In a world in which history has consistently silenced the voices of women under patriarchal dominance, it is no surprise that their noises and expressions are literally – be it laughing, volume or disagreements of women – also with stigma and oppression. Be it the masculinized representation in a workforce, a household or social existence, the decibel of the decency varies for both men and women. The voice of a woman in history, leadership, work area or politics was exposed to constant repression and a lack of recognition. It is not only her laugh in its literal form that is exposed to patriarchal control, but also the volume of your make-up and your clothing, your decision skills, your professional performance and even your salary requirements.
The hidden norms of the patriarchy determine the acceptable and unacceptable. This acceptable and unacceptable sound of a woman has constantly played with the idea of creating a fair and just society for a woman, and it will continue to do so if we do not recognize the balls that do not attract our attention on her surface.
Men speak: masculinization of a conversation
Jennifer Coates underlines the intersection of language and masculinity in her book. Talk men: Stories in the manufacture of men ‘. In this book, she examines a detailed understanding of how gender plays an important role in determining the way a man and a woman indulge in conversations. From a detailed examination of the conversations between garage mechanics during a break, carpenters in the pub after work and chatting to the university academic who talk after hours, the book shows how men can kidnap any conversation by loud and aggressive through their word selection.
In India, the Chai Tapris and Nukkads are flooded with men from all areas of life and are either discussing a bar from the newspaper, politics, their profession or their social life, while women, although they consist of 50% of the total population, are largely missing in all of these rooms. They are simply behind the doors in the pretext of security and security by the men that put the chai to discuss IPL, F1, the stock market and women. You simply built a preconceived idea that a woman would not be interested in Sachin, Senna or Sensex.
The mythological anecdote: laughter is criminal.
The struggle to laugh freely without being assessed also returns to our mythological past. The Pandavas built a beautiful palace, the soil of which was similar to water, and they also adorned it with some water surfaces to produce this visual harmony. They then all invited to the palace, including Duryodhan. Since the palace looked like water, Duryodhan was confused to identify the water surface and the floor surface. The result was that he fell into the pool and led to an embarrassing moment in which he was soaked and his DHOTI came before everyone. This sight made it unbearable for Draupadi To suppress her laughter what Duryodhan felt, insulted and angry.
Gender -specific sound landscapes: female and male
Sound was mainly identified by the existing patriarchal norms. An enthusiastic selection of gender -specific sounds that run like a musical rhapsody, including the click of bracelets, the sound of a spatula that turns parathas for breakfast, the whirring of machines in a factory and kneading of dough in a bakery, surrounded by us.
These gender -specific sound landscapes often lead us to combine a certain sound with a certain gender. The sound of solid and heavy steps becomes male, while the quieter and softer steps are identified as female. Even the lifeless objects around us are separated on the basis of the gender, such as scooters, scooters become scooter, to fit the gender -specific binary file and become marketable for women.
These gender -specific sound landscapes often lead us to combine a certain sound with a certain gender. The sound of solid and heavy steps becomes male, while the quieter and softer steps are identified as female. Even the lifeless objects around us are separated on the basis of the gender, such as scooters, scooters become scooter, to fit the gender -specific binary file and become marketable for women.
The scooty was also colored to meet female demand, and in contrast to the throbbing sound of the balls, it has a very quiet operation on the street, which is further seen as an ideal choice for women. Similarly, the wind chimes, the chandeliers, the fairy lights, the balloons and the ligaments female, while the machines, the sword, football, the tires and trucks became male.
Values, traditions and architecture: the patriarchal lifestyle
Is noise regarded as something criminal? Women who raise their voice in the house to laugh or sing are nonchalant branded as ungreed women. Her laughter and vocals are conveniently classified as the sound of loose women. Or they are only viewed as a series of idiots that chat about their homely little things and are stereotyped again in the context of gender. A woman who holds back, questions and dissidents are considered a threat to the traditional thread of a society, which leads to a subdued political representation and pays gaps in the workforce.
Source: Fii
The deeply rooted patriarchy was preserved not only by the oral control, but also by the design and architecture of the city. “Door knocker“” is an example of the less well -known gender -specific design in Persian architecture. These door knockers are also one of the most popular symbols of Iranian culture and can be discovered in numerous old houses in the country. Delieved with a certain pattern, engraving and heavy brass, which is still completed with nails and anchors, these knockers are different for men and women.
Women who raise their voice in the house to laugh or sing are nonchalant branded as ungreed women. Her laughter and vocals are conveniently classified as the sound of loose women.
The male knocker has a higher pitch, while the female knocker has a lower pitch. The sound is precisely enough for the owner of the house to identify the male or female guest who knocks on the door. Apart from that, the basic design and the founding of a city also cries out of masculinity, with highly towering sculptures and statues of male guides, which stand upright in the city’s first -class places, while statues of female leaders are rarely or not existent.
Semantics of the names: The softer, the better
Patriarchal representations of sounds are not only limited to the stereotypes, which we create based on the psychological or surface sound landscapes. But also that The semantics of the names expand this gender regulation further. Since then, women have been reduced by the pioneers of patriarchal attitudes to mere house questions, where their specific properties are compassionate, soft and beautifully limited. This way of thinking is immensely correct in the semantics of names like Viraat, which means brave and rudra, which is more roaring, which fit perfectly as the best choice of names for men, while names such as Aleena, AaKriti and Gul, ie silk, soft, beautiful and delicate, are selected for women. These names and their meanings clearly imply the ideal image of a woman in the minds of a patriarch or a patriarchal society.
Expression, emotions and empathy: the e of a woman are not easy.
Anger as an emotion is not an ideal for a woman. Women who aggressively issue their opinion by violence and precision are viewed, while a loud guide is celebrated for his courage and is considered brave, strong and articulated. The men’s anger becomes righteous and powerful while the trouble of women becomes questionable. Very often a patriarchal society has armed the anger of women and described it as irrational, illogical and hysterical.
It is a very recurring sight in a sexist society in which a woman is trained to silence and take a back seat when the man of the house is angry. Their existence is limited to the fact that she sets the table for dinner, the sound of cutlery she puts perfectly, the sound of her foot chains when she adorns herself, and the sound of a lush meal that prepares you for the men of the house, which are seen as a socially acceptable ways.
Poetry, music and comedy: Noise is a song.
Through deeply rooted socio -political conditioning and stigmatization of a woman’s anger expression, the patriarchy enables men, violent, abusive and dominated. The patriarchal conditioning also stigmatized the tears as female and the cry as a male. Bollywood was also on a sobbing beautiful woman and a screaming man in most cinemas and, women -fine songs like ‘Pyar Itna Zyada Diya Ki Ki Mansk Santulan Apna Khone Lagi’ romantic.
The sound becomes a song when a “male” rapper is objective and it becomes louder and loud when a woman looks for autonomy and takes back control. The noise becomes a comedy when a stand-up comedian makes misogynistic comments, but laughter gets nervous when the women chat in public spaces. It is the patriarchal judgment that only defined and redefined noise from the lens in order to decide whether your sound can be seen as a symphony or cacophony.
Over time, women had to believe that if a woman is angry, due to her own misconduct, her defects and failure, there is. Therefore, a woman has to question herself if she feels a feeling of anger before deciding to let her out. A woman’s anger is not considered socially; It is only considered her personal deficiency, for which a woman herself has to take responsibility herself. In a society that consists of angry men and socially silent women, the poems of Wendy Cope, “He tells her“”is involved in the repressive psychology of people who hinder the idea of an integrative and equal society.
