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Portrayal of women in literature in the 1800s
Portrayal of women in literature in the 1800s
Mad women in attic critical analysis
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In their 1979 work titled The Madwoman in the Attic, Sandra M. Gilbert and Susan Gubar discuss the difficulties faced by Victorian women attempting to write in a patriarchal society. Gilbert and Gubar describe the “anxiety of authorship” experienced by female writers who thus believe they are not capable of creating a successful work. J.M. Coetzee’s 1986 novel Foe, follows its protagonist Susan Barton as she experiences such anxiety in early eighteenth century England. Barton’s anxieties as well as the society in which she lives lead her to employ the writer Daniel Foe to write the story of her experience as a castaway. Throughout her encounters with Foe, Barton describes the difficulty of writing and in one instance, asks whether there exists a muse for female writers as well as males. This question echoes that asked by Gilbert and Gubar in their examination of the differences between the experience of male and female writers. In Foe, despite the fact that Barton gives over the responsibility of writing her story, she maintains some authority and control over the way in which it is written. The most concentrated example of this is when Barton claims the role of Foe’s muse, along with that of “father” of her story. In doing so, she reverses gendered terms associated with reproduction and successfully remains an active participant in the writing of her story despite not writing it herself.
One question raised by Gilbert and Gubar in “The Madwoman in the Attic” is that of the muse in relation to the female poet. Cited is Harold Bloom’s idea that sexual intercourse between the male poet and the female muse is a metaphor for the poetic process. Through this metaphorical encounter, the male poet and the female muse unite with the res...
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...ished to tell, there is a sense that she has resigned herself to this fact and has attempted to remain close with her story through her sexual encounter with Foe and embodiment of the muse. That she is not the writer of her story seems to imply the failings of society rather than those of her own attempts to write it. Although Barton does not overcome the gendered ideas of who can be a writer and who cannot, her decision to take advantage of other gender roles and influence the production of her story as a muse deeply involves her in the writing process.
Works Cited
Coetzee, J.M. Foe. London: Penguin, 1987. Print.
Gilbert, Sandra M. and Susan Gubar. "From The Madwoman in the Attic: The Woman
Writer and the Nineteenth-Century Literary Imagination." The Norton Anthology
of Theory and Criticism. 2nd ed. New York: W. W. Norton &, 2010. 1926-1938. Print.
In the predominantly male worlds of Virginia Woolf’s A Room of One’s Own and Elizabeth Barrett Browning’s “Aurora Leigh (Book I)”, the women’s voices are muted. Female characters are confined to the domestic spheres of their homes, and they are excluded from the elite literary world. They are expected to function as foils to the male figures in their lives. These women are “trained” to remain silent and passive not only by the males around them, but also by their parents, their relatives, and their peers. Willingly or grudgingly, the women in Woolf and Browning’s works are regulated to the domestic circle, discouraged from the literary world, and are expected to act as foils to their male counterparts.
Throughout history, women have struggled with, and fought against oppression. They have been held back and weighed down by the sexist ideas of a male dominated society which has controlled cultural, economic and political ideas and structure. During the mid-1800’s to early 1900’s women became more vocal and rebuked sexism and the role that had been defined for them. Fighting with the powerful written word, women sought a voice, equality amongst men and an identity outside of their family. In many literary writings, especially by women, during the mid-1800’s to early 1900’s, we see symbols of oppression and the search for gender equality in society. Writing based on their own experiences, had it not been for the works of Susan Glaspell, Kate Chopin, and similar feminist authors of their time, we may not have seen a reform movement to improve gender roles in a culture in which women had been overshadowed by men.
Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: the Woman Writer and the Nineteenth-century Literary Imagination. New Haven: Yale UP, 2000. Print.
in Twentieth- Century Literary Criticism. Ed. Janet Witalec. The. Vol.
...Chrie, D., (ed.), Nineteenth Century Literature Criticism. Detroit, MI: Gale Research Company, 1986. Vo. 13, pp. 53-111.
Gendered strategies, in the criticism of early fiction, made feminine fiction incapable of excellence. By using conventional heterosexual relationships in their prefaces, authors only succeed in supporting the masculine control over fiction. The appraisals women gained only reinforced their inferior status. "Criticism placed female authors in a specific and confined critical sphere, while it located male authors in an other, more respected field" (375). By aligning their works with popular male literature, women inadvertently strengthened male authority. Women were only granted recognition in terms of their limited social stature. It is these gendered values and strategies that makes the history of the novel and feminine achievement difficult to assess.
The third decade of the twentieth century brought on more explicit writers than ever before, but none were as expressive as Anne Sexton. Her style of writing, her works, the image that she created, and the crazy life that she led are all prime examples of this. Known as one of the most “confessional” poets of her time, Anne Sexton was also one of the most criticized. She was known to use images of incest, adultery, and madness to reveal the depths of her deeply troubled life, which often brought on much controversy. Despite this, Anne went on to win many awards and go down as one of the best poets of all time.
Gilbert, S., Gubar, S. (2000) The Madwoman in the Attic: The Woman Writer and Nineteenth Century Literary Imagination. Yale University Press. Dixon, R W (1886) Personal letters.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
Gilman, Charlotte Perkins. "Essay date 1935." Twentieth-Century Litirary Criticism 9. Ed. Dennis Poupond. Detroit: Gale Research, 1983. 316-317
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Feminist critics point out that female writers achieved success due to their ability to conform to a world of patriarchal literature. George Eliot did so by conforming to society through the use of her pen name, Marian Evans. Booker argues that “women…lack the typical masculine castration anxiety and can therefore be comfortable with generosity and anonymity” (92). Both George Eliot and Dorothea Brooke seek to live a life of passion, yet “neither…can see a way to realize this desire directly” (Edwards 627). The issue of female identity comes into question as Dorothea searches for a solut...
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Gilbert, Sarah M. and Gubar, Susan. "From the Infection in the Sentence: The Woman Writer and the Anxiety of Authorship." The Critical Condition: Classic Texts andContemporary Trends. Ed. David H. Richter. Boston: Bedford Books, 1998. 1361-74.
Throughout literature’s history, female authors have been widely recognized for their groundbreaking and eye-opening accounts of what it means to be a woman in society. In most cases of early literature, women are portrayed as weak and unintelligent characters who rely solely on their male counterparts. Also during this time period, it would be shocking to have women characters in some stories, especially since their purpose is only secondary to that of the male protagonist. But, in the late 17th to early 18th century, a crop of courageous women began publishing their works, beginning the literary feminist movement. Together, Aphra Behn, Charlotte Smith, Fanny Burney, and Mary Wollstonecraft challenge the status quo of what it means to be a woman during the time of the Restoration Era and give authors and essayists of the modern day, such as Chimamanda Ngozi Adichie, a platform to become powerful, influential writers of the future.