The focus of this seminar paper will be on a theoretical approach called aesthetic of character, with examples from a novel Little Women by Louisa May Alcott. Various terms, coined up by theoreticians of this approach, will be explained through some of the examples taken out of the above mentioned novel.
To begin with, this approach is concerned with what is the function of the characters in the narrative and how the characters are characterised. According to it, characters are agents performing actions in a story. They can be persons, anthropomorphised animals or objects. There are two main theoretical approaches within this one, and those are mimetic and semiotic approaches. While the mimetic approach considers characters as real people, semiotic approach views characters only as a set of words.
In 1960s and 1970s, another approach appeared. It was called sociohistorical approach to literature, and was mainly concerned with how characters’ behaviours resembled to those of the real people’s, and whether their portrayal is truthful to the general script, or to its gender role. In close connection to this, another term appeared, called gender performance, which implies both, men and women, behaving according to the norms and expectations put by the society. For example, while men were allowed to be active, assertive and dominant, women should have been submissive, dependant and passive. Exceptions, both for men and women, were not gleefully accepted in the society. This is the main reason for appearance of another term, which is closely connected to the terms gender roles and gender performance, called gender stereotypes. Examples for gender stereotypes can even be found in the book Little Women, mainly through the characters of ...
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...representatives of the society of their time. In addition to this, we could also see that women are much more oppressed by the society. Their liberties are limited. This is the reason why we say that girls are doubly oppressed in children’s literature. What is more, it is said that “in literature boys grow, while girls shrink”. The character of Jo is the perfect example for this. Even though at the beginning of the story Jo was very much tomboyish, and a ‘deviation’ from the script, as the story developed, her character went through the process of the assimilation, until at the end, she became much more like ‘a proper lady’ should be.
Works Cited
Alcott, Louisa May. Little Women. Hertfordshire: Wordsworth Editions Limited, 1993.
Nikolajeva, Maria. Aesthetic Approaches to Children's Literature: An Introduction. Maryland: The Scarecorw Press, Inc., 2005, 145-154.
In the nineteenth century domestic, maternal women were considered the ideal. Several authors challenged this ideal while others glorified it and showed it as completely pragmatic. After all, who better to raise and feed the family than the one who is responsible for giving life to them? Louisa May Alcott shows her primary female figure in Transcendental Wild Oats, Hope Lamb, in a strong traditional female role. Hope is arguably the strongest character in the story and serves as an alternative to the typical modern feminist society promotes today. In Nathaniel Hawthorne's The Blithedale Romance, Zenobia is the heroine who to a great extend runs the commune. She is bold physically, spiritually and intellectually. She is very much different from Hope Lamb, but in many crucial ways, they are all too similar.
When studying gender roles in history, one will find that females are often depicted in similar ways no matter the era or region of study. Even when comparing the industrialized, early, twentieth century to today’s progressive era, there are striking similarities between female roles. We can see that over the course of the twentieth century, the qualities of loyalty and honesty have decreased in marriages due to the treatment of the two main female roles as depicted literature. The first was the role of the wife. The wife was often portrayed as a housekeeper and a nanny. Dull in appearance, there was no aesthetic beauty to this typical female. The other main role was the “other woman.” The more mysterious and promiscuous character, this woman portrayed the other part of the female population. Both of these types of characters are composites that portrayed the average, disposable female while how they were treated conveyed the general handling of females in the early, twentieth century.
...hetypes of these primary characters, both of these novels make a parallel statement on feminism. The expectations of both themselves and society greatly determine the way that these women function in their families and in other relationships. Looking at the time periods in which these novels were written and take place, it is clear that these gender roles greatly influence whether a female character displays independence or dependence. From a contemporary viewpoint, readers can see how these women either fit or push the boundaries of these expected gender roles.
In my research essay for my English Composition 2 class, I will be analyzing the different gender roles in Notes from the Underground and Death of a Salesman. Often times, in American Literature work, gender roles are used very differently due to whomever wrote it. This story and play fall into the category of “traditional” gender roles that are given to males and females based off of society and what is expected of males and females. I will use the gender approach to explain that roles in families and society are based off of gender. I will also compare a feminist approach to the gender approach and see how they are different. In Author Miller’s Death of a Salesman and Fyodor Dostoyevsky’s
Authors develop characters’ personalities in order to add depth to their story and allow readers to feel more connected to the characters. Beyond this, characterization also allows authors to develop the themes of their stories in a more clear manner. A prime example of this would be in the poem Judith, where the author contrasts Judith and Holofernes’ personalities in order to develop the major themes of heroism and having faith in God.
During the Victorian Era, society had idealized expectations that all members of their culture were supposedly striving to accomplish. These conditions were partially a result of the development of middle class practices during the “industrial revolution… [which moved] men outside the home… [into] the harsh business and industrial world, [while] women were left in the relatively unvarying and sheltered environments of their homes” (Brannon 161). This division of genders created the ‘Doctrine of Two Spheres’ where men were active in the public Sphere of Influence, and women were limited to the domestic private Sphere of Influence. Both genders endured considerable pressure to conform to the idealized status of becoming either a masculine ‘English Gentleman’ or a feminine ‘True Woman’. The characteristics required women to be “passive, dependent, pure, refined, and delicate; [while] men were active, independent, coarse …strong [and intelligent]” (Brannon 162). Many children's novels utilized these gendere...
...ia J. Campbell. New York: Twayne Publishers, 1996. 39-65. Rpt. in Children's Literature Review. Ed. Scot Peacock. Vol. 82. Detroit: Gale, 2003. Literature Resources from Gale. Web. 14 Jan. 2014.
Throughout most of literature and history, the notion of ‘the woman’ has been little more than a caricature of the actual female identity. Most works of literature rely on only a handful of tropes for their female characters and often use women to prop up the male characters: female characters are sacrificed for plot development. It may be that the author actually sacrifices a female character by killing her off, like Mary Shelly did in Frankenstein in order to get Victor Frankenstein to confront the monster he had created, or by reducing a character to just a childish girl who only fulfills a trope, as Oscar Wilde did with Cecily and Gwendolen in The Importance of Being Earnest. Using female characters in order to further the male characters’
The literary technique of characterization is often used to create and delineate a human character in a work of literature. When forming a character, writers can use many different methods of characterization. However, there is one method of characterization that speaks volumes about the character and requires no more than a single word - the character's personal name. In many cases, a personal name describes the character by associating him with a certain type of people or with a well known historical figure. Therefore, since the reader learns the character's name first, a personal name is a primary method of characterization; it creates an image in the reader's mind that corresponds with the name of the character. Once this image has been created, all subsequent actions and beliefs of the character are somehow in accordance with this image; otherwise, the character does not seem logical and the reader is not be able to relate to the work. In the novels The Sailor Who Fell From Grace with the Sea, by Yukio Mishima, and Wonderful Fool, by Shusako Endo, each author gives one of his characters a personal name that guides the character's actions and beliefs.
According to “The American Heritage Dictionary of the English Language”, the word “feminity” is defined as “the quality or condition of being feminine or a characteristic or trait traditionally held to be female.” Further speaking, feminity is formed by various socially-defined and biologically-created gender roles played by women influenced by a number of social and cultural factors. For example, the traditional gender roles of women include nurturer, birth giver, homemaker and caregiver. However, marked by a series of women's rights movements starting from the 19th century, women’s gender roles, as well as the ways how society and men perceive women, have been largely changed. This significant change, described as a process of female awakening, was widely reflected in many contemporary literature works. This essay will specifically focus on the construction of feminity in two short stories, “Hills Like White Elephants” by Ernest Hemingway and “The Stoy of an Hour” by Kate Chopin through examining how the authors define “feminity” in their treatment of female characters.
There is no doubt that the literary written by men and women is different. One source of difference is the sex. A woman is born a woman in the same sense as a man is born a man. Certainly one source of difference is biological, by virtue of which we are male and female. “A woman´s writing is always femenine” says Virginia Woolf
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
The first theory to be discussed is structuralism, this theory is composed of many different branches. The branches that this paper will be looking into is archetypes. The definition of of archetype is typical images, characters, narrative designs and themes and other literary phenomena. Archetypes have their own form of criticism that is called archetypal criticism. Archetypal criticism means the generic, recurring and conventional elements in literature that cannot be explained through historical influence or tradition.
Throughout literature, authors employ a variety of strategies to highlight the central message being conveyed to the audience. Analyzing pieces of literature through the gender critics lens accentuates what the author believes to be masculine or feminine and that society and culture determines the gender responsibility of an individual. In the classic fairytale Little Red Riding Hood, the gender strategies appear through the typical fragile women of the mother and the grandmother, the heartless and clever male wolf, and the naïve and vulnerable girl as little red riding hood.
Literature has been part of society since pen met paper. It has recorded history, retold fables, and entertained adults for centuries. Literature intended for children, however, is a recent development. Though children’s literature is young, the texts can be separated into two categories by age. The exact splitting point is debatable, but as technology revolutionized in the mid-twentieth century is the dividing point between classic and contemporary. Today’s children’s literature is extraordinarily different from the classics that it evolved from, but yet as classic was transformed into modern, the literature kept many common features.