's House a century ago, “Before everything else I'm a human being.” It is the simply worded sign hoisted by a little girl in the 1970 Women's Strike for Equality: I AM NOT A BARBIE DOLL. Feminism asks the world to recognize at long last that women aren't decorative ornaments, worthy vessels, members of a “special-interest group”. They are half (in fact, now more than half) of the national population, and just as deserving of rights and opportunities, just as capable of participating in the world's events, as the other half. Feminism's agenda is basic: It asks that women not be forced to “choose” between public justice and private happiness. It asks that women be free to define themselves — instead of having their identity defined for them, time and again, by their culture and their men.
- - "Backlash: the undeclared war against American women" - página 22, Susan Faludi
- - The meaning of the word “feminist” has not really changed since it first appeared in a book review in the Athenaeum of April 27, 1895, describing a woman who “has in her the capacity of fighting her way back to independence.” It is the basic proposition that, as Nora put it in Ibsen's A Doll's House a century ago, “Before everything else I'm a human being.” It is the simply worded sign hoisted by a little girl in the 1970 Women's Strike for Equality: I AM NOT A BARBIE DOLL. Feminism asks the world to recognize at long last that women aren't decorative ornaments, worthy vessels, members of a “special-interest group”. They are half (in fact, now more than half) of the national population, and just as deserving of rights and opportunities, just as capable of participating in the world's events, as the other half. Feminism's agenda is basic: It asks that women not be forced to “choose” between public justice and private happiness. It asks that women be free to define themselves — instead of having their identity defined for them, time and again, by their culture and their men.
- "A exigência de que as mulheres "retornem à feminilidade" é uma demanda de mudança de mecanismos culturais ao reverso, que nós voltemos para uma época fictícia quando todo mundo era mais rico, mais jovem, mais poderoso."
- - The demand that women "return to femininity" is a demand that the cultural gears shift into reverse, that we back up to a fabled time when everyone was richer, younger, more powerful.
- - "Backlash: the undeclared war against American women" - página 70, Susan Faludi - Anchor Books, 1992, ISBN 0385425074, 9780385425070 - 552 páginas
- - The demand that women "return to femininity" is a demand that the cultural gears shift into reverse, that we back up to a fabled time when everyone was richer, younger, more powerful.
