Thus, it is only through Jane's help and a proper English school that Adele ceases to be the exotic seducer. Many women in nineteenth century literature were depicted as demonized or something to be greatly feared either because of their sexuality or their resulting madness. Often times, these women were stereotyped as the "exotic other," such as Adele and Celine Varens. This is also true of Bertha Mason, Rochester's Creole wife, who has become a prisoner in the attic because of her madness. Bertha is often compared with Jane because of similar plot twists, but they are clearly intended as opposite characters.
A Doll’s House “Men are taught to apologize for their weaknesses, women for their strengths” (Louis Wyse). In Henrik Ibsen’s “A Doll’s House”, Nora Helmer portrays the Victorian English archetype of the “angel in the house”, otherwise known as the “doll” metaphor. In the Victorian age, the social construction of gender roles was much more traditional than contemporary gender roles; women had a clear role in society of which they could not escape. A major focus of social construction is to uncover the ways in which individuals and groups participate in the construction of their perceived social reality. As society is revolutionized, people individualize, freeing themselves from the constraints imposed by traditional societies.
Each poem uses numerous literary elements to advance their purpose of showing how the public and society subdue women’s intelligence and hearty virtues in order to make them better fit the social norm of the domestic woman. Marge Piercy, in her poems “Barbie Doll” and “A Work of Artifice,” uses diction and metaphor to assert that society suppresses women’s intelligence and places an unjustified demand on women to be their idea of perfect. The poems “Barbie Doll” and “A Work of Artifice” use diction in subtle ways to influence the way readers views the types of treatment women go through. In “Barbie Doll,” Piercy uses unsophisticated words to describe the treatment the girl underwent as a child. In line two, the poem says, “And presented dolls that did pee-pee” ().
Nora therefore reacts in the same way as a doll, trapped in a house. Helmer has power over Nora and treats her as a doll, his doll. A doll’s house can look good and perfectly innocent on the outside, but how about the inside? During this play we acknowledge the truth underneath the prettiness of ‘A Doll’s House’. The significance in the title is crucial to understanding the relationship between Nora and Torvald.
But why this attitude? I believe it is the aggressive sexuality that the vampire Lucy displays that ... ... middle of paper ... ...in excluding her from their undertakings, and include her again. However, now that she is infected with vampire blood and is capable of reading Dracula's mind, the men both fear and need her. They are forced to accept her in the public realm, but the quest is to eventually rid her of evil influence and restore her purity again, that is, to turn her back into the virtuous woman who will stay in the dominion of the home and not pose a threat to men. The end of this novel is the restoration of a world as the Victorians know it: the vampire destroyed, the women rid of their evil sexual desires and kept out of the dangerous world outside their homes, and the men safe and free in a male-dominated world, playing their exclusive gallant, intelligent, and adventurous roles.
After reading this poem I concluded that society in some ways compares woman to Barbie dolls, which in turn reflects the qualities that society values about women. Piercy does a wonderful job at showing societies perspective on the “perfect woman”. Her use of symbols, tone, and the comparison between the girl and Barbie allow the reader to see how society expects certain traits from females.
Katherine Ramsland in The Science of Vampires has this to say about the sexual scene of Dracula and Mina. “All that sucking suggests an infantile state, and the repressed male sexual imagination of Victorian times.” (Ramsland, Katherine p.223) To add to this Stephen King said this about the scene. “The Count clutching Mina, his face slathered with her blood. In an obscene parody of the marriage sacrament, he opens a vein in his own chest with one dirty fingernail and forces her to drink.” (King, p73) After Mina has been seduced by Dracula, the heroes of the book put into motion their plans to stops him. The character Van Helsing tries to bless Mina in one point of the book with a Holy Communion wafer, but when it is placed on her forehead, it burns her.
Measure For Measure on the Stage Near the end of his well known treatment of transgression and surveillance in Measure for Measure, Jonathan Dollimore makes an observation about the world of the play that deserves further consideration by feminist scholars: the prostitutes, the most exploited group in the society which the play represents, are absent from it. Virtually everything that happens presupposes them yet they have no voice, no presence. And those who speak for them do so as exploitatively as those who want to eliminate them. (85-86) Although Dollimore's comment about the absence of the prostitutes holds true for the written text of the play, twentieth century theatrical productions of Measure for Measure have largely tended to fill this void by granting the prostitutes a concrete physical presence on the stage. It might be argued that, by giving this neglected and exploited female population a theatrical incarnation, a performance of the play draws attention to the plight of these women and thereby accomplishes some aspects of a feminist agenda.
For example, if these women attacking this person attacked him or her because they believe women or anyone identifying as feminine must dress and behave in a certain way, they are misogynists. The reason behind this line of thought is that these same women would not have
Woolf shifts from describing the process of writing to describing an obstacle. Woolf encapsulates the essence of female expectations by citing the Angel in the House. The Angel in the House references a narrative poem written in the nineteenth century to describe the ideal Victorian woman. Woolf illustrates the Angel in the House “as shortly as [she] can” in order to acknowledge her audience and to make her speech brief and comprehensible for the listening women. Through employing anaphora, Woolf explains, “she was intensely sympathetic...intensely charming...utterly unselfish…” These descriptions are standards for women which the Angel in the House embodied.