Much of the research concerning D.H. Lawrence’s The Fox has to do with the sexuality which the story contains. For instance, three of the articles specifically focus on homosexuality within The Fox, and the focus is largely male homosexuality, despite the more prominent relationship between March and Banford, two women living together and leading a domestic life. When discussing sexuality within the novella, many authors either largely ignored the interactions between March and Banford, or otherwise merely used them as a foil by which to examine male homosexuality and Henry’s connection to the fox. The fox’s tale as a phallic symbol was a feature of almost every source, though different author’s assigned to it different meanings. A common …show more content…
Ruderman makes comparisons between the first and second drafts, which really only differed in word count by about 650 words. One change which she explores is the development of March’s character, especially in relation to the fox; in Lawrence’s first draft, he makes March simply more entranced by the fox, while in the second version her interest is more combative, as she wants to conquer the fox. Ruderman makes the argument that Lawrence’s revisions give March much more agency, rather than simply being a passive object over which Henry and Banford fight. After these changes, Lawrence wrote yet another, longer draft of The Fox in which the character of March is once again expanded on as she gains even more resistance to Henry, though her fascination with the fox does not wane. Henry, too, grows in character, becoming more and more cunning and deliberate in his treatment of March. Ultimately, Ruderman claims that the development of The Fox constitutes a shift away from the domestic sphere. Squires, Michael. “Modernism and the Contours of Violence in D. H. Lawrence’s
Often times, a seemingly simple story can convey complex themes. In her short story “A White Heron,” Sarah Orne Jewett is able to dive into the sexuality of her main character Sylvia. Though seemingly innocent on the surface, the reader might interpret the hunt for the elusive white heron as Sylvia’s discovery of herself and her sexuality. Though sexuality may seem like a mature topic for such a young character, it is irresponsible to completely ignore it. Especially in a story with innuendos that rival a romance novel. Jewett uses sexual undertones in the search for a white heron to bring light to Sylvia’s questioning of her sexuality.
Foucault capitalizes that power and knowledge contribute to the discourse of sex; he discusses how people in power controlled this discourse to repress sex entirely. Foucault talks about the repressive hypothesis in his book. The repressive hypothesis states that whoever holds the power, also controls the discourse on sexuality. Specifically, those in power, according to the repressive hypothesis, exercise to repress the discussion of sex. In addition, Foucault comments that knowledge represents power. Whoever has the power can dictate the language of the population, thus this causes powerful people to also regulate the knowledge of the population. Although Foucault does not agree with every aspect that the repressive hypothesis exclaims, he agrees about the timing of when people started to repress sex. With rise of the bourgeoisie in the 17th century, a rise in tighter control about sex also took place. Foucault stated that the discourse of sex remained
Curley's wife, comparable to most other characters in the novel, is a type of character with little discrepancy, moreover being the only woman in novel. Curley’s wife is demonstrated by her position and part. This part is however, being a possession of Curley or a wife. She is heavily insulted and looked upon as inferior: George and Candy call her "jailbait" and "tart", which supports the fact that he has no voice and as a matter of fact, no name – simply being referred to as Curley’s wife. Due to her lack of power, she attempts to gain it by leeching off those with power. This leeching is portrayed as her seducing the other men on the ranch who have large presence like Slim: “Hi Slim” supports a casual and somewhat flirtatious approach to the other men. She seduces other by wearing far too much makeup and dressing like a "whore" with “red fingernails” and red shoes with ostrich feathers.
In the book, “On the Meaning of Sex” J. Budziszewski talks about the meaning of sex. Budziszewski states that the issue of sex is one of the most important issues in our culture since the sexual revolution. Budziszewski opens the book by restating a conversation he once had with a student about the Book, “Brave New World.” The student states that the people are revolting and disgusting. Budziszewski is delighted by this statement. He believes that the student and himself are on the same page. Budziszewski responds to the student by agreeing and saying that there needs to be some meaning to sex. However; the student replies by saying, that the manner in which babies are “born” in the brave new world is disgusting and that sex doesn’t necessarily
All women should hold rights equal to men because a society governed by men and women as a unit would promote stability and peace. In “The Destructive Male” written by Elizabeth Cady Stanton, Stanton argues through diction and the employment of ethos, pathos, and logos that giving rights to women, and allowing women to hold positions in politics and government, would be beneficial to the whole of society.
The topic of homosexuality has always been one approached with caution due to its taboo nature derived from its deviation from the heterosexual norm. Traditionally, and across several cultures, homosexuality has been successfully discussed through normalizing the behaviour through heterosexual representation. Gender reversal or amplification of feminine qualities of male characters have often been means by which authors are able to subtly introduce the foreign idea of homosexuality and equate it to its more formal and accepted counterpart, heterosexuality. The works of Shakespeare and Li Yu have assisted in exposing homosexual relationships while still maintaining them under the heterosexual norm, whether it be through direct or metaphorical representations.
In The Introduction to the History of Sexuality, Foucault explains how during the 19th century with the raise of new societies, the discourse or knowledge about sex was not confronted with repulsion but it “put into operation an entire machinery for producing true discourses concerning sex” (Foucault 69). In fact, this spreading of discourse on sexuality itself gives a clear account of how sexuality has been controlled and confined because it was determined in a certain kind of knowledge that carries power within it. Foucault reflects on the general working hypothesis or “repressive hypothesis,” and how this has exercised power to suppress people’s sexuality. It has power on deciding what is normal or abnormal and ethical or unethical about sexuality. Through discourses of life and sexuality, power is exercised because humans learned how to behave in relation to sexuality, which method keep individuals controlled and regulated. This explains why people experience that sense of behaving inappropriate when we talk about sex in a different way than the whole society. Foucault points up how sexuality is not just treated in terms of morality, but it is a matter of knowledge and “truth.” However, these discourses, including sexual discourses are not true or false, but they are just understood to be the truth or falsehood to control society. As a result, sexuality begins to be explored in a scientific way, developing the “truth” science of sex (Foucault 69). For Foucault, he asserts that sexuality has developed as a form of science that keeps us all afraid of such phenomena, which people think to be true, thus this science helps society to discipline and control individuals’ behaviors.
Unlike sex, the history of sexuality is dependant upon society and limited by its language in order to be defined and understood.
In What ways is Sexuality portrayed as central to the conflicts of the individual-v-society in Ken Kesey's One flew over the cuckoo's nest and Tennessee Williams A street car named desire? In What ways is Sexuality portrayed as central to the conflicts of the individual-v-society in Ken Kesey's 'One flew over the cuckoo's nest' and Tennessee Williams 'A street car named desire'?
"At the centre of Artemis Fowl is a 12-year-old criminal mastermind from North Dublin who attempts to raise money by holding a leprechaun to ransom. Artemis is an anti-hero with definite edge. Eoin says he has always been attracted to dark characters, from Moriarty in Arthur Conan Doyle’s Sherlock Holmes stories to Darth Vader. “I had the idea of creating an anti-hero,” says Eoin, “a boy who was witty and sarcastic, always out for his own good. Once or twice he is mistakenly accused of a noble motive but, in fact, he’s always in it for the money." Twelve-year-old villain, Artemis Fowl, is the most ingenious criminal mastermind in history. His bold and daring plan is to hold a leprechaun to ransom. But he's taking on more than he bargained for
Stevenson's choice of certain words in the novel is extremely pertinent to a homoerotic reading of the text. In some Victorian circles (and most certainly not in others), certain words had very explicit homosexual connotations.
Gerber, John C. "Form and Content in The Scarlet Letter." The Scarlet Letter: A Norton Critical Edition. Eds. Seymour Gross, Sculley Bradley, Richmond Croom Beatty, and E. Hudson Long. New York: W.W. Norton and Co., 1988.
Everyday the North American media sends millions of sexually provocative images through the airwaves and onto television screens. According to a recent study, an overwhelming 56% of all television programs contain sexual content (Vieth, 2). Our society has become so immune to the representation of sex that, for the most part, it goes unnoticed. Although concerns regarding sexuality still remain, society's tolerance level has changed dramatically over time. The history of attitudes toward sex and sexuality is a cultural process that can be seen through the literature of an era. The Awakening was the first piece of American fiction to blatantly attack the nineteenth century notion that marriage, emotional intimacy and sexual intimacy were inextricably bound together. Chopin's novel was advanced in theme over other nineteenth century works. Her piece more closely reflects the modern novel. Chopin gives her readers the story of a married woman, Edna Pontellier, as she explores her sexuality and need for emotional intimacy outside her marriage. Edna's need for extramarital relationships challenged the nineteenth century ideas of femininity and propriety.
The role of the male characters in The Virgin and the Gypsy by D.H. Lawrence can best be summed up by Yvette's reaction to her sister's philosophy of marriage:
The word “Queer” means “strange, unusual”, the same with word “odd”. The theory of queer gender is not a specific theory, but a comprehensive interdisciplinary discourse that come from multiple subjects such as history, society and literature. The theory of queer gender established outside of the mainstream culture: these people and their theory cannot find their position in the mainstream culture, and they do not have intention to do so. “Queer” is a appellation for a social group including people who are not conform with the mainstream society about sexual preference and gender identity, like homosexual and bisexual.