The Harry Potter series is constantly examined to see if and how the series reinforces and challenges familiar gender stereotypes. It is not surprising that Emma Watson, Hermione, is an advocate for ‘he for she’ campaign, calling for equality between men and women. The series can be viewed in two ways, as it some instances it advocates gender equality and in other ways, it alludes to our present patriarchal society. The series teaches us that it is not our abilities which represent our true selves, but the choices we make (Rowling, 1998, 245). This is made clear from the start of the series, as the Sorting Hat makes its decisions based on a person’s internal qualities, rather than on outwardly features, of gender, race and appearance. Thus, …show more content…
Typical children’s literature interacts with the stereotype that women are vulnerable and dependent on hegemonic males. Connell & Messerschmidt (2005) explain that hegemonic masculinity and societal structures assert male dominance and normativity and female subordination and deviation. For example, action in literature is typically associated with male characters, due to the stereotype of men being brave, physically big and strong. In contrast, women are seen in association with the everyday imperatives of providing food, shelter, nurture and friendship (Green and Griffiths 2003). This consequently leads to women being portrayed as having to prove their worthiness in their academic and professional spheres due to the assumption that they should reside at home. The portrayal of gender stereotypes in the series is particularly important as part of children’s socialisation process and learning to behave in a gender appropriate way. This was particularly true before the first novels were published, as Billone (2004) argues that in 1992, childhood was an unsettlingly masculine place. However, if they were published today, one might argue that the issue of gender plays a less important role, due to the notion of gender neutrality in all aspects of …show more content…
Such as when Mr Weasley takes on the work of supervising the chopping of meat and vegetables (Rowling, 2003, 78). This is a result of Molly Weasley having a political role in the order, challenging this stereotype. Hermione also shows that it is possible to balance her academic work with the escapades the trio embark on to defeat the dark lord. Her commitment to her academic work is rewarded, which is particularly significant. For example, in order for her attend classes with scheduling conflict, she is given the time turner. The time turner later allows the trio to save Sirius Black and Buckbeak. Likewise, Dumbledore recognises Hermione’s commitment to academia and gives is The Tales of Beedle the Bard in his will. Dumbledore is aware that due to Hermione’s dedication to studying, she will use the book to her advantage as the information would likely have been overlooked by Harry or Ron. The gift allows her to recognise the symbol of the Deathly Hallows on Ignotus Peverell’s grave for example (PN). This shows that she is a character in her own right and is rewarded for her academic dedication. It can be suggested that the stereotype of women needing to prove their worthiness is evident in the series through the example of Hermione. However, I think that the need to prove her worthiness does notreside her gender but
Women pageant queens think they are supposed to represent the ideal of female beauty. The tomboy is especially associated with childhood and is defined by the girlhood performance of masculinity. As Michele Abate noted, “The traits most Americans are likely to name as constitutive of this code of tomboy conduct include proclivity for outdoor play (especially athletics), a feisty independent spirit, and a tendency to don masculine clothing and adopt a boyish nickname” (Abate). What does it mean to be a boy in children’s literature and the kind of varieties of boys that are represented? J.K. Rowling’s Harry Potter series typically features a social, educational, and physical dangers of school life that provide opportunities for adventure, mischief, and exploration. This collection of experiences allows boys to enact traditional forms of boyhood while practicing many of adult men’s culture and the ability to plan out schemes. Not all boys in children’s literature fit these conventional models of the physically robust athlete, hearty survivalist, or mischievous bad boy. Children’s literature also includes boys such as Laure in Little Women, who are described as sensitive, saintly, sickly, or effeminate. The literary and popular texts help understand expectations of boyhood and the insight into contemporary constructions of
My childhood has been just like every kid growing up in the 20th century. It revolved around the Disney story’s that were filled with magic and dreams. From Cinderella to Sleeping Beauty, my beloved children 's stories were controlled by male characters. At a young age this taught me that women are not as useful as men. These stories made me learn what it means to be a boy, girl, man, or woman. The ratio of males to females as main characters was so outstanding it lead me to question how these stories impacted how I view men and women.
Society cements certain roles for children based on gender, and these roles, recognized during infancy with the assistance of consumerism, rarely allow for openness of definition. A study conducted by Witt (1997) observed that parents often expect certain behaviors based on gender as soon as twenty-four hours after the birth of a child. The gender socialization of infants appears most noticeably by the age of eighteen months, when children display sex-stereotyped toy preferences (Caldera, Huston, & O’Brian 1989). This socialization proves extremely influential on later notions and conceptions of gender. Children understand gender in very simple ways, one way being the notion of gender permanence—if one is born a girl or a boy, they will stay that way for life (Kohlberg 1966). “According to theories of gender constancy, until they’re about 6 or 7, children don’t realize that the sex they were born with is immutable” (Orenstein 2006). The Walt Disney Corporation creates childhood for children worldwide. “Because Disney are such a large media corporation and their products are so ubiquitous and wide spread globally, Disney’s stories, the stories that Disney tell, will be the stories that will form and help form a child’s imaginary world, all over the world, and that’s an incredible amount of power, enormous amount of power” (Sun). Because of the portrayal of women in Disney films, specifically the Disney Princess films, associations of homemaker, innocence, and dependence are emphasized as feminine qualities for young children. Thus, children begin to consider such qualities normal and proceed to form conceptions of gender identity based off of the movies that portray the very specific and limiting views of women (...
Munro, Alice ““Boys and Girls” Viewpoints 11. Ed, Amanda Joseph and Wendy Mathieu. Alexandria, VA: Prentice Hall, 2001. Print.
Children’s literature of the Nineteenth Century is notoriously known for its projection of expected Victorian gender roles upon its young readers. Male and female characters were often given specific duties, reactions, and characteristics that reflected society’s particular attitudes and moral beliefs onto the upcoming citizens of the empire. These embedded concepts helped to encourage nationality and guide children towards their specific gender roles which would ensure the kingdom’s future success. Even in class situations where the demanding gender roles were unreasonable to fulfill, the pressure to conform to the Victorian beliefs was still prevalent.
“Sexism is an oppression that is hard to avoid, as it is difficult to rid ourselves of the social institutions of gender that we have been taught at a very young age (“Sexism in Society”).”
Throughout many fairytales, Cinderella more evidently, there is the stigma of male roles and female roles. The man is the prince, the knight in shining armor, the strong protector and able provider, and the woman is the princess. Dainty and innocent, weak and capable only of looking pretty, fostering children and maintaining appearances of house and home. These roles of placement have been around long before fairy tales, and they’ll be around long after fairy tales, but the inclusion of these roles through characters in fairy tales does nothing but enforce the idea that this is the way things are meant to be, and women who do not assume these roles are wrong and unworthy. In her article, Orenstein refers to Cinderella as “the patriarchal oppression of all women”, and she is exactly right (Orenstein “What’s wrong with Cinderella?”). The impression left of these gender stereotypes travels off the pages of the fairy tale and into the real world when studies show that there is a “23% decline in girls’ participation in sports and other rigorous activity … has been linked to their sense that athletics is unfeminine” (Orenstein “What’s wrong with Cinderella?”). The blatant disregard for equality in these stories can be summed up with a term Orenstein coined, “relentless resegregation of childhood”, which ultimately defines what it means to be a boy or a girl in the terms of set behaviors and life duties (Orenstein “What’s wrong with Cinderella?”). Whether it be Cinderella or any other princess, the fairy tale business makes it a point to create a place for women with their stories, and unfortunately that “place” is demeaning and still practiced
A study conducted by Lenore Weitzman in the late 1960’s found that many children’s stories had very few female characters and when female characters were present they abided by typical gender roles. However, when books featuring female characters that stepped out of these traditional roles started being published, children were able to develop new ideas of what roles were acceptable for women to fulfill (Feely). Similarly, Carson McCullers uses Miss Amelia, Cousin Lymon, and Marvin Macy to display how those who abide by gender roles are seen by their communities as well as how those who do not are typically viewed. For example, Cousin Lymon exhibited more feminine characteristics and was generally seen as a gossip and a nuisance by the townspeople. Marvin Macy, on the other hand, was a very handsome, masculine man who was described as an “evil character” (McCullers 27) that had a horrible reputation, yet he was still adored by many women in the town.
When children are faced with emotional events that challenge their ideas, they take another step on the road to being “grown up” as they discover their identity. The short story “Boys and Girls” written by Alice Munro illustrates this coming of age by allowing us to follow the development of a young girl. We follow the main character, who narrates the story, as she changes from beginning to end. As the story opens, the narrator acts like a care free child, not paying heed to her gender. She then begins to react strongly to the way she is treated by her family and their expectations of her young womanhood. Once she realizes that some changes are inevitable she begins to adopt a new understanding of who she is which is evidence of a more mature way of thinking. This story demonstrates that difficult childhood experiences regarding gender contribute to a developing maturity and are frequently met with varying degrees of resistance.
Stereotypes of the Bennet Sisters Women are supposed to be shy, passive and submissive. Men are expected to be tough, aggressive, dominant and self-confident (Gender Stereotypes). In Pride and Prejudice, a book by Jane Austen, there is a married couple with five daughters and each of those daughters has their own way of showing a different stereotype within themselves. In this paper I’ll be showing that each sister shows a different type of affiliation that is influenced by the way society is set up in the book. In the book, the Bennet sisters are still unmarried and their mother is wanting them to get married as soon as possible.
conceptualizations of gender in literature are situated in a culture and historical context ; the
Throughout history women have always been considered lesser than men. Women were portrayed as property to men, nothing more. They were supposed to be seen and not heard, and were basically servants to their husbands and fathers. In order for women to even be considered more than property their father or spouse had to be established in the community or a man of high rank. Despite their subservient roles women in British literature have always been depicted as obedient or unruly, from William Shakespeare’s play Macbeth, to Beowulf, to Christina Rossetti’s “Goblin Market.” For example, women have always been portrayed as being housewives, and care takers. Women were supposed to tend to the men and all of the house hold duties and chores; however some women broke away from that stereotype. They became more and curious and aware of their worth, so they were viewed as temptresses or “rebels” against the social norm. Despite the fact that women have evolved throughout history, British literature has always characterized women in two different lights, one being obedient and submissive and another being powerful and strong willed.
“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 literature, authors employ a variety of strategies to highlight the central message being conveyed to the audience. Analyzing pieces of literature through the gender critics lens accentuates what the author believes to be masculine or feminine and that society and culture determines the gender responsibility of an individual. In the classic fairytale Little Red Riding Hood, the gender strategies appear through the typical fragile women of the mother and the grandmother, the heartless and clever male wolf, and the naïve and vulnerable girl as little red riding hood.
Many people think that boys in our culture today are brought up to define their identities through heroic individualism and competition, particularly through separation from home, friends, and family in an outdoors world of work and doing. Girls, on the other hand, are brought up to define their identities through connection, cooperation, self-sacrifice, domesticity, and community in an indoor world of love and caring. This view of different male and female roles can be seen throughout children’s literature. Treasure Island and The Secret Garden are two novels that are an excellent portrayal of the narrative pattern of “boy and girl” books.