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 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.