From the early history, women were inferior to and dominated by men. However, the problem of female sexual degradation of the male society is still existent even in the 21st century’s world which is characterized by the social equality and democracy. In a self-contained Issue, “Callioppe” (The Sandman, #17), Neil Gaiman criticizes the male driven economy which engages in female social and sexual abjection through depiction of rape. Utilizing the narrative and visual techniques, Gaiman draws the reader to the problem of sexual violence toward women. The story begins on May 1986 with depicting Richard Madoc in the dark, claiming, “I have no any idea.” From the first panel we can see his shadowed face in profile so that we cannot see his emotions. …show more content…
Gaiman wanted to show the process of raping in the raw: terrifying and vicious. The text box announces, “His first action was to rape her, nervously, on the musty old camp bed”. The phrase “his action” indicates the forced nature of the process without any mutual assents. Moreover, if the reader looks only on the right side of the frame, it could be mistaken for a romantic love scene. However, when viewing the left side, the scene is extremely horrifying. Madoc is pictured faceless with muscular arms; his body dominates and is shadowed; it seems that demon takes his place. At the same time, Calliope is shown as a pale exhausted body; her head thrown back at the painful, inhuman angle; her eyes are wide open and empty. Moreover, she is pictured with resigned or surrendered mask. Through illustrating her pain as a victim, Gaiman wanted to show the psychic trauma of people who survived after raping; to show the feeling of being raped. Furthermore, as with a case of Fry opening the door on page 5, Gaiman forces the reader to become Madoc: the reader decides how long Calliope being raped through the time he pays attention to this frame. As nobody wants to be Madoc or Fry, Gaiman provokes the sense of antipathy to the raping
Even though women such as Lucy demonstrate stereotypical female weakness, characters such as Mina defy the conventional submissive female, as an independent woman, a role uncommon of novels in this era. In addition, Mina, in comparison to men, possesses substantially stronger emotional fortitude and controls her emotions, while the men who are supposed to be strong expose emotional weakness and frailty. Ultimately, however, no matter Mina’s intelligence or strengths, the men continually suppress Mina’s vast amount of wisdom in order to maintain their perceived dominance. Nonetheless, Stoker’s messages throughout the novel regarding women silently protest the sexist expectations of the overly limiting Victorian era. Should today’s modern feminists take Stoker’s peaceful approach and protest subtly hoping for long-term change? Or should feminists act with violent protests in hope for prompt change? Gender equality will not happen overnight, however, instead of rushing minuscule modifications with violent protest, society must patiently wait for productive and peaceful change, in order to prevent an even larger
In Charlotte Perkins Gilman’s bodies of work, Gilman highlights scenarios exploring traditional interrelations between man and woman while subtexting the necessity for a reevaluation of the paradigms governing these relations. In both of Gilman’s short stories, “The Yellow Wallpaper” and “Turned”, women are victimized, subjected and mistreated. Men controlled and enslaved their wives because they saw them as their property. A marriage was male-dominated and women’s lives were dedicated to welfare of home and family in perseverance of social stability. Women are expected to always be cheerful and good-humored. Respectively, the narrator and Mrs. Marroner are subjugated by their husbands in a society in which a relationship dominated by the male is expected.
Quentin Tarantino has proven time and time again to be one of the most confusing directors to understand when attempting to unravel the personal ideologies in his films. Each of his films deals with race, sexuality, and gender to some extent, and it is often difficult to know whether or not Tarantino is making a commentary on these things or if he truly believes much of the problematic discourse found in his films. Kill Bill Vol. 1 and 2 are a testament to this understanding of Tarantino’s films, as they appear to be extremely feminist films at surface level yet, upon deeper inspection, have some very problematic qualities. Looking at Kill Bill Vol.’s 1 and 2 through both a feminist and anti feminist lens can allow the audience to better
Society continually places restrictive standards on the female gender not only fifty years ago, but in today’s society as well. While many women have overcome many unfair prejudices and oppressions in the last fifty or so years, late nineteenth and early twentieth century women were forced to deal with a less understanding culture. In its various formulations, patriarchy posits men's traits and/or intentions as the cause of women's oppression. This way of thinking diverts attention from theorizing the social relations that place women in a disadvantageous position in every sphere of life and channels it towards men as the cause of women's oppression (Gimenez). Different people had many ways of voicing their opinions concerning gender inequalities amound women, including expressing their voices and opinions through their literature. By writing stories such as Daisy Miller and The Yellow Wallpaper, Charlotte Perkins Gilman and Henry James let readers understand and develop their own ideas on such a serious topic that took a major toll in American History. In this essay, I am going to compare Gilman’s “The Yellow Wallpaper” to James’ “Daisy Miller” as portraits of American women in peril and also the men that had a great influence.
In City of Dreadful Delight, Judith Walkowitz effortlessly weaves tales of sexual danger and more significantly, stories of the overt tension between the classes, during the months when Jack the Ripper, the serial murderer who brutally killed five women, all of them prostitutes, terrorized the city. The book tells the story of western male chauvinism that was prevalent in Victorian London not from the point of view not of the gazer, but rather of the object. Walkowitz argues that the press coverage of the murders served to construct a discourse of heterosexuality in which women were seen as passive victims and sexuality was associated with male violence. Much of City of Dreadful Delight explores the cultural construction and reconstruction of class and sexuality that preceded the Ripper murders. Walkowitz successfully investigates the discourses that took place after the fact and prior social frameworks that made the Ripper-inspired male violence and female passivity model possible and popular.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
...e, women are the weaker of the two sexes. Women are slaves and spoils of war, if they are valued for sex they are used for sex. The universal portrayal of women causes a reevaluation of modern day gender balances by the reader.
From the beginning of time in history, women have always been portrayed as and seen as the submissive sex. Women especially during the time period of the 1800s were characterized as passive, disposable, and serving an utilitarian function. Mary Shelley’s Frankenstein is a prime example displaying the depiction of women. The women in Frankenstein represent the treatment of women in the early 1800’s. Shelley’s incorporation of suffering and death of her female characters portrays that in the 1800’s it was acceptable. The women in the novel are treated as property and have minimal rights in comparison to the male characters. The feminist critic would find that in Frankenstein the women characters are treated like second class citizens. The three brutal murders of the innocent women are gothic elements which illustrates that women are inferior in the novel. Mary Shelley, through her novel Frankenstein, was able to give the reader a good sense of women’s role as the submissive sex, through the characters experiences of horrific events including but not limited to brutal murder and degradation, which is illuminated by her personal life experiences and time period of romanticism.
Since the beginning of time, women have been seen as different from men. Their beauty and charms have been interpreted as both endearing and deadly to men. In the Bible, it was Eve’s mistake that led to humanity’s exile from the Garden of Eden. However, unlike in the Bible, in today’s world, women who drive men to ruin do not do so through simple mistakes and misunderstandings, they do so while fully aware of what effects their sexuality can cause. One thing remains constant through these portrayals of women, and that is that they are portrayed as flawed creations and therefore monstrous. It is a woman’s sex drive and sexuality that can lead to her monstrosity. The femme fatale is an enticing, exquisitely beautiful, erotic character who plays the ultimate trick of nature: she displays her beauty, captures the man and goes in for the kill. Films such as Adrian Lyne’s Fatal Attraction and stories such as Geoffrey Chaucer’s The Wife of Bath’s Tale, and Sir Gawain the Green Knight use the femme fatale as a means of making a woman into a monster; the femme fatale can never win in the battle of the sexes. But what is it that makes the femme fatale such a dangerously character for the hero as well as the readers or viewers?
A lady is an object, one which men attempt to dominate. A man craves to get a hold of this being beneath his command, and forever have her at his disposal. In her piece “Size Six: The Western Women’s Harem,” published in 2002, Fatema Mernissi illustrates how Eastern and Western women are subjugated by the control of men. Mernissi argues that though she may have derived from a society where a woman has to cover her face, a Western woman has to face daily atrocities far worse then ones an Eastern woman will encounter. Moreover, Mernissi’s core dogma in “Size 6: The Western Women's Harem” is that Western women are not more fortunate than women raised into harems in other societies. Additionally, she asserts that though women in the Western world are given liberties, they coincide with the unattainable ideals of what is aesthetically pleasing. Furthermore, to strengthen her argument towards her wavering audience, Mernissi’s main approach in her paper is to get the reader to relate with her issue by means of an emotional appeal, while also utilizing both the ethical and logical appeal to support her thesis.
Traditional sex scripts of men and women create for a rape-supportive culture (Check & Malamuth, 1983). Rape is a logical extension of our sex role socialization process that legitimized coercive sexuality. Through these scripts men are taught to take initiative and persist attempts of sexual intimacy. Traits of dominance, aggression and violence are idolized (Martin, Taft & Resick, 2007). Women, on the other hand, are taught to not indicate their sexual interest or engage freely in sexuality. They should possess qualities of being passive, submissive and sexual gatekeepers (Martin, Taft & Resick, 2007).
Traditionally, men have held the power in society. Women have been treated as a second class of citizens with neither the legal rights nor the respect of their male counterparts. Culture has contributed to these gender roles by conditioning women to accept their subordinate status while encouraging young men to lead and control. Feminist criticism contends that literature either supports society’s patriarchal structure or provides social criticism in order to change this hierarchy. “The Yellow Wallpaper”, by Charlotte Perkins Gilman, depicts one women’s struggle against the traditional female role into which society attempts to force her and the societal reaction to this act.
John Webster’s The Duchess of Malfi and Alexander Pope’s The Rape of the Lock each feature females as the dominate characters, but represent them in very different ways. In Webster’s The Duchess of Malfi it is made clear and significantly expresses how being vigorous, prideful and independent are not solely male characteristics, but assist in empowering women. In Pope’s The Rape of the Lock he presents women of circumstance and their over the top reactions to events that are superficially inconsequential, ruled over by a culture of consumerism and materialistic and vain necessities.
Gay reminds us that, “womanhood feels more strange and terrible now because progress has not served women as well as it has served men” (Gay 2011, 132). In other words, women have been portrayed as degrading and inferior to men due to the inevitable consequence of patriarchal western societies, in which women have traditionally been correlated with a less status than men. Women’s Realities, Women’s Choices demonstrates this theory as a conventional view of sex and gender by emphasizing that “women have been associated with the body and nature and men with ‘self, ’soul,’ and culture, profoundly affecting how women have been valued, treated, and constrained in their opportunities and choices” (Hunter College Women 's Studies Collective 2014, 152). In addition, an origin myth for Christians is that Eve was made as a companion to Adam, and by defying God, eating the fruit from the forbidden tree of knowledge and convincing Adam to do the same, she brought evil into the world. This suggests that “it is men, not women, who engage in productive labor and that women deserve the pain of childbirth” (Hunter College Women 's Studies Collective 2014, 28).This myth originated from Christianity is generally held to be acceptable at the expense of individuality and has had influence on society, which has lead the authors to question views of sex and gender. Therefore, in the film Coffy, men played a role of dominance in demanding women to satisfy their sexual
Bayley, Alex. "Rape Culture." Geek Feminism Wiki. Wikia, 9 June 2009. Web. 24 Apr. 2014. .