Leading up to the twentieth century, females were considered subordinate to the male. Women were unable to enter the workforce, were denied the right to an education, and were not granted the right to vote until 1920. The inferiority of women was carried into female characters in works of literature and visual arts; the common female character was a house wife puppet with a husband as the puppeteer. In Tennessee Williams’ Cat on a Hot Tin Roof, Jamaica Kincaid’s “Girl,” and Alice Walker’s, Everyday Use, women are portrayed as the other by giving women undesirable traits such as submission, vulnerability, and lack of experience to emphasize women’s inferiority. The first example of women as the other is in Maggie Pollit in Tennessee Williams’, …show more content…
When Dee returns to her childhood home, it is apparent that the fads of the modern world, and her new man, had changed her dress, speech, and attitude. Walker writes, “A dress down to the ground in this hot weather…Earrings too, gold and hanging down to her shoulders. Bracelets dangling and making noises when she moves her arms up to shake the folds out of her dress out her armpits,” (20). This illustrates the dramatic change in style for Dee that, coincidentally, oppose traditional styles. In addition, Dee goes as far as to change her name, breaking all ties to her African American culture, “’Well I say, Dee.’ ‘No Mama,’ she says, ‘Wangero Leewainka Kemanjo,’ ‘What happened to Dee, ‘She’s dead.’” (Walker, 24-27). Dee decided to change her name to match the modernized heritage of her new boyfriend. This emphasis the power that society, particularly men, hold over women. Despite Dee’s ignorance of her culture, she is swayed to pick up pieces of other culture, causing Dee to be the outcast in her own family. In many cases, being easily influenced is a sign of weakness, further making the female look undesirable. Dee’s superior attitude is ironic compared to the negative perceptions readers receive from her …show more content…
Mama says, “’…on Sundays, try to walk like a lady and not like the slut you are so bent on becoming,’” (Kincaid). This suggests the strenuous pressures placed on women in society to be proper at all times. In addition, the Mother implies the daughter is already the other because she holds the interest of becoming a “slut.” Next, Mama says, “’…don’t squat down to play with marbles, you are not a boy…,’” (Kincaid). Not only does this an innuendo for showing undergarments, but it sets the sexist standards for young boys and girls. Throughout Kincaid’s work, a mother is listing what is expected of a woman. Most work listed is domestic; this sets a limited range of what women can do outside of the house and states there is little time for simple pleasures and enjoyment. Women are looked at as the other due to their lack of real world experience in this time period due to restrictions to house work. A mother’s advice to her daughter displays the domestic role of women and limitations of everyday life, thus, making them the
Susan Farrell in her, “Fight vs. Flight: A Re-evaluation of Dee in Alice Walker’s ‘Everyday Use’” writes in response to Alice Walker’s short story Everyday Use. Farrell’s article is published by Newbury College in spring of 1998 in Studies in Short Fiction (179). Farrell in her article writes to argue that although Dee is inconsiderate and egotistical—supporting what she is arguing against— to a certain degree, she offers a way for a modern African American to manage with the harsh society that is, in a few ways more substantial than that described by Mother and Maggie— which is her thesis (179). Most people who have read Walker’s short story Everyday Use are prone to agree that the character Dee is ‘shallow,’ ‘condescending,’ and ‘manipulative,’;
Throughout history, women have struggled with, and fought against, oppression. They have been held back and weighed down by the sexist ideas of a male dominated society which has controlled cultural, economic and political ideas and structures. During the mid-1800’s to early 1900’s women became more vocal and rebuked sexism and the role that had been defined for them. Fighting with the powerful written word, women sought a voice, equality amongst men and an identity outside of their family. In many literary writings, especially by women, during the mid-1800’s to early 1900’s, we see symbols of oppression and the search for gender equality in society.
In society, there has always been a gap between men and women. Women are generally expected to be homebodies, and seen as inferior to their husbands. The man is always correct, as he is more educated, and a woman must respect the man as they provide for the woman’s life. During the Victorian Era, women were very accommodating to fit the “house wife” stereotype. Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications.
Dee was part of the educated culture of African Americans that were promoting their freedom. When Dee went to visit her family she wore a long dress, long gold earrings, and her hair standing straight up on that hot summer day. Dee is not dress like everyone else, she’s in her “African” attire. (Hoel) Dee is no longer the child her mother raised; Dee is a completely different individual with a completely new life style, even a new name. Dee has changed her name to Wangero Leewanika Kemanjo. With this name change she believes it make her closer to her heritage and relieves her from her oppressors. Dee knows very little about heritage. Heritage is defined as something that is handed down from the past, as a tradition. (Dictionary) The name Dee is the name or nicknames of many women in the family. Dee’s name can be traced back to the civil war and beyond but Dee does not understand the importance behind the name she believes her oppressors gave the women in her family. Yakima-Barber is Dee’s Muslim friend that 's visiting mama with Dee, Mama believes he might be Dee’s boyfriends husband. Yakima-Barber claims the Muslim faith but is unwilling to commit to their hard labor principles. Dee and Yakima-Barber are two individuals with misapplied assumptions of that
A Doll House, by Henrik Ibsen, and A Raisin in the Sun, by Lorraine Hansberry, both have central themes of search of self-identity within a social system. This is demonstrated by women characters from both plays breaking away from the social standards of their times and acting on their own terms. In most situations women are to be less dominant than men in society. These two plays are surprisingly different from the views of women in society and of the times and settings that they take place in.
Until the last hundred years or so in the United States, married women had to rely on their husbands for money, shelter, and food because they were not allowed to work. Though there were probably many men who believed their wives could “stand up to the challenge”, some men would not let their wives be independent, believing them to be of the “inferior” sex, which made them too incompetent to work “un-feminine” jobs. In the late 19th century and early 20th century, feminist writers began to vent their frustration at men’s condescension and sexist beliefs. Susan Glaspell’s “A Jury of Her Peers” and Zora Neale Hurson’s “Sweat” both use dialogue to express how women are capable of and used to working hard, thinking originally, being independent
Reading literature, at first, might seem like simple stories. However, in works like William Faulkner's “A Rose for Emily,” Katherine Mansfield's “Miss Brill,” and Kate Chopin's “The Storm,” the female protagonists are examples of how society has oppressive expectations of women simply because of their gender.
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.
...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).
After reading “The Doll House” and “Trifles”, the idea of females being inferior to men is portrayed. Both plays, are in a much older time period. But from a feminist view, females are still sometimes given the doubtful role in today’s society. Both plays, are very different, but much alike in the ways the females are treated, never taken seriously, nor are they appreciated.
Another example of Dee's confusion about her own African-American heritage is expressed when she announces to her mother and sister that she has changed her name to "Wangero Leewanika Kemanjo." When her mother questions her about the change, Dee says, "I couldn't bear it any longer being named after the people who oppress me" (411). According to her mother, the name has been in the family since before the Civil War and most likely represents family unity to her. However, Dee does not realize that. Apparently, she believes that by changing her name she is expressing solidarity with her African ancestors and rejecting the oppression implied by the taking on of American names by black slaves.
When Kincaid wrote, “this is how you hem a buttonhole…” the process to hem a buttonhole began to symbolize a sense of domesticity to save her “sexual reputation”. The mother is so strongly bent on straying the daughter away from anything that could affect their reputation. Consequently, she is forcing her daughter into social norms and stereotypical ways a woman is expected to behave. In a way, it can be said that the mother is domesticating her daughter into a life to keep her from promiscuity. Before the mother says, “… the slut you are so bent on becoming” (Kincaid 92) each time, she states a certain way the daughter should behave. From this we can see that the mother believes that women can only be seen two ways: of respect or of promiscuity. Due to this belief, it can be concluded that the mother will say and do anything to her daughter to shape her into a respectable member in their society and creating her into the stereotypical woman. Kincaid faced this exact situation in her childhood when her mother tried to domesticate her, when she did not seek to be a social norm. Kincaid was disapproved of by her family when she became a writer, much like the daughter in Girl would be. Kincaid uses the mother’s instructions on sweeping, cooking, cleaning, shopping, and gardening to express the domesticity that is expected from the daughter to turn her into the
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
Throughout American Literature, women have been depicted in many different ways. The portrayal of women in American Literature is often influenced by an author's personal experience or a frequent societal stereotype of women and their position. Often times, male authors interpret society’s views of women in a completely different nature than a female author would. While F. Scott Fitzgerald may represent his main female character as a victim in the 1920’s, Zora Neale Hurston portrays hers as a strong, free-spirited, and independent woman only a decade later in the 1930’s.
Women are looked at as less than males, and males are to be far superior because society thought male to be the better gender. “A Doll's House,” by Henrik Isben describes the sacrificial role of nineteenth century women , men in society and in the household.