Femininity Versus Androgyny in The Laugh of the Medusa and A Room of One's Own
There is much debate in feminist circles over the "best" way to liberate women through writing. Some argue that a female writer should, in an effort to recapture her stolen identity, attack her oppressive influences and embrace her femininity, simultaneously fostering dimorphic literary, linguistic, and social arenas. Others contend that the feminization of writing pigeonholes women into an artistic slave morality, a mindset that expends creative energy on battle and not production, and inefficiently overturns stereotypes and foments positive social change; rather, one should lose gender self-consciousness and write androgynously.
Hélène Cixous and Virginia Woolf, in "The Laugh of the Medusa" and "A Room of One's Own," respectively, epitomize these opposing ideologies, highlighting different historical sources for women's literary persecution, theorizing divergent plans for women's progress, and stylistically mirroring their ideas. Ultimately, the primary difference is in each philosophy's time frame and belief over how much influence writing has to "empower," to borrow a current feminist buzzword. For Cixous, women's writing goes hand in hand with women's liberation: "Writing is precisely the very possibility of change, the space that can serve as a springboard for subversive thought, the precursory movement of a transformation of social and cultural structures" (311). Woolf, however, sees women's writing as emblematic of and dependent on women's progress in general; only with "a room of her own and five hundred a year," through widespread social change, will her fictional Mary Carmichael "be a poet" (94).
One of Cixous's main intents is "to break up, to destroy" (309). This destruction of injustice colors her entire perspective; much of her essay is devoted to reaction, to toppling the tyranny of men. Men's writing, she argues, "is a locus where the repression of women has been perpetuated, over and over, more or less consciously, and...has grossly exaggerated all the signs of sexual opposition" (311). Cixous compares women's self-image to that of disenfranchised blacks: "They can be taught that their territory is black: because you are Africa, you are black. Your continent is dark. Dark is dangerous...And so we have internalized this horror of the dark" (310). Through these cultural judgments, men "have made for women an antinarcissism!...They have constructed the infamous logic of antilove" (310). She connects this antilove most strongly with self-loathing for the body: "We've been turned away from our bodies, shamefully taught to ignore them, to strike them with that stupid sexual modesty" (315).
Women have faced oppression in the literary community throughout history. Whether they are seen as hysterical or unreliable, women writers seem to be faulted no matter the topics of their literature. However, Anne Bradstreet and Margaret Fuller faced their critics head-on. Whether it was Bradstreet questioning her religion or Fuller discussing gender fluidity, these two women did not water down their opinions to please others. Through their writings, Bradstreet and Fuller made great strides for not just women writers, but all women.
witchcraft and face a death sentence. Ambla, one of the main character’s in the play, “Witchcaft
Lady Macbeth is one of William Shakespeare’s most famous and frightening female characters. As she is Macbeth’s wife, her role is significant in his rise and fall from royalty. She is Macbeth’s other half. During Shakespearean times, women were regarded as weak insignificant beings that were there to give birth and look beautiful. They were not thought to be as intelligent or equal to men. Though in Shakespeare's play, Macbeth, Lady Macbeth is the highest influence in Macbeth’s life. Her role was so large; in fact, that she uses her position to gain power, stay strong enough to support her unstable Lord, and fails miserably while their relationship falls apart. Everything about Lady Macbeth is enough to create the perfect villain because of her ability to manipulate everyone around her. It appears that even she can’t resist the perfect crime.
from a tree and hold it in front of him as they march on Dunsinane.
us to believe that Macbeth is in no way a traitor and that he is brave
Reading literature, at first, might seem like simple stories. However, in works like William Faulkner's “A Rose for Emily,” Katherine Mansfield's “Miss Brill,” and Kate Chopin's “The Storm,” the female protagonists are examples of how society has oppressive expectations of women simply because of their gender.
To do so willing, publicly, from under the panoptical male gaze, is to risk censure and push-back (or worse). As second-class citizens in a patriarchy, women know this. We must speak softly of our dissatisfaction, tread lightly on the written page, to the point where even the venerable Virginia Woolf, long considered part of any Feminist canon, was read in A Room of Her Own to be only “almost in touch with her anger…determined not to appear angry…willing herself to be calm, detached, and even charming in a roomful of men where things have been said which are attacks on her very integrity” (Rich 1979 37). Patriarchy-approved gender roles for women do not fit well with loud protestations. They tend to bulge instead of flutter, tearing at the seams instead of tightly holding onto their
midnight or in the centre of New York at rush hour? And the sound is
The feminist perspective of looking at a work of literature includes examining how both sexes are portrayed
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
Act 1 Scene 1 is the opening scene to the play, it starts with a
Ironically, Medea’s actions are similar to a man when she takes charge of her marriage, living situation, and family life when she devices a plan to engulf her husband with grief. With this in mind, Medea had accepts her place in a man’s world unti...
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
Lady Macbeth in William Shakespeare's Macbeth In the beginning Lady Macbeth was just a normal woman who cared about