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Oedipus complex in literature
Oedipus complex in novels
Oedipus complex in novels
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Aphra Behn, who is the first female to achieve status of a professional playwright attempted to alter and influence the literary cannon through her writing, which was a precarious occupation but allowed literature to evolve in a wider range. Behn was also one of the wittiest and entertaining as evidenced through her most renowned play, The Rover, which is a restoration, yet dark comedy set in 17th century Italy while under the colonial reign of Spain. The large cast of characters becomes embroiled in scenes and consist a mix of themes of infidelity, seduction, misrepresentation, and elaborate swordplay, which create tension and confusion in addition to many comedic episodes. The play expresses its author's objections to the vulnerability of women in Restoration society. Perhaps ironically, it also appeals to the prurient interests of the audience by putting women in morally compromising situations. Based loosely on contemporary Thomas Killigrew's 1564 unperformed play, Thomaso, or The Wanderer (1664), Behn's play is less lewd and more profound.
The Rover has been widely acclaimed by critics to be a feminist play, in particular a proto-feminist play which defined by The Oxford Dictionary of Literary Terms as ‘a philosophical tradition that anticipated modern feminist concepts and the discussion of women’s issues when the term feminist was nonexistent prior to the twentieth century. The writing is concerned with the unique experience of being a woman or alternatively writing designed to challenge existing preconceptions of gender.’ (Baldick, 2009: 128)
In The Rover, Behn places characters in morally corrupted situations and circumstances to force audiences to reconsider preconceptions, inspiring the new movement in feminist thi...
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...uality keeps her from happiness. Through Angellica, Hellena, and Florinda, Behn reveals that the libertine female has no place in late Stuart society. The playwright’s observation comes as a wistful warning at a time when women seemed to push the limits of tradition. Actresses appearing on stage might feel they had found a career of bodily expression, but from Behn’s experience as a woman with male colleagues, the freedom is a façade. ‘Women on stage faced fetishization and loss of status. Behn’s commentary on women’s position in the late Stuart period serves to point out the double standard of libertinism in court life and the public sphere.’ (Staves, 2004: 73) By exposing and mocking the Puritanical and Cavalier restraints imposed on women, she encourages viewers to reevaluate women’s limited roles in the new age by giving her female characters a louder voice.
It may seem that the male characters in classical cinema are given power and control over female characters, but the relationships between characters in Billy Wilder’s 1944 noir Double Indemnity and Michael Curtiz’s 1945 drama Mildred Pierce are complex and do not conform to specific gender roles. Rather, both of these films feature female characters that are both controllers and the controlled. The characters Mildred Pierce and Phyllis Dietrichson hold both of these roles in their respective films but are inverses of each other: Mildred acts strongly and independently but is actually controlled emotionally and financially by others, while Phyllis is presented as submissive but is the grand manipulator. As such, these two films present different images of the “independent woman,” both of which are destined for failure.
Women that go against traditional roles of femininity are punished through perfect executions of “an eye for an eye” justice. This is evidenced through the consequences of Lady Macbeth’s, minor female characters’, and Lady Macduff’s actions. What initially seems to be a depiction of Shakespeare’s approval of unconventional gender roles is actually a reinforcement of traditional notions. This is a clear indication that Shakespearian women were beginning to crack stereotypes in favor of feminism- else Shakespeare’s assertions would be unnecessary. Modern attitudes towards gender equality stand as indications of this silent war- still raging within society. All in all, there is hope for women to stand abreast with the very men that have dominated thus far.
Worse, when women swallow the emptiness, loneliness, and naked violence that comes with their gender performance, their ability to develop self-awareness on matters such as academic, sexual, reproductive, safety, and health care rights no longer exists. When characters such as Ruth from Green Girls come to believe that womanhood means being on display and having to perform their roles as women in public spheres despite the feelings of wanting to shield oneself from strangers, they lose their freedom and become fettered to performative roles. Their performance of gender becomes, as Butler mentions, the result of both subtle and blatant coercions. These coercions offer a script of life that women must follow in order to remain the star of their
In the early twentieth century, the issue of gender inequality and lack of feminism was prevalent throughout society. Susan Gladspell’s play, Trifles, contains various instances of gender discrimination within the characters’ actions in the plot. Females in that society were subjected to great discrimination due to their sexuality and were viewed as insubordinate and only capable of obtaining menial jobs. This resulted in men constantly demeaning women in the form of mental and emotional abuse. Occasionally, this abuse gradually worsened and finally accumulated into some major disaster. In order to better the lives of women, the feminism movement was on the brink of starting a major revolution to restore equality in society. Throughout Susan Gladspell’s play, Trifles, the author incorporated elements of gender inequality and discrimination in hopes of bringing about the feminist movement.
In the 19th Century, women had different roles and treated differently compared to today’s women in American society. In the past, men expected women to carry out the duties of a homemaker, which consisted of cleaning and cooking. In earlier years, men did not allow women to have opinions or carry on a job outside of the household. As today’s societies, women leave the house to carry on jobs that allow them to speak their minds and carry on roles that men carried out in earlier years. In the 19th Century, men stereotyped women to be insignificant, not think with their minds about issues outside of the kitchen or home. In the play Trifles, written by Susan Glaspell, the writer portrays how women in earlier years have no rights and men treat women like dirt. Trifles is based on real life events of a murder that Susan Glaspell covered during her work as a newspaper reporter in Des Moines and the play is based off of Susan Glaspell’s earlier writing, “A Jury of Her Peers”. The play is about a wife of a farmer that appears to be cold and filled with silence. After many years of the husband treating the wife terrible, the farmer’s wife snaps and murders her husband. In addition, the play portrays how men and women may stick together in same sex roles in certain situations. The men in the play are busy looking for evidence of proof to show Mrs. Wright murdered her husband. As for the women in the play, they stick together by hiding evidence to prove Mrs. Wright murdered her husband. Although men felt they were smarter than women in the earlier days, the play describes how women are expected of too much in their roles, which could cause a woman to emotionally snap, but leads to women banding together to prove that women can be...
As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
(Essay intro) In the modern day, women have the luxury of belonging to themselves but unfortunately this was not always the case. During his life, William Shakespeare created many positive female characters who defied the traditional gender roles and brought attention to the misogynistic patriarchy of Elizabethan England. One of these true feminist icons is ‘Much Ado about Nothing’s. Beatrice. The women in ‘Much Ado about Nothing’ defy traditional gender roles. Beatrice represents a brave and outspoken woman who defies the oppressive, traditional gender roles for the female sex. Her cousin Hero, however, represents those women who were successfully oppressed by the patriarchy and accepted the traditional gender roles without much complaint.
In Arcadia, The Importance of Being Earnest, and Look Back in Anger, the women characters play distinct roles in the dramas. However, the type of roles, the type of characters portrayed, and the purpose the women’s roles have in developing the plot and themes vary in each play. As demonstrated by The Importance of Being Earnest and Look Back in Anger, the majority of women’s roles ultimately reflect that women in British society were viewed to be unequal to men in love and in relationships and generally the weaker sex, emotionally, physically and intellectually. However, I have found an exception to this standard in the play Arcadia, in which Thomasina Coverly plays the role of a young genius.
Aphra Behn’s novel, Oroonoko, gives a very different perspective on a slave narrative. Her characters embody various characteristics not usually given to those genders and races. Imoinda’s character represents both the modern feminist, as well as the subservient and mental characteristics of the typical eighteenth-century English woman. Oroonoko becomes an embodiment of what is normally a white man’s characteristic; he is the noble, princely, and sympathetic character that is not usually attributed to black men in general throughout most novels of slavery. The complete opposite character style is given to the slavers; the English are viewed as the barbaric, cunning, brutal characters that are usually portrayed in opposite and more generous fashion. Behn’s romantic tragedy comes full circle, from Oroonoko fighting a war, falling in love and being tricked into slavery, to Oroonoko in battle against his captors, to killing his love and dying in slavery.
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.
Angela Carter utilizes her interpretation of “Puss in Boots” to convey a notion pertaining to gender roles within society; notions particularly pertaining to women’s place in the eyes of the populace. Through the character dynamic, and the perception of Puss, Carter is able to impress her ideas pertaining to women’s role within society upon the reader in a commendable manner.
Although The Hairy Ape is one of the most representative plays of this era, many other plays are worth noting as influential during the early 1900s. Realism is presented in Eugene O’Neill’s play, Beyond the Horizon since there is a strong emphasis on the daily activities that one must perform on a farm. The focus is also on the conflict of man vs. man. This struggle can also be noted in Rice’s The Adding Machine. This play is noted as being an expressionist play because of the characters’ lack of identity. Mr. Zero’s name implies that he is meaningless and insignificant. Being likened to a machine dehumanizes Mr. Zero, just as O’Neill’s play, The Hairy Ape, dehumanizes Yank into an ape-like being. However, this era also provides domestic melodramas, such as Kelly’s Craig’s Wife and Howard’s The Silver Cord. These plays focus on female’s living in a male-dominated society and on the Modern characteristic of being a product of one’s environment. In both of these plays, the female characters are trying to find their place in society, yet it is challenging and nearly impossible. Howard provides hope for the reader in the character of Christina Phelps because she challenges feminine traditions and is a career woman, as well as a mother. David Phelps must follow his heart and...
The representation of the scenes in which the women are being raped suggest that the women’s being subject to men convey the male sexual aggression during that period . In “ The Rover “ , Behn does this by examining the overt commodification of women by not only men , but as a society as a whole ; in Behn’s eyes women were often just as guilty by their complicity . Through the characters of Hellena , Florinda , Angellica and the roving cavaliers , Behn examines ‘commodification ‘ by illuminating just how differently men treated their women according to class and how women were objectified by prostitution , forcible rape and arranged or forced marriages .
In Aphra Behn’s “The Rover”, between the categories of virgin and whore lies a void rather than a spectrum. The three leading ladies of the play Hellena, Florinda and Angellica most certainly fall into these categories; Hellena and Florinda being virginal ladies of quality and Angellica being a famous courtesan. These three women attempt to challenge these roles throughout the play. Aphra Behn uses the domination of the men over the women, the objectification of the women and the double standards that exist between men and women to illustrate the impossibility of taking one’s sexuality into one’s own hands, and challenging the assigned roles of the patriarchal society for the female characters in the play.