To a modern audience, the case of Frederick Park and Ernest Boulton, or Fanny and Stella respectively, can seem impossible. These women who not only broke the stereotypical gender and sexuality mold but were unashamed to present themselves as they were to the public, contradicts today’s conception of stringent Victorian sexuality. Published in 1988, Neil Bartlett’s work Who Was That Man? A Present for Mr. Oscar Wilde considers the possibility of Fanny and Stella’s multi-faceted gender presentation for a modern audience. Bartlett takes his examination of the case even further by arguing that these women intentionally blurred the lines of their identities to navigate a society that refused to accept them as they were. Bartlett’s interpretation …show more content…
The first two pages concerning Fanny and Stella primarily describe their ‘drag’ style of dress and effeminate behaviors, which could be dismissed as a performance as opposed to an identity. However, Bartlett quickly works to convince readers that “it is important [not to] imagine Fanny and Stella as living only in public” (133) and provides evidence of how their feminine self-identity extends to their personal lives. Support for Bartlett’s interpretation can be found throughout the primary sources of the case. For example, one letter to Lord Arthur Clinton indicates that its writer, who signs the letter “Fanny Winifred Park,” not only chose a female identity for herself but saw Stella as her sister and Clinton as her “Sister’s husband” (CITE Fanny and Stella letters). Those who had never met Fanny and Stella before were just as accepting of their presentation as women. In his deposition, Frances Kegan Cox indicates that he, “from the manner Bolton’s hair was done, and from the smallness of his hands & feet, as well as his general manners…formed an opinion he was a woman” (CITE Cox depo) though Boulton never explicitly described his gender or sex. These arguments, which stay true to the primary sources and often quote …show more content…
If modern audiences struggle to grasp the fluidity of Fanny and Stella’s gender presentation, Bartlett argues that this is because Fanny and Stella intentionally straddles the lines of gender to better fit into an unaccepting society. In a city that could and would criminally prosecute people like themselves, Fanny and Stella must have known the social contexts in which their feminine presentations were accepted. Thus, one way to protect themselves in unsafe contexts “was to adopt sufficient tokens of masculine appearance so as to confuse any suspicious members of the public” (Bartlett 138). The primary sources provide evidence of their conscious choices of gender presentation. Letters to Stella from Louis Hurt urge her to “do your best to appear as manly as you can at any rate in force…[and] therefore beg of you to let your Moustache grow at once” (CITE Hurt 3) so as not to offend Hurt’s mother. It seems clear upon examining the circumstances of the trial that the local authorities had been waiting for some time for an excuse to prosecute these deviant individuals (CITE Simon ppt), which supports Bartlett’s assertion that Fanny and Stella tactfully navigated society as to avoid being caught. Though it may take away from an understanding of gender fluidity as a part of their identity, Bartlett explains Fanny and Stella’s ever-changing gender
Both Vanity Fair and A Room of One’s Own explore and challenge the idea that women are incapable of creating a name and a living for themselves, thus are completely dependent on a masculine figure to provide meaning and purpose to their lives. Thackeray, having published Vanity Fair in 1848, conforms to the widely accepted idea that women lack independence when he makes a note on Ms Pinkerton and remarks “the Lexicographer’s name was always on the lips of the majestic woman… [He] was the cause of her reputation and her fortune.” The way that a man’s name was metaphorically “always on the lips of the majestic woman” and how he was the source of “her reputation and her fortune” expresses this idea, especially through Thackeray’s skilful use of a sanguine tone to communicate that this cultural value, or rather inequality, was not thought of as out of the ordinary. From viewing this in a current light and modernised perspective...
In the eighteenth century, the process of choosing a husband and marrying was not always beneficial to the woman. A myriad of factors prevented women from marrying a man that she herself loved. Additionally, the man that women in the eighteenth century did end up with certainly had the potential to be abusive. The attitudes of Charlotte Lennox and Anna Williams toward women’s desire for male companionship, as well as the politics of sexuality are very different. Although both Charlotte Lennox and Anna Williams express a desire for men in their poetry, Charlotte Lennox views the implications of this desire differently than Anna Williams. While Anna Williams views escaping the confines of marriage as a desirable thing, Charlotte Lennox’s greatest lament, as expressed by her poem “A Song,” is merely to have the freedom to love who she pleases. Although Charlotte Lennox has a more romantic view of men and love than Anna Williams, neither woman denies that need for companionship.
CoCo Chanel’s action of moving away from the older Victorian ideologies was a show of liberalism for women. The writer uses t...
Margaret Atwood’s novel, Alias Grace, nominated for the Arthur Ellis Award for Best Novel, depicts a young 16 year old girl who is found guilty of murdering her employer and his lover in conspiracy with James McDerrmott. James McDermott is put to death by hanging, but Grace is brought to prison because she is of the “weaker sex.” This is a reflection of the construction of femininity and masculinity of the mid and late nineteenth century. A social issue of the Victorian age was women being treated as subordinate to men. Queen Victoria says, “Victorian ideology of gender rested on the belief that women were both physically and intellectually the inferior sex”(YILDIRIM). Women were seen as highly susceptible to becoming mentally ill because of this belief. Women were subject to only be “housewives.” The novel, Alias Grace, accurately shows the construction of this gender identity through society, sexuality, and emotion while challenging it through Grace’s mother and Mrs. Humphrey.
Characters in Pride and Prejudice and The Rape of the Lock are necessary tools in establishing satire within the stories. Austen uses a range of different character types in order to highlight the absurdity of society. For example, Elizabeth Bennet differs greatly from her other sisters and young ladies of Hertfordshire because h...
In the Victorian era, in New York City, men and women roles within the society were as different as night and day. A man regardless of his extra curricular activities could still maintain a very prevalent place in society. A woman’s worth was not only based family name which distinguished her class and worth, but also her profession if that was applicable.
Social gender separations are displayed in the manner that men the view Wright house, where Mr. Wright has been found strangled, as a crime scene, while the women who accompany them clearly view the house as Mrs. Wright’s home. From the beginning the men and the women have are there for two separate reasons —the men, to fulfill their duties as law officials, the women, to prepare some personal items to take to the imprisoned Mrs. Wright. Glaspell exposes the men’s superior attitudes, in that they cannot fathom women to making a contribution to the investigation. They leave them unattended in a crime scene. One must question if this would be the same action if they were men. The county attorney dismisses Mrs. Hale’s defenses of Minnie as “l...
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...
In Oscar Wilde’s drama The Importance of Being Earnest, he uses light-hearted tones and humor to poke fun at British high society while handling the serious theme of truth and the true identity of who is really “Earnest.” Truth as theme is most significantly portrayed through the women characters, Gwendolen and Cecily but to present serious themes comically, Wilde portrays women to be the weaker sex of society, despite the seriousness of the subject—the identity of the men they want to marry.
These women authors have served as an eye-opener for the readers, both men and women alike, in the past, and hopefully still in the present. (There are still cultures in the world today, where women are treated as unfairly as women were treated in the prior centuries). These women authors have impacted a male dominated society into reflecting on of the unfairness imposed upon women. Through their writings, each of these women authors who existed during that masochistic Victorian era, risked criticism and retribution. Each author ignored convention a...
Boa, Elizabeth. "Wedekind and the 'Woman Question'." Boa, Elizabeth. The Sexual Circus: Wedekind's Theatre of Subversion. New York : Basil Blackwell Inc. , 1987. 167-202. Print.
In her novel Orlando, Virginia Woolf tells the story of a man who one night mysteriously becomes a woman. By shrouding Orlando's actual gender change in a mysterious religious rite, we readers are pressured to not question the actual mechanics of the change but rather to focus on its consequences. In doing this, we are invited to answer one of the fundamental questions of our lives, a question that we so often ignore because it seems so very basic - what is a man? What is a woman? And how do we distinguish between the two?
One important thing to understand is that these acts of gender are not done in isolation or done on an individualistic level – this cannot be targeted merely by changing actions on that level. Acts are a shared experience and a collective action – and since gender is understood as an act, gender is never one’s alone. While every single individual acts out gender in their own one, but it is still done in reference to certain sanctions and prescriptions that it is never fully one’s own. Acts are in themselves public, as the choice to ‘perform’ such acts means to render implicit social conditions explicit. The “play” of gender requires both the ‘script’ of gender, and the personal interpretation of acting out such a
In conclusion, David Lodge managed to embody the concrete term of feminism. Through the character of Robyn Penrose, he creates the breakup of the traditional Victorian image of woman.“ `There are lots of things I wouldn 't do. I wouldn 't work in a factory. I wouldn 't work in a bank. I wouldn 't be a housewife. When I think of most people 's lives, especially women 's lives, I don 't know how they bear it. ' `Someone has to do those jobs, ' said Vic. `That 's what 's so depressing. ' ”(Lodge
Beginning Gibert and Gubar’s piece about the position of female writers during the nineteenth century, this passage conjures up images of women as transient forms, bodiless and indefinite. It seems such a being could never possess enough agency to pick up a pen and write herself into history. Still, this woman, however incomprehensible by others, has the ability to know herself. This chapter of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, titled “The Queen’s Looking Glass,” discusses how the external, and particularly male, representations of a woman can affect her so much that the image she sees in the mirror is no longer her own. Thus, female writers are left with a problem. As Gibert and Gubar state, “the woman writer’s self-contemplation may be said to have begun with a searching glance into the mirror of the male-inscribed literary text. There she would see at first only those eternal lineaments fixed on her like a mask…” (Gilbert & Gubar, 15). In Charlotte Brontë’s Villette, the narrator and heroine Lucy Snowe is faced with a great deal of “reflections” which could influence her self-image and become detrimental to her writing. However, she is aware that the mirrors she finds, whether the literal mirror of the looking glass or her reflection in other characters’ ...