Genre in Doyle’s The Adventures of Sherlock Holmes and Wells’ War of the Worlds

The speaker’s view does come across as misogynistic, but the woman is trying to stand her ground in a society dominated by men. Taking into consideration that a male wrote the poem, during the 18th century, when woman had a particular place in society, and men often trivialized their concerns. Pope alludes to the idea that most wars are indeed over very trivial matters. The conflicts between men and women are exposed during Pope’s exploration of this “trivial war.” The narrative of Belinda and the Baron in The Rape of the Lock reveals the main underlying theme as the power struggle between the genders. Pope exposes through Belinda, how women use their feminine nature as weapons against men.

Conclusion The theme of masculinity is strong throughout the novel, and I will finish with what may be the strongest example of masculinity of all, although it is not a favourable one. Perhaps the character of the monster represents the flaw in masculinity in the society of that day, created without the use of a woman, and is an example of the dangers of a society without woman. And I feel that Shelley was perhaps manipulating the masculine identities in the novel to show the flaws that such attitudes towards women can create, and persuade her audience that a society without women would be disastrous. Bibliography Mary Shelley, Frankenstein, (Berkshire: Penguin Popular Classics, 1994)

Great leaders undergo reinvention throughout different periods in history, and Boudicca is no exception. The fluidity of her persona is manipulated frequently, but one of the common recurring themes is male discomfort with her extension of gender boundaries. However, fighting against this is the feminist interpretation of her as being somewhat superhuman. This image is often integrated with some of the lighter parts of the violent and vengeful description of Boudicca, while the darker sections were left to the Romans. Finally, there is the vastly different image of Boudicca’s romantic representation, which obscured many of her war-like traits in order to conform to Victorian ideals.

The microcosm that exists in the play reveals unexaggeratedly the true extent of male dominance within society, one that was on the verge of change. The male elite attempted to suppress these changes and one of them that directly conflicted with the play was the Lord Chamberlain’s decision to ban the play on the grounds of its frank discussion and portrayal of prostitution. Shaw has carefully crafted each character within the play, so that each one offers a representation of the changes he felt relevant. Shaw claimed that no respectable women who could earn a decent wage would become whores and no woman would marry for money if she could marry for love. Mrs. Warren epitomises this very idea; Why shouldn’t I have done it?

The categorizing of woman is projected through the “uses the characters of Lucy and Mina as examples of the Victorian ideal of a proper woman, and the “weird sisters” as an example of women who are as bold as to ignore cultural boundaries of sexuality and societal constraints” according to Andrew Crockett from the UC Santa Barbara department of English (Andrew Cro... ... middle of paper ... ... the Victorian ideals is seen as a threat to society and is deemed unfit. This scene illuminates and magnifies upon addressing his strong character by nature, which in many ways contrasts upon Harkers character in the novel. Conclusively, while Bram Stokers novel Dracula is seen as a gothic and horror story, I argue that it is a novel that seeks to address female sexuality directly. Seen through numerous passages, Stoker confronts and battles the views between sexuality during the Victorian era though his genius of characterization of characters present within the novel. As it seems highly intentional to me, I respect the way in which he criticizes and critiques upon female sexuality by bringing into light new ideas regarding female desires.

Aggression does not create life. The eradication of the conflict-boundary is a self-sacrificing effort by the men, who in so doing, deny everyone sexual satisfaction to balance the aggression, thus resorting to fatal violence and ending their immortality through procreation. Works Cited Adelman, Janet. "Man and Wife is One Flesh": Hamlet and the Confrontation with the Maternal Body. William Shakespeare: Hamlet.

In Madame Bovary and The House of the Spirits, both Gustave Flaubert and Isabel Allende criticize the stupidity of the civilized man. They set their story during times of technological growth to demonstrate how technology masks the true nature of man. They also characterize their characters to typify their society to disparage the stereotypes of their society, and they manipulate gender roles to prove how women are the dominant partners in relationships, contrary to social beliefs. All of these techniques come together to prove their opinion of man. Flaubert and Allende set their books during times of great technological change and growth to demonstrate how they feel technology masks the true nature of man.

If the creature remains dependent on Victor to continue creating creature he does not serve as the father, Victor remains in the position of power. In expressing his doubts over creating a partner for his creature Victor uses the feminine pronoun “she” and worries about the harm their offspring will cause. “she might become ten thousand times more malignant than her mate… yet one of the first results of those sympathies for which the daemon thirsted would be children, and a race of devils would be propagated upon the earth” (Shelley 170). If we accept Gilbert’s analysis what are we to make of this language? The argument that was already resting on scant empirical evidence from the novel becomes even more strained when this is taken into consideration.

Mr. Hyde’s rebellious nature threatened the balance of equality in English society. The escalation of horror in The Strange case of Dr. Jekyll and Mr. Hyde, Mr. Hyde depends on the oppression of women. The more oppressed women became, the more horror the characters experienced. In Robert Stevenson’s novel, The Strange Case of Dr. Jekyll and Mr. Hyde, he channels Mary Shelley’s Frankenstein, by leaving the voice of a woman character absent which alienates femininity, showing hypocrisy through the male characters and the influence of purity and sinful. The Strange Case of Dr. Jekyll and Mr. Hyde could be compared to Mary Shelley’s Frankenstein because they both characterize their women characters as passive, disposable and useless.

His insufficiency is more surprising because elsewhere in the play Iago appears as a master rhetorician, but as Bloch explains, ‘the misogynistic writer uses rhetoric as a means of renouncing it, and, by extension, woman.’ (163) Even the noble general yielded to the sexist remarks and insinuations of his ancient, thus developing a reprehensible attitude toward his lovely and faithful wife. Angela Pitt in “Women in Shakespeare’s Tragedies” comments on the Moor’s sexist treatment of Desdemona: Desdemona has, therefore, some quite serious faults as a wife, including a will of her own, which was evident even before she was married. This does not mean that she merits the terrible accusations flung at her by Othello, nor does she in any way deserve her death, but she is partly responsible for the tragic action of the play. Othello’s behavior and mounting jealousy are made more comprehensible if we remember what Elizabethan husbands might expect of their wives. (45) In the opening scene, while Iago is expressing his hatred for the general Othello for his selection... ... middle of paper ... ...reason to the same extent, or even greater than, men; and that men are passion-driven moreso than are women.