The women through the book go through a very sad transformation for the worse, from being ladies of purtity to being a whore.There's not a lot of women in Dracula, but Stroker puts them in several types of specific ways. I believe that Stoker puts the very few women of Dracula in the Madonna and Whore situation. Mina, who is a shy and soft spoken type of girl. She spends days and nights waiting to hear what's happening with her love Jonathon. The fact that Mina is so pure, it's supposed to be the total opposite to what Dracula bride's said at the beginning of the book, who try ruin Harkers plan of saving himself for marriage.
The women in ‘Much Ado about Nothing’ defy traditional gender roles. Beatrice represents a brave and outspoken woman who defies the oppressive, traditional gender roles for the female sex. Her cousin Hero, however, represents those women who were successfully oppressed by the patriarchy and accepted the traditional gender roles without much complaint. The Elizabethan society in which Shakespeare lived during his life held a misogynistic ideology in high esteem. ‘Much Ado about Nothing’ was written in 1598-9, during a time when women were second class citizens compared to males and were considered to be inferior to males in every way.
women are much more superstitious throughout the book than men, they’re are respected as wives only. yet they actually have a lot of power because they also enable Nasar to be murdered, and have power over the men. moreover,throughout the nove... ... middle of paper ... ...arriage is expected to suffer , no woman enters marriage expecting to live a happy and peaceful life, unless she is fortunate enough to love whichever man decides to pursue her. marriage is not build on love. Why was the death of Santiago Nasar foretold ….. predict (the future or a future event) The novel looks like a mystery.
An essay in the mid 1800’s on the duties and nature of men and women claims that “[women] must be enduringly, incorruptibly, good” (Ruskin, 120). There was an impossible expectation of purity, and innocence, which was ore suited for fictional women than actual human beings. The purity of women, however goes beyond sexual purity but also the purity of their minds from the dangerous feminist ideals which where threatening their compliance in the overwhelmingly patriarchal society. Once sullied you switched from innocent to temptress, from the good woman to a vampire a minion of Dracula. The nature of black and white, clear-cut status of women was a common theme in Victorian novels, going beyond just vampires.
The recent vampire craze has encouraged me to discover exactly what makes it so fascinating to audiences today. I will be concentrating on the Twilight films primarily because of its enormous female fan base. The devoted teenage girls that watch the movies are exposed to negative gender stereotypes and abusive relationships, which could have a harmful effect unless it is properly addressed. Many of the fans that idolize Edward say that he is the “perfect” boyfriend, however if you examine his personality and attitude in the context of real life, it would make him a very creepy obsessive romantic partner. His controlling ways are described by Bella as something he does out of his deep love for her, that even stalking her around is even perceived as caring and romantic.
Rebellion toward "Victorian sexual norms and gender roles" (P.2175) are reflected in Woolf's modern literary piece, such as The Lady in the Looking-Glass: A Reflection. Also echoed in the piece, is how Woolf "never lost the keen sense of anguish nor the self-doubt occasioned by the closed doors of the academy to women" (P.2445). Both of the female protagonists, Aurora of Aurora Leigh and Isabella of The Lady in the Looking Glass: A Reflection, represent the rebellion and self-doubt of their female writers. Aurora rebels against the Vi... ... middle of paper ... ...r letters, they were all bills" (P.2456). The rebellion ultimately led to emptiness, as Isabella chose not to have relations to preserve her freedom.
Literary Essay: Macbeth The “strong independent woman” is an amalgamation of modern attitudes towards women. Feminist, outspoken, and sexually liberated, this entity breaks the “mother figure” stereotype usually attributed to women. Current society reinforces these unconventional notions, however this was not so in Shakespearian times. In Macbeth, by William Shakespeare, most female characters are portrayed in “unstereotypical” ways. Lady Macbeth’s “unsex me speech” leads her to acquire male attributes throughout the play, Lady Macduff openly criticizes her husband for leaving, and minor characters such as “the sailor’s wife” are inhospitable and unaccommodating.
They don’t want to be scared by the vampire, with its “dreadful looks and evil ways; they want a sexy, gorgeous, more human character that they can sympathize with”. Thus leading to many female vampires in various other stories that are shown kind hearted and loves humans. In spite of the fact that Dracula and Alucard both start a "family," the reasons they do as such are totally extraordinary. Throughout the years, subsequent to drinking both men and particularly ladies ' blood, Dracula frames a "family" of his own, three vampire spouses. Despite the fact that the lady vampires are enticing, shapely, and wonderful, Dracula indicates little enthusiasm for them and rather centers his considerations on Lucy and after that Mina.
Though they touch not on women’s struggle to vote, they reach the higher plain of women’s struggle to be seen as who they are and not what society wants them to be. To Kill a Mockingbird, The Color Purple and The Bluest Eye all deal with the topic of women trying to overcome society. Although these novels were written in the mid to later half of the twentieth century, they go back to a time when the Great Depression was touching all walks of human life. Each of the main characters in these novels does not fit society’s view of femininity during the time period. Although the main characters in the three stories do not fit society’s idea of femininity, they each, in their own way, overcome this and show a greater beauty of strength.
Unfortunately, when women are not silent they are often monsters‹and quite often, the silent ones conceal hidden dangers. Why should women present such a threat? Why do so many pre-modern (and, unfortunately, modern) male writers approach female subjects with such trepidation, with strategies of demonization or avoidance? Analysis of the Merchant's Tale and the Manciple's Tale proves fruitful in exploring these questions. In the sphere of the written word, women have often been silent in the West; the small number of great female medieval writers combined with a value system that praises passivity and quiet in their sex has effectively muffled female subjectivity, and yet somehow in silencing women men have doomed themselves to uneasiness and fear.