Introduction:
A discourse is a system of socially constructed knowledge about an aspect of reality (Foucault 1977; Hall 1997; van Leeuwen 2005). The #DontClipTheirWings campaign is concerned with the discourse surrounding gender-differentiated parenting: the act of treating one’s children differently just because of their gender (Raley and Bianchi 2006).
Although the dominant discourse has evolved significantly, gender-differentiated parenting remains to be a prevalent issue. The unequal treatment of boys and girls causes severe social harms, such as the worldwide underrepresentation of women in Science, Technology, Engineering, and Mathematics (STEM) (Forgasz, Leder, and Tan 2014). This is because many parents pass on the belief that females …show more content…
2).
Ergo, Appendix 1 is a multimodal semiotic entity that presents and critiques the dominant discourse surrounding gender-differentiated parenting. It includes ethnically diverse participants and uses a diptych layout to illustrate how this practice harms girls of all backgrounds. Furthermore, the composition aims to change parents’ language and behaviour to become more encouraging of their daughters’ interests in STEM …show more content…
It portrays a parent using perlocutionary speech acts to command their daughter to stop exploring the garden pond. Thus, they are shown to objectify the girl and prioritise the cleanliness of her outfit over her intellectual curiosity. Since the son is not similarly reprimanded, it is apparent that the parent’s speech acts are manifestations of gender-differentiated parenting.
The prevalence of this problem is also shown through the scene’s portrayal of an archetypal family interaction. Firstly, the text adopts a conversational style through disjunctive syntax: the causal adjunct ‘Because’ is elided in “You’re getting your outfit dirty” (Delin 2000, pp.129; Najafian and Ketabi 2011). Moreover, the daughter is named ‘Olivia’, one of the most common names in the state (NSW Registry of Births Deaths & Marriages 2015). In these ways, the text establishes the ubiquity of gender-differentiated parenting.
The diptych’s second half, however, critiques this practice by revealing its harmful consequences. Statistical locutionary statements describe the underrepresentation of females in STEM fields, in this way granting the semiotic product authority and a high degree of textual modality. Moreover, the direct ‘Actor-Process-Goal’ lexicogrammatical pattern used in all the speech acts ascribe agency to parents and hold them accountable for their detrimental
A discourse is a system of socially constructed knowledge about an aspect of reality (Foucault 1977; Hall 1997; van Leeuwen 2005). The #DontClipTheirWings campaign is concerned with the discourse surrounding gender-differentiated parenting: the act of treating one’s children differently just because of their gender (Raley and Bianchi 2006).
Although the dominant discourse has evolved significantly, gender-differentiated parenting remains to be a prevalent issue. The unequal treatment of boys and girls causes severe social harms, such as the worldwide underrepresentation of women in Science, Technology, Engineering, and Mathematics (STEM) (Forgasz, Leder, and Tan 2014). This is because many parents pass on the belief that females …show more content…
2).
Ergo, Appendix 1 is a multimodal semiotic entity that presents and critiques the dominant discourse surrounding gender-differentiated parenting. It includes ethnically diverse participants and uses a diptych layout to illustrate how this practice harms girls of all backgrounds. Furthermore, the composition aims to change parents’ language and behaviour to become more encouraging of their daughters’ interests in STEM …show more content…
It portrays a parent using perlocutionary speech acts to command their daughter to stop exploring the garden pond. Thus, they are shown to objectify the girl and prioritise the cleanliness of her outfit over her intellectual curiosity. Since the son is not similarly reprimanded, it is apparent that the parent’s speech acts are manifestations of gender-differentiated parenting.
The prevalence of this problem is also shown through the scene’s portrayal of an archetypal family interaction. Firstly, the text adopts a conversational style through disjunctive syntax: the causal adjunct ‘Because’ is elided in “You’re getting your outfit dirty” (Delin 2000, pp.129; Najafian and Ketabi 2011). Moreover, the daughter is named ‘Olivia’, one of the most common names in the state (NSW Registry of Births Deaths & Marriages 2015). In these ways, the text establishes the ubiquity of gender-differentiated parenting.
The diptych’s second half, however, critiques this practice by revealing its harmful consequences. Statistical locutionary statements describe the underrepresentation of females in STEM fields, in this way granting the semiotic product authority and a high degree of textual modality. Moreover, the direct ‘Actor-Process-Goal’ lexicogrammatical pattern used in all the speech acts ascribe agency to parents and hold them accountable for their detrimental