By combining legal and genealogical methodologies, this book describes the origin, decline, resurgence and metamorphosis of patriarchy in the West. The book provides the reader with a unified tool for understanding what patriarchy is, its dynamics, and its main features. The reader will find a guide with which to navigate the dozens of definitions and theories of patriarchy, and will better understand why, despite the proclamations of formal Constitutions of the equality of the sexes, the gender gap in the West is still high. Approaching patriarchy both as a concept and as a social fact, the book shows how patriarchy lay at the Jewish-Greek-Roman roots of Western civilization; how for millennia it was perceived as a benevolent function for social and political life and how feminism reversed this benevolent narrative. By reconstructing how patriarchy has been theorized in several disciplines and historical times, the book reflects on what has been done and remains to be done to de-patriarchalize the West. It will be a valuable resource for academics, researchers and students in Women’s Studies, Gender Studies, Constitutional Law, Cultural Studies, Religious Studies and Anthropology.

Languages, linguistics, and civilization; festschrift in honor of Anton Moeliono, Indonesian expert in linguistics.

Each successive wave of revolution to hit modern China—political, cultural, and economic—has radically reshaped Chinese society. Whereas patriarchy defined the familial social structure for thousands of years, changing realities in the last hundred years have altered and even reversed long-held expectations. Transforming Patriarchy explores the private and public dimensions of these changes in present-day China. Patriarchy is not dead, but it is no longer the default arrangement for Chinese families: Daughters-in-law openly berate their fathers-in-law. Companies sell filial-piety insurance. Many couples live together before marriage, and in some parts of rural China, almost all brides are pregnant. Drawing on a multitude of sources and perspectives, this volume turns to the intimate territory of the family to challenge prevailing scholarly assumptions about gender and generational hierarchies in Chinese society. Case studies examine factors such as social class, geography, and globalization as they relate to patriarchal practice and resistance to it. The contributors bring the concept of patriarchy back to the heart of China studies while rethinking its significance in dominant Western-centric theories of modernity.

Patriarchy’s Creative Resilience explores the disturbing sustainability of White male supremacy. Kramp traces an imaginative failure and an imaginative success; his focus on British speculative fiction published between 1870 and 1900 demonstrates how even this elastic and wildly inventive literary form remains incapable of promoting non- patriarchal masculinity, and he attributes this inability to the creative resiliency of white male supremacy. He demonstrates the inventive use of diverse resources that we frequently view as custom or uncomplicated history and a versatility that we often dismiss as sheer power. He draws on an archive of late nineteenth- century speculative fiction to detail a versatile patriarchal toolbox, including hegemonic masculinity, control of dangerous women, hyperbolic and sentimental performances of male sovereignty, and reversions to authoritarian, at times violent conduct. He also considers how the classic military strategy of dividing to conquer undergirds all these tactics, inhibiting our creating energies and dynamic collaborations. Various chapters demonstrate the enterprise, ingenuity, and adaptability of patriarchy to refashion and rejustify normalized systems of oppression. While scholars have consistently identified moments and agents of resistance to patriarchal structures by highlighting creativity, resiliency, and resourcefulness, Kramp’s project reveals how patriarchy itself is creative, resilient, and resourceful.

In Tackling Rape Culture: Ending Patriarchy, Jan Jordan asks why, despite decades of feminist activism, does rape culture remain so endemic within contemporary society. She argues that, in order to understand the global pandemic of sexual violence, we must view rape culture as a consequence of the social divisiveness that emerges from the logic of patriarchy. In advancing this argument, Jordan offers a comprehensive indictment of the patriarchal system while recognising also women’s efforts to resist its edicts. Jordan critically explores two mechanisms that she argues are central to the maintenance and reproduction of rape culture - silencing and objectification. Both are examined as patriarchal strategies that have been relied on for centuries to control and constrain women’s lives, silencing their voices and keeping them as ‘othered’ outsiders in a male-defined world. Women throughout history have sought ways to resist such control and, since the second-wave women’s movement of the 1970s, this has included multiple initiatives both offline and more recently online. While #MeToo is being hailed by many as evidence that the silencing of women’s voices about rape has finally been broken, Jordan urges a more critical appraisal given the continued dominance of patriarchal thinking. To end rape culture, Jordan argues, we must end patriarchy. This timely and provocative book, which complements Jordan’s Women, Rape and Justice: Unravelling the Rape Conundrum (Routledge, 2022), will be of great interest to researchers, students, practitioners and activists seeking to understand and challenge the pervasive rape culture characterising contemporary patriarchal society.

In this timely work, Fuchs imagines a new paradigm of fatherhood for a post-patriarchal age, one inspired by the history of Jewish patriarchy. Fuchs argues that the Jewish story sets the precedent for change in the nature of patriarchy today, breaking the evolutionary connection between male dominance and incentives for fatherhood.

Something is rotten in the state of Spain. The uninterred corpse of a patriarchal figure populates the visual landscapes of Iberian cinemas. He is chilled, drugged, perfumed, ventilated, presumed dead, speared in the cranium, and worse. Analyzing a series of Iberian cinematic dark comedies from the 1950s to the present day, Patriarchy’s Remains argues that the cinematic trope of the patriarchal death symbolizes the lingering remains of the Francisco Franco dictatorship in Spain (1939–75). These films, created as satirical responses to persisting economic, social, and political issues, demonstrate that Spain’s transition to democracy following the Francoist period is an incomplete and ongoing process. Within the theme of patriarchal decay, the significance of the figure differs across cinematic representations, from his indispensability to his obstructionism and exploitation. Erin Hogan traces the prevalence of patriarchal death by analyzing its relationship with the surrounding characters who must depend on the deceased. Hogan demonstrates how the patriarch’s persistence in film both reveals and challenges an array of discriminations and inequalities in the cinematic grotesque tradition, in Iberian cinemas more broadly, and in Iberian society as a whole. Despite Spain’s ongoing transition towards democratic pluralism, Patriarchy’s Remains serves as a reminder that the remnants of an entrenched although not interred patriarchal culture continue to haunt Iberian society.

The concept of 'patriarchy' is one which signals a sharp divide between traditions of feminist thought. Sylvia Walby attempts to conceptualize 'patriarchy' in a way that takes account not only of the complexity of relationships of gender, but also of the subtleties of the interconnections of patriarchy and capitalism. She rejects those accounts which treat patriarchy as a unified set of relations, or which confine the site of patriarchy to any one privileged sphere such as the family. Instead, she elaborates a novel view of patriarchy as a set of 'relatively autonomous relations', the connections between which are spelled out through a variety of detailed case studies. In contrast to many other views of 'capitalist patriarchy', Sylvia Walby characterizes the relationship between capitalism and patriarchy as a relationship, not of harmony and mutual accommodation, but of tension and conflict. This thesis is substantiated through a comparative historical analysis of three contrasting areas of employment: cotton textiles, engineering and clerical work. These analyses show the shortcomings of much conventional literature in sociology, history and economics on women's employment, which pays insufficient attention to the independence of patriarchal relations. The book draws upon sociological, historical, economic and geographic materials to argue for an understanding of gender relations in terms of the specific tensions and compromises between patriarchal and capitalist relations. Exploring the impact of the state on patterns of employment and unemployment completes a book rich in theoretical and empirical analysis. Patriarchy at Work will be recognized as a major contribution to feminist thought and the social sciences.

Fixing Patriarchy: Feminism and Mid-Victorian Male Novelists explores representations of monstrous women in mid-Victorian literature, tracing anxious male responses to the feminist movement of the era. It argues that Victorian patriarchy was a fluid theory and set of practices through which Victorian men attempted unsuccessfully to fix gender definitions and their own positions of power. In Victorian novels written by men, the thorough instability of contemporary conceptions of both masculinity and femininity is revealed, as an entire society struggled with new forms of self-awareness and new threats to traditional social structures and systems of belief.