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The portrayal of women in literature
Portrayal of women in literature
Portrayal of women in literature
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Throughout Angela Carter’s “The Bloody Chamber,” the narrator feels unsure of the gender roles that men and women both have. The nameless narrator marries into a relationship not knowing of what a marriage consists of between a man and woman. As she develops in this relationship, she discovers herself as a woman and the masculine power that a husband has over his wife. Carter and Kathleen
Both Vanity Fair and A Room of One’s Own explore and challenge the idea that women are incapable of creating a name and a living for themselves, thus are completely dependent on a masculine figure to provide meaning and purpose to their lives. Thackeray, having published Vanity Fair in 1848, conforms to the widely accepted idea that women lack independence when he makes a note on Ms Pinkerton and remarks “the Lexicographer’s name was always on the lips of the majestic woman… [He] was the cause of her reputation and her fortune.” The way that a man’s name was metaphorically “always on the lips of the majestic woman” and how he was the source of “her reputation and her fortune” expresses this idea, especially through Thackeray’s skilful use of a sanguine tone to communicate that this cultural value, or rather inequality, was not thought of as out of the ordinary. From viewing this in a current light and modernised perspective...
about marriage that our society assumes to be true today. These include ideas about single
In Charlotte Perkins Gilman’s bodies of work, Gilman highlights scenarios exploring traditional interrelations between man and woman while subtexting the necessity for a reevaluation of the paradigms governing these relations. In both of Gilman’s short stories, “The Yellow Wallpaper” and “Turned”, women are victimized, subjected and mistreated. Men controlled and enslaved their wives because they saw them as their property. A marriage was male-dominated and women’s lives were dedicated to welfare of home and family in perseverance of social stability. Women are expected to always be cheerful and good-humored. Respectively, the narrator and Mrs. Marroner are subjugated by their husbands in a society in which a relationship dominated by the male is expected.
The movement for female right is one of the important social issue and it is ongoing reaction against the traditional male definition of woman. In most civilizations there was very unequal treatment between women and men with the expectation being that women should simply stay in the house and let the men support them. A Doll's House by Henrik Ibsen, and Trifles, by Susan Glaspell, are two well-known plays that give rise to discussions over male-female relationships. In both stories, they illustrate the similar perspectives on how men repress women in their marriages; men consider that women should obey them and their respective on their wives is oppressed showing the problems in two marriages that described in two plays. Therefore, in this essay, I will compare two similar but contrast stories; A Doll's House and Trifles, focusing on how they describe the problems in marriage related to women as victims of suppressed right.
In the late 19th century and early 20th century, idea for the equality of women began to ignite a fire within the world. Women wanted to fight oppression and have a chance to experience the same rights as men. However, although suffragettes would not fight fire with fire until a couple of decades later, the idea of escaping societal roles and gain freedom within society and marriage possibly inspired literary works during this time period. These issues of the inequality between men and women in marriage and society plays strong roles in literary works. In “A Doll’s House” by Henrik Ibsen, “Trifles” by Susan Glaspell, and “The Yellow Wallpaper” by Charlotte Perkins Gilman all have something in common: the women are oppressed by the men and society, and ultimately pull away from their societal roles and break free.
...ouse wives, and mothers who are fragile and insignificant. Instead, she is to remain in a “closed pot” (228), just as she is expected to do. As a result, she cries at the truth that she will always be reminded, that she is a “weak” and “useless” woman, which only increases her frustrations and dissatisfactions about her marriage (238).
Angela Carter was a writer in the 1970s during the third wave of feminism that influenced and encouraged personal and social views in her writing. This is demonstrated through her own interpretation of fairy tales in The Bloody Chamber. She combines realism and fantasy to create ‘magic realism’ whilst also challenging conventions of stereotypical gender roles.
Constant oppression by her controlling husband leads to the story’s protagonist eventually succumbing to Identity loss. “If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression-a slight hysterical tendency-what is one to do?” (519). Here Gilman illustrates early on that the woman has no voice of her own even in her own mental state. The last part of the question, “what is one to do”, seems to allude to the fact that has given in to the overassertive voice of her husband. Gilman shows us another example of our heroine’s loss of identity due to her “loving” husband’s smothering attention. “He is very careful and loving, and hardly lets me stir without special direction” (520). John’s overbearing demeanor is viewed as careful and loving, and it is quite clear that the narrator is losing her own voice and identity. Justifying his behavior out of love he continues to belittle his wife until she loses all identity. It is the battle to regain her identity and to let her voice be heard that gives us our conflict between John and his wife.
In the 19th Century, women had different roles and treated differently compared to today’s women in American society. In the past, men expected women to carry out the duties of a homemaker, which consisted of cleaning and cooking. In earlier years, men did not allow women to have opinions or carry on a job outside of the household. As today’s societies, women leave the house to carry on jobs that allow them to speak their minds and carry on roles that men carried out in earlier years. In the 19th Century, men stereotyped women to be insignificant, not think with their minds about issues outside of the kitchen or home. In the play Trifles, written by Susan Glaspell, the writer portrays how women in earlier years have no rights and men treat women like dirt. Trifles is based on real life events of a murder that Susan Glaspell covered during her work as a newspaper reporter in Des Moines and the play is based off of Susan Glaspell’s earlier writing, “A Jury of Her Peers”. The play is about a wife of a farmer that appears to be cold and filled with silence. After many years of the husband treating the wife terrible, the farmer’s wife snaps and murders her husband. In addition, the play portrays how men and women may stick together in same sex roles in certain situations. The men in the play are busy looking for evidence of proof to show Mrs. Wright murdered her husband. As for the women in the play, they stick together by hiding evidence to prove Mrs. Wright murdered her husband. Although men felt they were smarter than women in the earlier days, the play describes how women are expected of too much in their roles, which could cause a woman to emotionally snap, but leads to women banding together to prove that women can be...
In Sylvia Plath’s The Bell Jar, gender roles are presented as barriers that stop female characters from reaching their full potential and from being in control of their own lives. The novel relates to the Feminist Phase of Second Wave Feminism which is focused on the oppression of women and the roles of women within a society.
In the Middle Ages, the roles of women became less restricted and confined and women became more opinionated and vocal. Sir Gawain and The Green Knight presents Lady Bertilak, the wife of Sir Bertilak, as a woman who seems to possess some supernatural powers who seduces Sir Gawain, and Geoffrey Chaucer’s The Wife of Bath Prologue and Tale, present women who are determined to have power and gain sovereignty over the men in their lives. The female characters are very openly sensual and honest about their wants and desires. It is true that it is Morgan the Fay who is pulling the strings in Sir Gawain and the Green Knight; nevertheless the Gawain poet still gives her a role that empowers her. Alison in The Wife if Bath Prologue represents the voice of feminism and paves the way for a discourse in the relationships between husbands and wives and the role of the woman in society.
The bleak tone of this story takes a particularly sad and disturbing tinge when the wife illustrates a scene from early on in her marriage where she tries to get her husband to satisfy her desire and provide her with mutual satisfaction, only to have him rebuke and reprimand her. In fact, the husband responds in such a particularly brusque and hysterical manner that the reader can see how traumatized the wife would have been at ...
The Oxford University Dictionary defines the word power as ‘authority or control’ over an individual and knowledge as ‘the sum of what is known’. In Angela Carter’s story The Bloody Chamber (1979) knowledge and power correlate with each other. The more information a character possesses the greater authority they have. In The Bloody Chamber Carter utilises a variety of literary techniques to express the importance of knowledge and power in the plot. This essay will analyse the way Carter applies these literary techniques to the story to express the importance of knowledge and power.
Cohen, Ralph. “The Reversal of Gender in "The Rape of the Lock." South Atlantic Bulletin, Vol.
Individuals who do not know what gender role they are disliked and shamed by society because they are not what society calls “normal”. The definition of normal is conforming to a standard or conforming to the expected. Society should not have the power to make an individual conform to anything. Does a person have to be born female to be female? The answer is simply no. Jenna Talackova is a prime example of this because she was born a man but knew he was a female from the beginning. These people who were born with a specific genetic gender have no control over their chemical make-up, but they do control what gender role they decide to be and no one should tell them to pick one that fits the normal standards of society. Judith Butler writes about gender is her book and how it should not be a preconceived notion. People who have non-normative gender roles struggle daily with the fact that they cannot express who they are because the public would disgrace them and society would not accept them, which are problems that can be solved by a simple lesson of not judging a book by its cover.