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Essay on the portrayal of women in mass media
The portrayal of women in literature
The portrayal of women in literature
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Social conventions placed on both men and women, have haunted the pages of society for decades. The belief that the ideal man allocates more of his time into the masculinity of hard labor than his appearance, while the ideal woman doesn't bother herself with work or anything that hasn't to do with dresses and entertaining, appears time and time again as the social “norm”. Members of our society use these “traditional” characteristics of gender, as an integral factor in assuming a persons sexual orientation. Alison Bechdel, in her graphic memoir Fun Home A Family Tragicomic, uses these same conventions to her advantage, yet reverses the roles society have given gender, giving the male characters more “feminine” qualities, and the women more “masculine” ones. In doing this Bechdel illustrates the broadness of gender roles, a key factor in determining sexuality, thus stripping the idea that “traditional”sexuality is synonymous with “normal” sexuality.
Bechedel first illustrates the reversal of gender roles when she describes the differences between her and her father’s characteristics. As the story progresses, Bechdel reveals a sense of resentment towards her father for his treatment of his “furniture like children, and his children like furniture”(14).Examples of this include his neglect of his male children, and through his using of the children as free labor. Due to her father's neglect, she decided early on in life that she would be the complete opposite of her father, the “spartan to my fathers Athenian. Butch to his Nelly. . . I developed a contempt for useless ornaments, what function was served by the scrolls, tassels, and Bric-A Brac that infested our house?”(15-16) In this passage, Bechedel portrays herself as having t...
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...estraints on what each gender is allowed to do. Furthermore, through redefining these characteristics, which are used by society to determine whether a person’s sexual preference is normal, Bechedel renegotiates sexuality, proving that just because something is traditional and the standard does not mean that it is the case for each person. Through proving time and time again that the thing that is considered a integral part in proving the sexual orientation of a person, has flaws in it, Bechedel inadvertently proves that that the bigger issue of what is “normal” sexuality has flaws in it as well. Through Fun Home, Bechedel renegotiates what is deemed as “normal” actions of genders, thus renegotiates the concept of sexuality that those characteristic heavily influence. The novel speaks against “tradition” and what is “normal” and shows that each person is individual.
Each chapter contains numerous sources which complement the aforementioned themes, to create a new study on cultural history in general but women specifically. Her approach is reminiscent of Foucault, with a poststructural outlook on social definitions and similar ideas on sexuality and agency. Power cannot be absolute and is difficult to control, however Victorian men and women were able to grasp command of the sexual narrative. She includes the inequalities of class and gender, incorporating socioeconomic rhetic into the
At the beginning of the 1900s, there was a “sexual revolution” in New York City. During this time, sexual acts and desires were not hidden, but instead they were openl...
Alison Bechdel's graphic memoir, Fun Home: A Family Tragicomic, documents the author's discovery of her own and her father's homosexuality. The book touches upon many themes, including, but not limited to, the following: sexual orientation, family relationships, and suicide. Unlike most autobiographical works, Bechdel uses the comics graphic medium to tell her story. By close-reading or carefully analyzing pages fourteen through seventeen in Fun Home one can get a better understanding of how a Bechdel employs words and graphic devices to render specific events. One can also see how the specific content of the pages thematically connects to the book as a whole. As we will see, this portion of the book echoes the strained relationship between Bruce Bechdel and his family and his attempts to disguise his homosexuality by creating the image of an ideal family, themes which are prevalent throughout the rest of the nook.
The tragicomic Fun Home, by Alison Bechdel, is generally considered one of the most important pieces of the modern LGBTQ canon of literature. The graphic novel tells the story of Alison Bechdel’s attempt to find the truth about her father’s sexuality and what lead him to possibly commit suicide. Along the way, Bechdel finds her own sexuality. Bechdel’s choice to write about her and her father’s simultaneous journey to finding their sexuality was revolutionary at the time. Very few authors were writing openly about their own sexuality, and something even more revolutionary that Bechdel addressed was mental illness.
well-known stereotype. Sexuality is described in two different environments, showing how circumstances can change what is socially accepted.
In chapter one, “Old Father, Old Artificer”, of her graphic novel Fun Home: A Family Tragicomic, the young Bechdel generated her identity through the tensions and mysteries that engulfed her family the home. Masculinity, physical strength and a modern outlook were her personality traits as she grew, becoming the “Butch to [her father’s] Nelly” (269) and his opposite in several aspects. A conscious effort was made on her part to set her own pace from what her father expected of her. He was a strong, influential figure within her life. Expressing emotions towards her father was strictly not allowed in the home. Bechdel was left “rushing from the room in embarrassment” (273) on the one unforgettable occasion that she went to kiss him goodnight. She...
In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
With a heart-full of advice and wisdom, Dinah maturates from a simple- minded young girl to a valiant independent individual. “For a moment I weighed the idea of keeping my secret and remaining a girl, the thought passes quickly. I could only be what I was. And that was a woman” (170). This act of puberty is not only her initiation into womanhood but the red tent as well. She is no longer just an observer of stories, she is one of them, part of their community now. On account of this event, Dinah’s sensuality begins to blossom and she is able to conceive the notion of true love.
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
In all of these pieces of literature, the behavioral norms that are considered appropriate for men and women are tested. In The Yellow Wallpaper, a wife is pushed to insanity, in A Doll’s House, a housewife goes against expectation, in The Great Gatsby, male dominance is pushed to the extreme. Gender roles dictate men and women’s lives. The concept that you must live up to society’s expectations controls men and women’s thoughts and actions, and it must come to an end. All these authors captured a vital lesson to be learned: Men and woman should be treated equally.
n Prelude, Katherine Mansfield explores issues of sexual frustration and the restrictions on female identity in a patriarchal society, as experienced by three generations of Burnell women. Linda Burnells responses to male sexuality are tainted by their inevitable association to her obligations in fulfilling her role as a wife and a mother, both of which Linda has shown indifference towards. As a result, Linda's own sexuality suffers under feelings of oppression.
Mary Pipher goes on to say that the problem faced by girls is a ‘problem without a name’ and that the girls of today deserve a different kind of society in which all their gifts can be developed and appreciated. (Pipher,M). It’s clear that cultures and individual personalities intersect through the period of adolescence. Adolescence is a time in a young girl’s life that shapes them into the woman they become. I think it begins earlier than teen years because even the clothing that is being sold for younger girls says sexuality. Bras for girls just beginning in every store are now padded with matching bikini underwear, Barbie dolls are glamour up in such away that these girls believ...
In Alison Bechdel’s graphic novel entitled Fun Home, the author expresses her life in a comical manner where she explains the relationship between her and her family, pointedly her father who acts as a father figure to the family as she undergoes her exhaustive search for sexuality. Furthermore, the story describes the relationship between a daughter and a father with inversed gender roles as sexuality is questioned. Throughout the novel, the author suggests that one’s identity is impacted by their environment because one’s true self is created through the ability of a person to distinguish reality from fictional despotism.
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.
Wilton, Tamsin. "Which One's the Man? The Heterosexualisation of Lesbain Sex." Gender, Sex, and Sexuality. New York: Oxford University, 2009. 157-70. Print.