Through two instances of the diamond image-- from Clarissa’s first reflective moment with Sally to the present moment, we can notice how Clarissa has shifted her identity from being a purely individual one to a more socially constructed one. After her youngster years when Clarissa spent more time in the domestic space and was not as affected by the outer world, she is supposed to enter the “symbolic order” which, according to Lacan, is the world of social interaction where a person further develops an autonomous identity through language, knowledge of ideological conventions, and acceptance of laws and dictates. However, as Clarissa enters the social order, she appears to be dissuaded to further develop a wholly autonomous sense of self. The …show more content…
Indeed, Victorian women are molded into the socially calibrated model of The Looking-glass self, a structural theory in which Cooley proposes that people shape their identity largely based on their understanding of how other perceive them, and the social environment thus serves as the “mirror” that reflects desirable images of themselves. According to Cooley, the stages of The Looking-glass self involves imagining how one looks to others, imagining how other are judging her, and finally developing herself through such possible judgement. A hypothesis can be formed here, that Victorian women must develop this looking-glass self by concealing socially or individually unacceptable impulses from their consciousness. In the case of Clarissa, she represses her rather primitive sexual feelings toward Sally for fear of social judgement, and must construct an identity reflective of the feminine qualities desired by the society. But Clarissa’s looking-glass self is quite problematic, because it is only a manifestation of her attempt to repress real emotions. All forms of repression, according to Freud, cause disease within the mind and body— they will gradually boil inside the beings and finally explode. Interestingly, Clarissa never “explodes” her repressed feelings …show more content…
Clarissa sees herself grow old and tends to lock her feelings inside the privately nurtured rooms of her mind, just as the lady who rattles alone around the rooms of her house. This solitary woman is both Clarissa's double, a reflection glimpsed in a figurative mirror that implies Clarissa's potential future, and a separate individual whose life beyond the frame of the mirroring window Clarissa does not have access to. As Clarissa sees her neighbor walking upstairs, she realizes beauty in this act of preserving one’s interior independence. “Let her climb upstairs if she wanted to,” Clarissa says, praising the woman’s autonomous and deliberate movements while being “quite unconscious that she was being watched.” By catching the woman who believes that she is unobserved, Clarissa witnesses the woman's true self, unaffected by any social frameworks that mold people into desired human subjects. The elderly woman's poignant representation of individuality coupled with a sense of serenity and isolation is something that Clarissa herself does not have in the moment. Furthermore, Clarissa also laments the power of love, religion, or any other socially shared conventions to crush one's critical thinking and try to convert people into believing a certain set of truths, thus
To give some suggestion of a background to this piece, The Bluest Eye is told from the perspectives of two reflective women, Claudia and Frieda MacTeer, as they reminisce about their childhood, and the images of their friend, Pecola Breedlove as they all grew up through the years at hand in this book. Is this a coming of age story? Quite literally, but it is a dissonant one, apart from so many others-- and serves to further the message as stated above. If only to compliment it, then, puberty and growing into sexual prowess are developed by the same things that make up one’s moral sophistication– parents, one’s school environment, and their social environment. Pecola’s parents, her home life; none of it is the least bit welcoming, the least bit inviting. She cannot express herself as she grows into her body because she will be beaten for it. Her mother thinks her a liar, and her father is too plagued by his own mental images to care much for anyone apart from himself. He takes out his stresses on Pecola, as the reader will see in the last leg of the book; Spring respectively. This environment that Pecola grows up in is indefinitely “not the right way.” She is denied too much of herself, and this is why she goes insane, partially.
Humans mirror humans, as it is necessary to survive in a harsh social and political society. In the 1801 novel Belinda, Maria Edgeworth introduces Clarence Hervey, a suitable bachelor for the protagonist Belinda, as “chameleon-like” but humorous and empathetic. Edgeworth develops Hervey’s complex character through irony, a third person point of view and a critical yet mildly sarcastic tone.
Another issue that the writer seemed to have swept below the carpet is the morality of women. First, women seemed to have been despised until they started excelling in mass advertising. Also, the author seems to peg the success of the modern woman to clothing and design. This means that women and cloths are but the same thing. In fact, it seems that a woman’s sex appeal determine her future endeavours, according to the author. It is through this that I believe that the author would have used other good virtues of women to explain
From the beginning, Lynn Peril illustrates situations in which women have to deal with a bunch of admonitions to become more feminine and good-natured. And these tips are not just some other normal tips; they become famous and being rulers to evaluate the dignity of women. Then, the author goes on to relate her real “Pink Think” experience throughout her life and express her strong feelings, “I formed an early aversion to all things pink and girly” (Peril, 280). She also fleer some girls who feign innocence and pretend to look as if butter would not melt in their mouth.
Offred and a friend of hers were walking outside one day, saw a group of tourists and thought about how “[she] used to dress like [the tourists]” (Atwood 28). The tourists were wearing clothing and makeup such as skirts above their knees and red lipstick. Offred and her friend were fascinated and envious of these women. They couldn’t imagine themselves wearing clothes like the tourist were wearing. Even though they couldn’t imagine themselves wearing those type of clothes and makeup, they used to wear it in their past. Offred remembered herself going to the laundromat and putting “[her] own clothes, [her] own soap, [and her] own money” into the machines and “having such control” over what she used to do (Atwood 24). She doesn’t have that control over her life anymore. Some women, such as Aunt Lydia, feels that she should be grateful that she doesn’t have to do those things anymore. They feel that Offred is complaining about something that is actually a good thing. Society brainwashes these women into thinking that not having that kind of freedom is a good thing. Society also makes women think that they are just good for having children and sex. Therefore, women lose self-esteem because of the pressure that they are faced with on a daily basis. For example, in the story, Offred has low self-esteem. She “[avoids] looking at her body, not so much because it 's shameful or immodest but because [she doesn’t]
In today’s society it is not uncommon for women, especially teenagers or young adults, to hide their true sexual nature in order to avoid being scrutinized by their parents. Connie is a young teenage girl in “Where Are You Going, Where Have You Been?” who has a double-faced personality, “Everything about her had two sides to it…” (Oates, 826). When away from her family, she is very outgoing and has a sexualized attitude towards herself and men, which differs from the more childlike identity she displays at home. She has developed a completely different mannerism outside of her household, cultivating her own style of laughing, walking, and dressing in order to make herself more attractive to men. It is not until Arnold Friend, the antagonist of the story, arrives that she becomes more of mixture of her two personalities. Because of her provocative clothing and attitude, Arnold takes a liking in Connie and decides that he will stalk her and confront her at her home. Her wanting to attract older men causes her to become the center of attention of one which would ultimately harm her. Connie becomes te...
Although the people surrounding Susanna feel perturbed towards her lack of social-conformity, which is demonstrated through others questioning her “self-image”, she knows that she is simply exp...
...pabilities as humans. This narrow-minded nature only succeeded in making women more and more determined to prove their "worth" to members of the opposite sex. Although Freud was leading the pack of male chauvinists in the late nineteenth century he has since been overpowered by females that are no longer afraid to say what they feel or act on their impulses.
"Her name was Connie. She was fifteen and she had a quick, nervous giggling habit of craning her neck to glance into mirrors or checking other people's faces to make sure her own was all right" (1). This quote shows the reader an astonishing truth about Connie. It shows her true insecurity that is rarely demonstrated to the outside world. Although she does not necessarily show this to the average bystander, by taking a closer look at her premature idea of acceptance, it also shows her constant yearn for approval from others to help boost her ego. At only the young age of fifteen, she is already attempting to prove her maturity and show that she can be independent. She does this by showing off her sexuality and strutting around. By showing off her
As Captain Jaggery’s ostensibly moral imperative from Avi’s The True Confessions of Charlotte Doyle implores, we the readers “protect the natural order of the world” through our disbelief in our heroine as reflected in our intuitive reflection upon and deconstructionalist critique of the book. In fact, it is likely that our disbelief of Charlotte’s story is as much a comment on our attitudes towards gender roles as it is an educated and thoughtful response to its clues. Even as we find ourselves believing along with the story, we, upon reflection, find valid ways to destroy that believability, in no small part because we define what she does as either “female” (believable) and “male” (not believable).
In Arcadia, The Importance of Being Earnest, and Look Back in Anger, the women characters play distinct roles in the dramas. However, the type of roles, the type of characters portrayed, and the purpose the women’s roles have in developing the plot and themes vary in each play. As demonstrated by The Importance of Being Earnest and Look Back in Anger, the majority of women’s roles ultimately reflect that women in British society were viewed to be unequal to men in love and in relationships and generally the weaker sex, emotionally, physically and intellectually. However, I have found an exception to this standard in the play Arcadia, in which Thomasina Coverly plays the role of a young genius.
Sometimes trying to conform to society’s expectations becomes extremely overwhelming, especially if you’re a woman. Not until recent years have woman become much more independent and to some extent equalized to men. However going back to the 19th century, women were much more restrained. From the beginning we perceive the narrator as an imaginative woman, in tune with her surroundings. The narrator is undoubtedly a very intellectual woman. Conversely, she lives in a society which views women who demonstrate intellectual potential as eccentric, strange, or as in this situation, ill. She is made to believe by her husband and physician that she has “temporary nervous depression --a slight hysterical tendency” and should restrain herself from any intellectual exercises in order to get well (Gilman 487). The narrator was not allowed to write or in any way freely...
Thackeray's theory of characterization proceeds generally on the assumption that the acts of men and women are directed not by principle, but by instincts, selfish or amiable--that toleration of human weakness is possible only by lowering the standard of human capacity and obligation--and that the preliminary condition of an accurate knowledge of human character is distrust of ideals and repudiation of patterns. This view is narrow, and by no means covers all the facts of history and human life, but what relative truth it has is splendidly illustrated in Vanity Fair. There is not a person in the book who excites the reader's respect, and not one who fails to excite his interest. The morbid quickness of the author's perceptions of the selfish element, even in his few amiable characters, is a constant source of surprise. The novel not only has no hero, but implies the non-existence of heroism. Yet the fascination of the book is indisputable, and it is due to a variety of causes besides its mere exhibition of the worldly side of life.
Foucault, Michel. "We 'Other Victorians'" and "The Repressive Hypothesis."The History of Sexuality, Volume I: An Introduction.Trans. Robert Hurley. New York: Vintage, 1980. 3-13, 17-49.
Clarissa Dalloway and Peter Walsh are defined by their memories. Virginia Woolf creates their characters through the memories they share, and indeed fabricates their very identities from these mutual experiences. Mrs. Dalloway creates a unique tapestry of time and memory, interweaving past and present, memory and dream. The past is the key to the future, and indeed for these two characters the past creates the future, shaping them into the people they are on the June day described by Woolf. Peter and Clarissa’s memories of the days spent at Bourton have a profound effect on them both and are still very much a part of them. These images of their younger selves are not broad, all-encompassing mental pictures, but rather the bits and pieces of life that create personality and identity. Peter remembers various idiosyncracies about Clarissa, and she does the same about him. They remember each other by “the colours, salts, tones of existence,” the very essence that makes human beings original and unique: the fabric of their true identities (30).