McMurphy’s first sexual experience was scarring and impacts his view of women for the rest of his life. McMurphy, Chief, and the rest of the acute patients took a trip to the lake to go fishing. On there way back, McMurphy saw a yellow dress reminding him of when he lost his virginity. McMurphy claimed that, “ the first girl ever to drug him to bed wore that same dress.” McMurphy uses “drug” to describe how he was impulsed into bed by a manipulative girl. His first sexual experience was so scarring because McMurphy was forced into having sexual intorcorse with the corse rather than of his own will. This can changes the way he looks at women because, he views them as very manipulative and powerful, making him feel vulnerable. The feeling vulnerability
The presentation of femininity in Doctorow's Welcome to Hard Times is a strong departure from the heroine of Zane Grey's Riders of the Purple Sage. Through the metaphor of the gun as the embodiment of masculinity, both authors closely examine the complexities of the sexualized relationship of a frontierswoman to the men of her society. Doctorow mirrors the tensions present in Grey's novel though Molly acts as an extraordinarily different vision of what the West required of a woman than Jane Withersteen. Both novels reach a sexual climax as the heroine engages the men of her society in a violent action of blood and birth.
The women in this novel are fairly passive and tend to let the men manipulate them. According to Martha Duffy, Smiley sees a link between the exploitation of women and that of the land. The land is stronger than the women in this novel in that despite the fact that men manipulate and attempt to change it as much as possible, it is still its own entity. This presents a contrast to what occurs when the women are dominated.
The female characters in Young Frankenstein and One Flew over the Cuckoo’s Nest are, stereotypically, satiric and parodic renditions of oppressed or emotionally unstable feminine personalities. The theme of the treatment of women is not only played out in the external relationships the women interact within but also in the basic mentality and roles they embody within their personality. The women of Young Frankenstein add a comical element to the film which a direct contrast to the insignificance of the female in Mary Shelley’s novel. The women of One Flew over the Cuckoo’s Nest are either almost terrifying when thinking of the potential evil lurking just beneath the surface or effectual props in the healing of those who need it.
In the day and age where online dating and meeting is becoming more common, it’s easy to alter how you are perceived. You can disclose details about yourself you believe are attractive and withhold/hide information about yourself you believe other people would reject you for. The Lenient Thesis provides that it is only a minor wrong to deceive another person into sex by misleading them about certain personal features such as natural hair color, occupation, or romantic intentions. This thesis does exclude run-of-the-mill deception like someone’s sexual history, t.v show preferences, or how funny one finds the other. In “Sex, Lies, and Consent”, Tom Dougherty seeks to argue against the lenient thesis, and instead that deceiving another person
Foreshadowing clues and images are used to contribute to McMurphy as a figure of Christ. In the beginning of the novel McMurphy is baptized with a shower before entering the ward. The reader is also introduced to Ellis, a character who spends the entire novel in a cross position "nailed against the wall, arms out," (page 20). Another clue to McMurphy's developing character is presented during the electroshock therapy. McMurphy willingly lies down on a cross shaped table, ending up in the same position Ellis foreshadowed. McMurphy also asks for his crown of thorns. Before the therapy a schizophrenic patient approaches him and says "I wash my hands of the whole deal", as Pontius Pilate said to Jesus before sentencing him to death. Jesus was also friends with a prostitute named Mary, just like McMurphy was friends with prostitutes.
The protagonist, Jim, was engulfed with lust for Alena, and decided to do whatever it took to be with her, even if it meant changing himself to fit a mold of what he felt he needed to be to have her. This lust becomes apparent as the author introduced a simile to express the lustful feeling Jim had for Alena as he stated, “I was moved by the emotion she’d called up, I was moved even more by the sight of her bending over the box in her Gore-Tex bikini; I clung to the edge of the chair as if it were a plunging roller coaster.” (583) The choice of this expression is noted to express the rush Jim felt as he stared at Alena’s barely dressed figure bending and searching for documents. This choice of words captured that thrilling, but terrifying adrenaline filled feeling of falling to my doom that I have when I’m on a rollercoaster; In the context of this story I took it to represent that Jim was overcame with some of those same feelings and as he sexualized Alena’s body. This, was also seen in the narrator expression of Jim’s thoughts as he stated, “She smiled. On your own wavelength: the words illuminated me, excited me, sent up a tremor I could feel all the way down in the deepest nodes of my reproductive tract.” (584) This choice of diction shows that Alena’s comment along with the sight of her smiling at Jim further excited him in a sexual
The girl in this story is incredibly naive. Her character is very weak due to her inability to realize the inevitable. This creates the internal conflict in which she faces. By the usage of first-person point of view, Tallent enables the reader to realize the obvious truth that this girl refuses to see. The entire setting takes place in a small town, where there is "nothing else to do," inside of Jack's dirty old pickup truck, and symbolizes the filthiness of their sex based relationship.
Throughout the narrative, the text utilizes the conflict over the crisis of cognition, or the very mystery regarding the Marquise’s lack of knowledge surrounding her mysterious pregnancy, as a catalyst for the presentation of the plurality of opinions associated with the Marquise’s current status in society and presumptions to the father’s identity. In itself, this state of cognitive dissonance prevents the Marquise from making any attempts at atoning for her supposed sin, as she herself is unaware of any possible transgressions responsible for her current predicament. In turn, this separation from the truth pushes the marquise to fall into the conviction that the “incomprehensible change[s] in her figure” and “inner sensations” (85) she felt were due to the god of Fantasy or Morpheus or even “one of his attendant dreams,” (74) thereby relinquishing her subconscious from any guilt. However, despite her self-assurance of innocence and desperate pleas at expressing her clear conscience, the marquise becomes subject to external pressures from both her family and society, who come to perc...
Unlike sex, the history of sexuality is dependant upon society and limited by its language in order to be defined and understood.
Another important element is that makes this film is the manner in which the prose has been sharply drawn. It is also readily comprehensible. The theme of self-respect as well as self-reliance has been well expressed. These two themes show McMurpghy as a Christ figure. It can be seen that McMurphay is crucified on a table that have the shape of a table. He then undergoes electric shock. The party that he held on the last day of his stay in the hospital can be seen the last supper. The pill and the codeine resemble the bread that they took. Candy acts as Magdalene in the Bible. Billy in the film is acting just the same way Judas behaved. Nurse Ratched and the hospital staff act like the Pharisees while the twelve people that he took fishing
After expressing her frustration with having to serve her husband breakfast in bed, Molly begins her stream of consciousness with thoughts of the differences between men and women: “…Yes because theyre so weak and pulling when there sick they want a women to get well if his nose bleeds…” (738). This line illustrates Joyce’s desire to understand the human mind, specifically the female mind. There’s a clear double standard for women, who must be strong and "hide(s) [their weakness]" (738). This also suggests the idea that men need to be, and should be, taken care of by women.
Today many women are stereotyped in their jobs and social roles as defined by society as a whole. William Gibson's Neuromancer where one woman is used for specific reasons. The female character, Molly, is used for sex and her body is used for other sexual performances. In this book we find numerous examples of how she is being used sexually and how she must act in her job to survive. The author uses horrific examples that are related to how some women are treated today. The feminist approach is used throughout this book because of how the character Molly is being treated.
...the helplessness of a beautiful woman like her in a society of men like the Baron. At times we are given the impression that the mistake was indeed hers when Belinda cites examples of things she could have done and should have done to prevent the rape of her lock. Such a reaction from Belinda reinforces the notion of the rape serving as a metaphor for a sexual rape. The reaction of many women in our time to sexual rape is almost exactly like Belinda's reaction to the rape of her lock. However, it becomes clear that Belinda is only over exaggerating after she goes on and on speaking of radical changes that would have prevented her loss. It is evident that she is attempting to convey the idea that it was not herself who was at fault but men in general, particularly the Baron.
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...
Gargano rightly shifts the critical debate from fascination with the ethical conundrum of Dr. Sloper's behavior to concentration on the process of self-realization which takes place slowly and silently in Catherine's mind (Gargano 355). Finding proof of his thesis in the exacting way James investigates Catherine's growth, Gargano sees that James has purposely shown Catherine as innocent in the beginning of the story to demonstrate a contrast to who she becomes as she begins to wake up to herself as the story progresses, and contends that upon meeting Townsend, Catherine "emerg[es] from a sort of dormancy" (Gorgano 356). Gorgano astutely points out that meeting Townsend is not a horrible mishap in the life of Catherine Sloper, but an event which catalyzes the girl to mature in her thinking and feeling.