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portrayal of women in literature
portrayal of women in literature
portrayal of women in literature
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The Powerful Female Character in Portrait of the Artist as a Young Man
One of the most powerful nuances of any writing is the dialogue within the story. In literature, it is all too often that characters live only in the jaded voice of the author and never truly develop as their own, or are not strongly opinionated in a manner which contrasts the opinions of the writer. It is also unfortunately true that the women depicted in most male-authored literature do not often sound realistic, or how most women one would speak to in the course of the day tend to sound. All too often, women are depicted on a lower level of speech than men. For instance, Dickens and Arthur Miller both apparently subscribed to this notion, as the women in their stories were usually more passive, and not as elaborate as men in their speech, however, James Joyce did not see things in the same light. The most developed female character in Joyces A Portrait of the Artist as a Young Man, is one who speaks with dignity, passion, and the female tact which is all too often ignored in the characters of women. Joyce's Dante Riordan's words and thoughts are true to those of literate twentieth century women.
Although a short-lived character in Portrait, Dante Riordan, in a brief amount of time emits an apparently important and mysterious aura, the aura of a woman. Judging from the studies of twentieth century linguists, Joyce's brief representation of Dante through speech is nearly flawless. To more lucidly understand this, one must carefully examine some of the instances at which Dante speaks in her conversation with Mr. and Mrs. Dedalus, Charles, and Mr. Casey, and re-examine the arguments she makes. Dante is introduced into the dinner table conversation as a silent character. However, when the men's conversation turns to the misuse of the preacher's pulpit, Dante begins her interjections.
All too often, women in literature remain linguistically dormant unless called upon, however, studies conducted in the reality outside the covers of a book have shown that women will interrupt a conversation to contradict a previous speaker, and do so vehemently (Coates, 193). A nice answer for any man calling himself a catholic to give to his priest, (Joyce, 273) states Dante as her first response.
At this point, Dante has drawn herself into the conversation.
Gender Matters is a collection of various essays on feminist linguistic texts analysis, by Sara Mills. Mills develops methods of analyzing literary and non-literary texts, in addition to conversational analysis based on a feminist approach. The author draws on data from her collection of essays gathered over the last two decades on feminism during the 1990s. The essays focus on gender issues, the representation of gender in reading, writing, and in public speaking. Furthermore, it highlights the importance of feminists’ analysis of sexism in literature and the relation between gender and politeness. The article is informative for my research paper, as my topic is going to cover language analysis of the text and who women reading and writing differs according to the discourse analysis within linguistic, psychology, case studies audiences and surveys. The book would be helpful, particularly the last three essays that discusses gender, public speaking, the question of politeness and impoliteness in public speaking. Mills’ analysis is not complete without including the idea of global notions of both women and men, to see whether women and men write and read in the same way globally. Therefore, an update would enrich the book’s discussion section. Although, Mills addresses the class and race theme in language and public speaking, I will only look into the role of language that plays a part in doing or reducing gender in literary, non-literary texts and in conversation.
Much discrimination and misogyny still permeate our social stratosphere, but while reading written words one cannot help but to be placed in the author’s shoes, and therefore accept their words as our own. Cain writes, “Many of the texts written by women during this time reflect the idea that there are natural differences between the sexes. Usually a female narrator…privately addresses a mainly female audience about issues that might seem mainly to concern women” (825). Because the text is written in a female voice, the reading adapts themselves to that voice, and gives credit to the
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
Life and death, day and night, summer and winter are seen not simply as opposed but as involved in a system of alternation and continuity-indeed, a fundamental relationship of cycles. These opposites form what we can call a bipartite view. For black there is white and for something like the heavens there must be a corresponding underworld below us.
Fisher, Jerilyn, and Ellen S. Silber. Women in Literature: Reading Through the Lens of Gender. Westport, Conn: Greenwood Press, 2003. Print.
mother’s milk to draw a crowd. As more and more mothers are choosing to breastfeed over
Thesis: In my paper, I will be examining the different types, possible causes, and effects of Intimate Partner Violence, and what treatments or programs are available to combat this growing problem in America. Regardless of differing approaches to fight it, statistics show that women all across the world suffer from the effects of domestic violence at a similar rate independent of class, race, or religion.
conceptualizations of gender in literature are situated in a culture and historical context ; the
Sandra M.Gilbert and Susan Gubar, authors of the Madwoman in the Attic: the Woman Writer and the Nineteenth-Century Literary Imagination (1979) assert that the male voice has for too long been dominant. Because males have also had the power of the pen and therefore the press, they have been able to ...
In order for us to deal with how a consideration of femininity can effect our understanding of a literary text, we must also be able to grasp the notion of `feminism' and `Feminist Literary Theory'. A dictionary definition of `feminism' is: `the advocacy of women's rights on the grounds of the equality of the sexes.' Although this leans towards feminism in the historical sense of the word, it still provides the grounds, or foundations, from which feminist literary theories were created. Feminists argue against the stereotyping and social construction of female norms, seeing them as created by men in order to establish their own sense of power. It is thought that while males suggest that gender is sex and not actually a construct, the female role will become much more passive, stereotyped and controlled.
Faust also gets out of his contract. He is finally pleased with this paradise he is going to build. The ability for following generations to enjoy this paradise was his pleasure. This selfless act of joy was what allowed God to save him, even though the contract said otherwise.
Women’s writing, particularly in The Golden Notebook is about the fact that women are assessed from a completely different point of v...
Many scholars suggest that the room in which Endgame is staged is a post-war bomb shelter, constructed by Hamm, and that the nothingness observed outside is a result of a nuclear winter. Although the interpretation of the scene in Endgame as a bomb shelter is certainly reasonable, especially in relation to the fears of world war in Beckett’s time, it seems more plausible that the blankness and death that exist outside the windows is figurative more than real. In the play, Hamm relates this nothingness to the condition of madness:
James Joyce often depicts women as minor characters because of the role women played during the period he wrote, but there are a few occurrences when a woman is central to the story.
In the beginning, Mills discusses theoretical elements and has labeled this section as “General Theoretical Issues” and the second part is comprised of analysis having three sub chapters. The main section of the book examines feminist models of the text and investigates language typologies. According to Sara Mills, language is a form of social communication, a tool to transfer information and a set of mutually decided linguistic choices in any system (Crystal: 1995, 18). Language functions as sharing of thoughts in a framework where options are equally exclusive. Mills criticizes the traditional method to deal with legendary writings which often neglect the fact that the writer has no command over the stuff, being delivered by him or her. Another drawback of this conventional approach is that only the texts which have literary worth are selected for analysis (e.g. the works of Shakespeare, D.H. Lawrence, Beckett and so on) and women’s writings for stylistic analysis are often overlooked. TorilMoi (1985) and Elaine Showalter (1978) are of the view that “women’s writings have frequently been barred from standard status, by the procedure named phallocentric