The ecological crisis and gender inequality are two serious problems in society today and a study conjoining them can contribute to a deeper understanding surrounding the issues. This paper argues that there is a relation between these problems with the support of ecofeminist theory. This relation can be analysed in literature and in the following study the colombian novel La Vorágine (1924), by José Eustasio Rivera, works as the base of interpretation since its main theme is the Amazonian jungle and its relation to humans. The objective of this study is to firstly, interpret and analyse the descriptions of nature and how it relates to the feminine sphere, secondly analyse the correlation between them in the question of domination and finally, look at how the masculine play a role in this relation. This writing concludes after the hermeneutic analysis, that feminine associations can be detected in the descriptions of nature and a correlation between the domination of women and the exploitation of the jungle in the story is visible, since both phenomena’s occupy a similar position within the patriarchal society. It also concludes that the masculine plays an important part, the white man acts as the exploiter of the female and nature. But they are at the same time not a homogenous group, and have different roles depending on class. The feminine characters are likewise not a homogenous group. / La crisis ambiental y la desigualdad entre los géneros son dos problemas graves en la sociedad actual y un estudio conjunto de ambos puede contribuir a una comprensión más profunda de estas cuestiones. La tesina que sigue se basa en el marco teórico del ecofeminismo y su idea de que existe una relación entre estos dos problemas. Esta relación puede ser analizada en la literatura, y en este estudio se parte de la novela de José Eustasio Rivera, La Vorágine (1924), ya que su tema principal es la selva amazónica y su relación con el ser humano. El objetivo de esta tesina es, en primer lugar, analizar e interpretar las descripciones de la naturaleza y cómo esta se relaciona con la esfera femenina. En segundo lugar, analizar la correlación entre ambas en lo que se refiere a la dominación. Finalmente, ver cómo aparece el papel de lo masculino en esta relación. Después de un análisis llevado a cabo con el método hermenéutico, se concluye que se detectan asociaciones con lo femenino en las descripciones de la selva y una correlación entre la dominación de la mujer y la explotación de la selva en la historia de la obra, ya que parece que se encuentran en situaciones similares en la sociedad patriarcal. Se concluye también que lo masculino tiene un papel importante. Por un lado, el hombre blanco actúa como explotador de lo femenino y de los recursos naturales, pero por otro lado, el masculino no es un grupo homogéneo y su papel cambia según la clase social, algo que también ocurre con los personajes femeninos.

The theory and method I use in this essay is literary and feministic text critique, to discover the story of Genesis 16 anew. Earlier research in this field has studied Genesis within traditional exegesis since the 19th century and within feministic exegesis since the 1960s. This essay has three main parts. First, a theoretical description of my assignment, followed by analysis and summaries of these. Second, a discussion of this work and final conclusions. In my study, the analysis sheds light on the literary character of Hagar in several ways, both in traditional and feministic exegesis. The traditional biblical study has given a solid ground in the reading of Genesis 16 and the feministic exegesis has given a clear perspective on Hagar as a woman in a patriarchal environment and interpretative tradition. Together they have given a rich telling on the literary character of Hagar. In this essay I make a study of Genesis 16, with a focus on the literary character of Hagar. My point of departure is a sense of lacking the experience of Hagar in the book of Genesis, wondering if a feminist exegesis could give something new in this research. In order to discover eventual differences, I perform a traditional exegesis of Genesis 16, and then compare it with a feminist exegesis. Another question in my research is that of interreligious perspectives of today's society. From this point of view Hagar is a relevant character for both Muslims, Jews and Christians. / I den här uppsatsen gör jag en bibelvetenskaplig analys av Genesis 16, med fokus på den litterära karaktären Hagar ur ett feministiskt perspektiv. Min utgångspunkt var att jag saknade fokus på Hagars erfarenheter i Genesis och undrade om en feministisk exegetik kunde tillföra något nytt i forskningen. För att se på eventuella skillnader utförde jag en traditionell texttolkning av Genesis 16, för att sedan göra en jämförande feministisk texttolkning. En underfråga i min forskning är om den feministiska analysen har något att tillföra interreligiösa frågor idag. Detta utifrån att Hagar är en relevant karaktär för både muslimer, judar och kristna. Den teori och metod jag använder här är litterär och feministisk textkritik, för att upptäcka Genesis 16 på nytt genom dessa analyser av den. Tidigare forskning på området har studerat Genesis inom traditionell exegetik sedan 1800-talet och inom modern feministisk exegetik sedan 1960-talet. Uppsatsen disposition har i huvudsak tre delar. Först ges en inledande teoretisk del där jag förklarar vad jag ska göra och hur, därefter analyser med synteser med efterföljande diskussion av de slutsatser jag kommit fram till. I min studie har analyserna belyst Hagars litterära karaktär på en mängd sätt. Detta gäller både den traditionella och den feministiska exegetiken. Den traditionella bibelvetenskapen har gett en solid grund i analysen av Genesis 16 och den feministiska exegetiken har byggt på denna med emfas på Hagar som kvinna i en patriarkal miljö och tolkningstradition. Tillsammans har en rik berättelse om Hagar framträtt. Hennes karaktär ges mycket utrymme i en närläsning av Genesis 16, likväl som Sarajs. Föräldrar och förfäder är i centrum, inte enbart patriarkerna. Välsignelser och lidande är en del av både männens och kvinnornas liv. Gud hör och ser det som människor upplever och öknen är en plats där människor kan få en erfarenhet av denna relation. / <p>Interreligiösa frågor tas inte upp som kan förväntas av rubriken samt enligt underfråga till frågeställning. Eventuellt skulle mer litteratur ha bidragit till undersökningen.</p>

Jouée par María Elena Velasco depuis la fin des années 1960, la India María met en scène une indienne « authentique » qui, malgré son statut et ses limitations sociales, dénonce le traitement des institutions auxquelles elle est soumise : les systèmes politique, judiciaire, économique et religieux. Néanmoins, lors des premières projections des films sur le grand écran, la critique portait essentiellement sur les aspects superficiels et a réprouvé la façon dont les indiens et le Mexique étaient représentés, car jugée réactionnaire. Au début des années 1990, des chercheurs ont commencé à étudier ses films en proposant une lecture « négociée » : ils s’intéressent à l’effet humoristique produit sur le public par sa performance et ses aventures, en même temps qu’ils reconnaissent l’ambigüité du personnage et des narrations, tout en soulignant les discours ethnique et de classe. À travers l’analyse de Tonta, tonta pero no tanto (Bête, bête, mais pas trop) de Fernando Cortés (1972), Ni de aquí ni de allá (Ni d’ici ni de là-bas) de María Elena Velasco (1988), et Sor Tequila (Sœur Tequila) de Rogelio González (1977), mon mémoire contribue à cette lecture en étudiant trois sujets : le stéréotype cristallisé dans ce personnage, afin de démontrer comment celui-ci permet une critique de la société mexicaine ; les nouveaux enjeux culturels auxquels le système néolibéral affronte les autochtones ; et la transformation du masculin et du public à travers une construction alternative du féminin. / Played by María Elena Velasco since the late 1960s, La India María brings to life an “authentic” indigenous woman who despite her social standing and limitations, denounces the treatment of institutions to which she’s subjected: the political, judicial, economic, and religious systems. However, since her first appearances in theaters, critics have focused more on superficial aspects of her performance, judging that indigenous peoples and Mexico were represented in a reactionary way. Since the beginning of the 1990s, researchers have proposed a “negotiated” reading of her movies: they paid attention to the effects Velasco’s humorous performance and adventures had on her audience, but they also recognized the ambiguity of the character and storylines, all the while stressing the ethnic and class discourses. Through the analysis of Tonta, tonta pero no tanto (Foolish, Foolish But Not so Much) by Fernando Cortés (1972), Ni de aquí ni de allá (Neither From Here nor From There) by María Elena Velasco (1988), and Sor Tequila (Sister Tequila) by Rogelio González (1977), my thesis contributes to this reading by studying three subjects: the stereotype as represented by this character, in order to show how it criticizes Mexican society; the new cultural challenges that the Neoliberal system presents to indigenous peoples; and the transformation of masculine gender models and the public through an alternative construction of feminine gender models. / Representada por María Elena Velasco desde finales de la década de 1960, La India María encarna una indígena “auténtica” que no obstante sus limitaciones y su posición social es capaz de denunciar el tratamiento de instituciones a las cuales está sometida: el sistemas político, el judicial, el económico y el religioso. Sin embargo, desde su debut en la pantalla grande, la crítica se concentró esencialmente en los aspectos superficiales de su interpretación, juzgándola reaccionaria por la manera de representar a los indígenas y a México. Desde comienzos de la década de 1990, algunos investigadores comenzaron a estudiar sus cintas proponiendo una lectura “negociada”: teniendo en cuenta los efectos cómicos que su interpretación y sus aventuras tenían sobre su audiencia, pero reconociendo la ambigüedad del personaje y de las narrativas, y considerando los discursos étnico y de clase. A través del análisis de Tonta, tonta pero no tanto de Fernando Cortés (1972), Ni de aquí ni de allá de María Elena Velasco (1988), y Sor Tequila de Rogelio González (1977), mi memoria contribuye a esta lectura con el estudio de tres temas: el estereotipo encarnado por la India María para demostrar que su uso critica a la sociedad mexicana; los desafíos culturales para los indígenas con la entrada del sistema neoliberal; y la transformación de lo masculino-público a través de una construcción alternativa de lo femenino.

Bildungsroman refere-se a uma forma romanesca de origem germânica. Trata-se de uma forma literária que expressa o conflito entre o indivíduo e o mundo de um personagem durante seu período de formação (Bildung). No século XX, esse gênero firmou-se como um conceito produtivo em quase todas as literaturas nacionais de origem europeia ou americana. Neste trabalho, analisamos momentos relevantes da trajetória de formação da protagonista, Margarida Clark Dulmo, em que ela entra em conflito com a mentalidade provinciana da sociedade patriarcal açoriana do início do século XX, a fim de investigar a hipótese de que Mau Tempo no Canal, de Vitorino Nemésio, possa ser considerado como um romance de formação (Bildungsroman) açoriano. / Bildungsroman relates to a novel form of Germanic origin. It is a literary form that expresses the conflict between the individual and the world of a character during his training period (Bildung). In the twentieth century, this genre has established itself as a productive concept in almost all national literatures of European or American origin. In this paper, we analyze relevant moments of the trajectory of formation of the protagonist, Margaret Clark Dulmo where it conflicts with the provincial mentality of the Azorean patriarchal society of the early twentieth century, in order to investigate the hypothesis that Bad Weather in Canal Vitorino Nemesio, can be considered as a \"formation romance\" (Bildungsroman) Azores.

Jouée par María Elena Velasco depuis la fin des années 1960, la India María met en scène une indienne « authentique » qui, malgré son statut et ses limitations sociales, dénonce le traitement des institutions auxquelles elle est soumise : les systèmes politique, judiciaire, économique et religieux. Néanmoins, lors des premières projections des films sur le grand écran, la critique portait essentiellement sur les aspects superficiels et a réprouvé la façon dont les indiens et le Mexique étaient représentés, car jugée réactionnaire. Au début des années 1990, des chercheurs ont commencé à étudier ses films en proposant une lecture « négociée » : ils s’intéressent à l’effet humoristique produit sur le public par sa performance et ses aventures, en même temps qu’ils reconnaissent l’ambigüité du personnage et des narrations, tout en soulignant les discours ethnique et de classe. À travers l’analyse de Tonta, tonta pero no tanto (Bête, bête, mais pas trop) de Fernando Cortés (1972), Ni de aquí ni de allá (Ni d’ici ni de là-bas) de María Elena Velasco (1988), et Sor Tequila (Sœur Tequila) de Rogelio González (1977), mon mémoire contribue à cette lecture en étudiant trois sujets : le stéréotype cristallisé dans ce personnage, afin de démontrer comment celui-ci permet une critique de la société mexicaine ; les nouveaux enjeux culturels auxquels le système néolibéral affronte les autochtones ; et la transformation du masculin et du public à travers une construction alternative du féminin. / Played by María Elena Velasco since the late 1960s, La India María brings to life an “authentic” indigenous woman who despite her social standing and limitations, denounces the treatment of institutions to which she’s subjected: the political, judicial, economic, and religious systems. However, since her first appearances in theaters, critics have focused more on superficial aspects of her performance, judging that indigenous peoples and Mexico were represented in a reactionary way. Since the beginning of the 1990s, researchers have proposed a “negotiated” reading of her movies: they paid attention to the effects Velasco’s humorous performance and adventures had on her audience, but they also recognized the ambiguity of the character and storylines, all the while stressing the ethnic and class discourses. Through the analysis of Tonta, tonta pero no tanto (Foolish, Foolish But Not so Much) by Fernando Cortés (1972), Ni de aquí ni de allá (Neither From Here nor From There) by María Elena Velasco (1988), and Sor Tequila (Sister Tequila) by Rogelio González (1977), my thesis contributes to this reading by studying three subjects: the stereotype as represented by this character, in order to show how it criticizes Mexican society; the new cultural challenges that the Neoliberal system presents to indigenous peoples; and the transformation of masculine gender models and the public through an alternative construction of feminine gender models. / Representada por María Elena Velasco desde finales de la década de 1960, La India María encarna una indígena “auténtica” que no obstante sus limitaciones y su posición social es capaz de denunciar el tratamiento de instituciones a las cuales está sometida: el sistemas político, el judicial, el económico y el religioso. Sin embargo, desde su debut en la pantalla grande, la crítica se concentró esencialmente en los aspectos superficiales de su interpretación, juzgándola reaccionaria por la manera de representar a los indígenas y a México. Desde comienzos de la década de 1990, algunos investigadores comenzaron a estudiar sus cintas proponiendo una lectura “negociada”: teniendo en cuenta los efectos cómicos que su interpretación y sus aventuras tenían sobre su audiencia, pero reconociendo la ambigüedad del personaje y de las narrativas, y considerando los discursos étnico y de clase. A través del análisis de Tonta, tonta pero no tanto de Fernando Cortés (1972), Ni de aquí ni de allá de María Elena Velasco (1988), y Sor Tequila de Rogelio González (1977), mi memoria contribuye a esta lectura con el estudio de tres temas: el estereotipo encarnado por la India María para demostrar que su uso critica a la sociedad mexicana; los desafíos culturales para los indígenas con la entrada del sistema neoliberal; y la transformación de lo masculino-público a través de una construcción alternativa de lo femenino.

Made available in DSpace on 2016-06-02T19:46:18Z (GMT). No. of bitstreams: 1 4325.pdf: 1500225 bytes, checksum: 64be71b0ec4469671c2d55e8c76a847d (MD5) Previous issue date: 2012-03-06 / The Women's Police Stations were created to combat and prevent violence against women, enabling act in time to prevent the occurrence or worsening damage to individuals development. However, some observational studies, as well as research conducted with violence women victims, show that the police attendance is unsatisfactory, pronounced by patriarchal customs, which contributes to women do not give continuity to the complaint of a crime committed against them, keeping the violence perpetuation. Therefore, it is socially and scientifically relevant to study surrounds` reality of the civil police and the challenges faced by it. This study aimed to elicit and characterize police officers´ beliefs on violence against women and their conceptions of such violence and the attendance to violence victims. The study included 20 police officers from a medium-sized city in the interior of Brazil. The following instruments were used for data collection: a) Questionnaire on beliefs about domestic violence and b) Questionnaire on the conceptions of police officer about violence against women and the attendance to violence victims. The instruments were applied at two different times. Through instruments were made qualitative and quantitative analysis. The quantitative analysis was obtained with descriptive methods. Qualitative analysis was obtained through defined categories. The outcomes showed that the majority of responses police to the statements of the first questionnaire pointed to a low percentage of inappropriate responses, however, the police officers who participated in the survey had specific beliefs about violence against women with high rates of inadequacy, including blaming the victim for staying in abusive relationship, misconceptions about the effects of violence on child development, blaming the victim for the violence. Although, participants had adequate view with respect to some beliefs, such as: conceptions about women deserve to be beaten and physical abuse to be more threatening than psychological abuse. The beliefs in which police officers had higher rate of inadequate responses can directly affect the attendance to violence women victims. The outcomes also showed domestic violence is most often seen by participants as physical aggression, although the participants demonstrated a good knowledge about the different practices of violence. Additionally, the policemen pointed out some challenges for them to meet the victims of violence, such as lack of training, staff shortages and weakened emotional state of employees who can produce an insufficient treatment. The concluding remarkes points to the need for better training for professionals regarding the issues of violence against women, as well as the development, implementation and evaluation of training courses for such professionals, aiming to fill this gap in their formation. / As Delegacias de Defesa da Mulher foram criadas para combater e prevenir a violência contra a mulher, e assim, consequentemente, intervir a tempo de evitar a ocorrência ou agravamento de danos ao desenvolvimento dos indivíduos. Porém, alguns estudos observacionais, bem como pesquisas realizadas junto às mulheres vítimas de violência, evidenciam que o atendimento nestas delegacias é insatisfatório, marcado por costumes patriarcais, colaborando para que as mulheres não dêem continuidade à queixa de crime praticado contra elas, o que contribui com a perpetuação da violência. Desta forma, é social e cientificamente relevante estudar a realidade que cerca o policial civil e os desafios enfrentados por ele. O presente trabalho teve como objetivo identificar e caracterizar as crenças de policiais civis a respeito da violência contra a mulher e as suas concepções acerca de tal tipo de violência e do atendimento que prestam às vítimas. Participaram do estudo 20 policiais civis da circunscrição de uma cidade de médio porte no interior do Brasil. Foram utilizados os seguintes instrumentos para coleta de dados: a) Questionário sobre Crenças a Respeito de Violência Doméstica e b) Questionário sobre as concepções do policial civil acerca da violência contra a mulher e do atendimento que prestam às vítimas. A aplicação dos instrumentos ocorreu em dois momentos distintos. Por meio dos instrumentos, foram feitas análises quantitativas e qualitativas. A análise quantitativa foi obtida usando-se métodos descritivos. A análise qualitativa foi obtida a partir das categorias definidas. Os resultados obtidos indicaram que a grande maioria das respostas dos policiais civis às afirmações do primeiro questionário apontou para baixa porcentagem de respostas inadequadas, porém, os policiais civis que participaram da pesquisa apresentaram crenças específicas a respeito da violência contra a mulher com altas taxas de inadequação, incluindo culpabilização da vítima pela permanência na relação violenta, concepções errôneas sobre os efeitos da violência no desenvolvimento da criança e concepções que culpabilizam a vítima pela violência. Contudo, os participantes apresentaram visão mais adequada com relação a algumas crenças, tais como: concepções sobre as mulheres precisarem ou merecerem apanhar e o abuso físico ser mais ameaçador do que o abuso psicológico. As crenças nas quais os policiais civis apresentaram taxa mais elevada de respostas inadequadas podem afetar diretamente o atendimento oferecido por eles às mulheres vítimas de violência. Os resultados também indicaram que a violência doméstica é mais frequentemente vista pelos participantes como agressões físicas, apesar dos participantes demonstrarem um bom conhecimento acerca das diferentes práticas de violência. Adicionalmente, os policiais civis apontaram alguns desafios enfrentados por eles ao atenderem as vítimas de violência, como a falta de capacitação, escassez de funcionários e debilitado estado emocional dos funcionários, que pode produzir um atendimento insuficiente. Como considerações finais aponta-se a necessidade de uma melhor formação aos profissionais no tocante a questões da violência contra a mulher, bem como a elaboração, realização e avaliação de cursos de capacitação para tais profissionais, visando preencher esta lacuna na formação dos mesmos.

Este estudio comparativo pretende examinar la representación femenina y masculina en la literatura moderna y contemporánea peruana. El propósito de nuestro trabajo es enfocar las fuerzas y las debilidades de la mujer y del hombre a la luz de los movimientos feministas desde una perspectiva diacrónica en el desarrollo de feminismo durante el siglo XX. Nos preguntamos cómo ha cambiado el rol de la mujer desde finales del siglo XIX centrándonos en la lectura de una selección de novelas de escritoras, y escritores peruanos, para observar si hay cambios grandes o si permanece una cultura patriarcal hasta nuestra actualidad en el siglo XXI. Fundamos el debate sobre las relaciones de género y la distinción del sexo y género en las teorías críticas feministas de Toril Moi y Judith Butler. Nos interesa la idea del Otro según Simone de Beauvoir desde una perspectiva existencialista feminista. Para estudiar el desarrollo del feminismo y las relaciones de género en el contexto peruano la investigación de Ágata Cáceres Sztorc examina la mujer y el hombre desde una perspectiva sociopolítica feminista en la cultura contemporánea por medio del cine, la televisión y la creación literaria. Estas producciones reflejan en varios aspectos cómo se presenta la representación femenina y masculina en la serie de las novelas de, Clorinda Matto de Turner, Alfredo Bryce Echenique, Claudia Salazar y Alonso Cueto de este estudio. Teniendo en cuenta el rol que empeña la literatura en nuestra sociedad hemos considerado la relación entre el autor y los lectores en la obra literaria donde se sitúan los personajes. Parecen reales, aunque no lo son – los personajes de ficción juegan un papel importante para poner en cuestión las caracterizaciones estereotípicas. / My current project deals with the representation of femininity and masculinity in a comparative and diachronic study of Peruvian modern literature which originated in the late 19th C. and of the Peruvian contemporary literature in the late 20th C. and the early 21st C. The main purpose of the study focuses on women’s and men’s strength and weakness in the light of the feminist movements of the 20th C. In particular, my study is based upon a close-reading of the novels written by female and male authors such as Clorinda Matto, Alfredo Bryce Echenique, Claudia Salazar and Alonso Cueto. According to women’s liberation I am, specially, interested in gender relations and how the roles and the identities of women and men relate to one another. The feminist theoretical, fictional and philosophical theory, Simone de Beauvoir’s existential idea of Otherness involves the controversy between the feminist theorists Judith Butler and Toril concerning the binary distinction between sexual differentiation vs. gender bifurcation as well as the sociopolitical study by Ágata Cáceres Sztorc with a feminist perspective on Peruvian contemporary cultural production of television, movies and literary fiction. The importance of literature in our society draws our attention the relation between the author and the readers and the complexity of doing justice to a literary oeuvre created in an other time and space in which the authors situate their fictional characters. The women and the men in the narratives seem to be real. The characters play an important role in our study focusing on the purpose with other, focusing on, and call in question the stereotyped characterizations.

Cette recherche qualitative et exploratoire porte sur la construction identitaire de l’homme marié violent au Liban. Elle s’appuie notamment sur les discours de l’homme violent et de la femme violentée (récits de vie, interrogatoires juridiques, questionnaires) et aussi sur le discours de personnes-ressources non violentes. La construction identitaire de l’homme violent au Liban est liée au système patriarcal fortement ancré dans la culture, les institutions et la vie des Libanais. L’homme évolue en fonction de 3 prototypes :- masculin : dominant, pourvoyeur, protecteur, agressif- féminin : soumise, femme au foyer, disponible, douce- du couple : verrouillage des autres prototypes dans une complémentarité sexisteLa violence masculine traduit la place de l’homme dans le couple (violences symboliques et violences spontanées), elle traduit aussi sa volonté de conserver l’ordre patriarcal dans la famille car toute évolution des prototypes notamment celui de la femme est sentie par l’homme comme une menace contre sa masculinité (violences interactionnelles). La violence est accentuée car le Liban évolue sous l’empire de stress, ce qui met les rôles patriarcaux en question en permanence. La trajectoire identitaire de l’homme violent libanais montre qu’il a un père autoritaire et sévère, parfois faible. Sa mère pourrait être envahissante, absente ou ambivalente. Du point de vue couple l’homme violent cherche le couple fusionnel car il traduit parfaitement la complémentarité patriarcale sexiste. L’ordre social patriarcal libanais est en perpétuelle reproduction engendrant des hommes sexistes prêts à devenir violents. La femme est encerclée par la violence même, sa honte d’être femme battue et/ou femme divorcée, mais aussi à cause du tiers d’idéologie sexiste : parents, amis, société, institutions concernées. La lutte contre la violence conjugale au Liban doit être totale : contre la violence, les inégalités de genre et la culture patriarcale. / This qualitative and exploratory research is about the construction of the identity of the violent married man in Lebanon. It is based on different sources, the violent man, the battered woman discourse (biography, court records, and questionnaires) and the discourse of non-violent resource-person. The construction of the identity of the violent man in Lebanon is related to the patriarchal system which is strongly anchored in the culture, institution and life of the Lebanese. In this environment man evolves into three prototypes:- The masculine: dominant, protector, provider, aggressive.- The feminine: submissive, housewife, available, soft.- The couple: the clamping of the two other prototypes in one complementary sexist relationship.The masculine violence can reflect the man’s place in the couple (symbolic violence, spontaneous violence), and can also show the willingness to conserve the patriarchal order in the family because every evolution of prototypes especially the women’s role is felt by man as a threat against his masculinity (interaction violence). Violence is accentuated because Lebanon is a society under stress, which permanently distorts the masculine image. The identity trajectory of the Lebanese violent man shows that he has an authoritarian and severe father figure, or a feeble one. His mother can be overbearing, absent or ambivalent. Concerning the couple, the violent man searches for the fusional couple because it reflects perfectly the sexist patriarchal complementarity. The Lebanese social patriarchal order is in perpetual reproduction generating sexist man ready to become violent. The woman is surrounded by violence, and shame feeling of being a battered woman and/or divorced woman, and because of the others that are sexist: parents, friends, society institutions and concerned responsible. The struggle against violence can only be total: it must be against violence, gender inequality and against patriarchal society.