Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)

Over the past few decades, there was a profound transformation in the role of fathers within families, leading to the emergence of the "new father" concept. This shift marks a departure from the "old father" archetype, characterized by more inflexible performative gender roles a...

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Main Authors: Soumaya Bouacida, Hana Chellouk
Format: Article
Language:English
Published: University of Bejaia Abderrahmane Mira 2024-12-01
Series:The Journal of Studies in Language, Culture and Society
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Online Access:https://univ-bejaia.dz/revue/jslcs/article/view/496
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author Soumaya Bouacida
Hana Chellouk
author_facet Soumaya Bouacida
Hana Chellouk
author_sort Soumaya Bouacida
collection DOAJ
description Over the past few decades, there was a profound transformation in the role of fathers within families, leading to the emergence of the "new father" concept. This shift marks a departure from the "old father" archetype, characterized by more inflexible performative gender roles and limited involvement in caregiving and household duties. Instead, the "new father" embodies a more equitable and involved approach to parenting as a result of the shifting social norms and family dynamics. Influenced by feminist movements that have fought for equal opportunities and duties for men and women, and that have questioned the conventional paternal responsibilities, fathers are pushed to be more involved in their children's lives during the critical early months and years of their development. This paper, therefore, explores the various roles of fathers in Harper Lee’s To Kill a Mockingbird and examines the concept of fatherhood from a postmodernist perspective, drawing on some psychoanalytic discourses, namely Lacan's Mirror Stage, Freud's Oedipus complex, and Kristeva's semiotics of gender. This paper grapples with the intersection of these psychoanalytic theories with the evolving landscape of fatherhood in contemporary society, emphasizing the importance of self-perception, emotional connections, and redefined paternal identities within this transformative context.Atticus, for instance, serves as a representative model of a positive father-child relationship. He embodies ‘new father’ figure who values emotional expression, open communication, active parenting, and gender equality. However, the narrative also delves into the darker portrayal of vicious paternal figures, like Bob Ewell, who conform to traditional gender roles, exhibit restrained emotions and limit their involvement in childcare and household responsibilities.
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spelling doaj-art-e6b078e584c84c66b2d17ecc8fab18bf2025-08-20T03:32:57ZengUniversity of Bejaia Abderrahmane MiraThe Journal of Studies in Language, Culture and Society2716-91892676-17502024-12-0173Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)Soumaya Bouacida0Hana Chellouk1University of 20th August 1955, Skikda, AlgeriaUniversity of 20th August 1955, Skikda, Algeria Over the past few decades, there was a profound transformation in the role of fathers within families, leading to the emergence of the "new father" concept. This shift marks a departure from the "old father" archetype, characterized by more inflexible performative gender roles and limited involvement in caregiving and household duties. Instead, the "new father" embodies a more equitable and involved approach to parenting as a result of the shifting social norms and family dynamics. Influenced by feminist movements that have fought for equal opportunities and duties for men and women, and that have questioned the conventional paternal responsibilities, fathers are pushed to be more involved in their children's lives during the critical early months and years of their development. This paper, therefore, explores the various roles of fathers in Harper Lee’s To Kill a Mockingbird and examines the concept of fatherhood from a postmodernist perspective, drawing on some psychoanalytic discourses, namely Lacan's Mirror Stage, Freud's Oedipus complex, and Kristeva's semiotics of gender. This paper grapples with the intersection of these psychoanalytic theories with the evolving landscape of fatherhood in contemporary society, emphasizing the importance of self-perception, emotional connections, and redefined paternal identities within this transformative context.Atticus, for instance, serves as a representative model of a positive father-child relationship. He embodies ‘new father’ figure who values emotional expression, open communication, active parenting, and gender equality. However, the narrative also delves into the darker portrayal of vicious paternal figures, like Bob Ewell, who conform to traditional gender roles, exhibit restrained emotions and limit their involvement in childcare and household responsibilities. https://univ-bejaia.dz/revue/jslcs/article/view/496fatherhoodnew fatherold fatherpsychoanalysisto kill a mocking bird
spellingShingle Soumaya Bouacida
Hana Chellouk
Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)
The Journal of Studies in Language, Culture and Society
fatherhood
new father
old father
psychoanalysis
to kill a mocking bird
title Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)
title_full Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)
title_fullStr Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)
title_full_unstemmed Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)
title_short Performing Fatherhood: New Father Vs. Old Father in To Kill A Mocking Bird by Harper Lee (1960)
title_sort performing fatherhood new father vs old father in to kill a mocking bird by harper lee 1960
topic fatherhood
new father
old father
psychoanalysis
to kill a mocking bird
url https://univ-bejaia.dz/revue/jslcs/article/view/496
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