During the time when Gilman was growing up, women had defined domestic roles and their husbands were the dominating force. In turn, there were women who gained a voice and defied the oppressive male community; one of those voices being Gilman’s. Locked away in a mental and physical prison of her husband’s machination, the protagonist of Charlotte Perkins Gilman’s The Yellow Wallpaper is the embodiment of the struggles faced by women seeking freedom from the restraints placed upon them by men. The narrator remains nameless throughout the story in order to depict the wife as a figurative representation of women in society; women were treated lesser than that of males. In the story, this nameless woman is the wife of a “physician of high standing” (Gilman, 1), and has a “[brother who is also a physician] of high standing” (1).
In ancient Greek society, women were controlled by their father before they were married, and controlled by their spouse once they were married; Medea opposes this convention and ultimately succeeds in overthrowing it. In fact the theme of reversal of gender roles pervades the entire text. This is exemplified when at the end of the play Medea domineeringly states, “Now of... ... middle of paper ... ...e once both characters were blissfully in love, the same love was denied to them; as such both characters changed by becoming outsiders and breaking free of the gender and social roles they were cast. Moreover both characters directly confront their oppressors and symbolically free themselves. Most importantly Tita and Medea are shown as strong and masculine in comparison to the males in both novels.
F. Scott Fitzgerald’s consideration of gender roles throughout The Great Gatsby reflect the sheer unbalance between the value of men and women in traditional households. Throughout the novel women are seen living a life controlled by men, and accepting their loss of independence for the materialistic values of life. Women follow the social code of the 1920’s to seem ladylike, leading them to succumb to uniform and object like personas. Scenes of blatant sexism are the strongest representation of the gender gap and the loss of morals throughout the 1920’s. “I’m glad it’s a girl.
The novel depicts this construct of gender identity through society by molding Grace to believe women are subordinate and need to get married and be good housewives to be successful. This construct is seen through emotion as women who are emotional are seen as “abnormal” and sent to asylums, while men had to power to do so. The societal construct of gender identity was seen as men were to bask in their sexuality and be assertive, while women were to be passive and suppress their sexuality. Mrs. Humphrey challenged this construct as she was assertive and the instigator. Lastly, the societal construct of gender identity was challenged through Grace’s mother as she took over the males position of being the provider.
Her novel portrays the injustices women had to face against a patriarchal society. She exemplifies that women are differentiated by men in their marriage due to the labelling that men are more active and women were oppressed to domestic roles. The Yellow Wallpaper suggests that women should have liberty to express themselves and break through the social standards the patriarchal society oppressed them to. Perkins demonstrate a women who is hopeless but a great writer. The inferences to the breakthrough of women’s right in society refer to feminism.
If one defied the social structure, the consequences would result condemnation and shame on the entire family. Jane Austen’s Pride and Prejudice contain many underlying information regarding women’s hierarchy status, maintaining social distinctions and obligations, and acquiring power. Although Jane Austen concentrates on developing the female characters, she also distinctly establishes their social disagreements. For example, Lady Catherine de Bourgh’s objection towards Elizabeth and Darcy’s rumored engagement demonstrates the upper and lower class division. Lady Catherine insults the Bennet family saying, “I am no stranger to the particulars of your youngest sister's infamous elopement.
In conclusion, Henrik Ibsen's A Doll's House displays Nora going through a transformation from a childish and dependent character to a woman who recognizes her capability and becomes a strong-willed individual who makes her own decisions. Nora is a symbol of many women in the nineteenth century who wanted to escape from the authority of men. Many women in the world today face similar issues as they are forced to be rely upon men, whether it is their father, brother, husband or son. This is a problem because these women are treated unjustly by the men who run their lives when in fact they are capable of taking control for themselves.
In Charlotte Perkins Gilman’s short story, “The Yellow Wallpaper,” the author gives the audience a powerful message about feminism, women’s imprisonment because of the idea of patriarchy, and how women were being treated during this time period. The nineteenth century was a male dominated society. Men ruled everything. The Yellow Wallpaper deals with feminism and the struggles women had to fight through. Women were oppressed in this era, and states the misogynist, patriarchal power men had over their wives, girlfriends, or any women The yellow wallpaper in the story signifies the narrator’s imprisonment she encountered with her husband, his sister, and being confined by herself most days and nights.
The wife uses the kind... ... middle of paper ... ...e struggle for power. She feels women should solely have maistrie over their husbands in marriage. As she does not believe they can be equal partners in the relationship in terms of power. In order to justify her actions, the wife uses her prologue and tale. The Wife of Bath shows such control in her prologue which summarizes her own life, the Queen in her tale who controls the knight, and the old hag in the tale who is able to manipulate the knight to achieve her desires.
Firstly, Antigone and Nora are both mildly chaotic and rebellious. Women, at those times have certain expectations of following patriarchal jurisdiction. When Antigone goes against Creons law she shows her rebellious side. Nora’s seditiousness is demonstrated when Mrs.Linden converses with her and says, “Why, a wife can’t borrow money without her husband’s consent”(Ibsen 151). During Ibsen’s era many... ... middle of paper ... ...igone is expected to be subservient, but has an urge to defy.