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The portrayal of women in literature
Essay on female figures in literature
Portrayal of women in literature
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There are many examples of different kinds of power in Reeling for The Empire. The Recruitment Agent is an individual in the story who has a previously established power, while the factory workers develop their own power through rebellion later on. The goals of the Agent and the girls are completely different; one seeking capital gain while the other seeks true freedom and the power that comes with it. However, both sides use power as a means to achieve what they strive for.
With the use of flowery language the Agent glorifies and propagates the factory work in order to convince the family that they should feel honored that he has decided to recruit their daughter; “We are recruiting only the most skillful and loyal mill workers, [...] not
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We know very little about the Agent besides what he does, but it is possible that he was specifically chosen to do the recruiting because of his appearance and charisma. Upon her first encounter with him, Kitsune can hardly focus on anything else besides his looks, and this fact does not go unnoticed by the Agent. He takes advantage of her star-struck state, initiating unnecessary and suggestive physical contact such as “grabbing at [her] waist”, and “[letting] his fingers brush softly against [her] knuckles as he drew out the contract” (Karen Russell, 35). Although there is no specific indication of the age of the Agent or Kitsune, one can gather from the ages of some of the other girls (Tooka whom is twelve and Etsuyo who is nineteen) that at least some of them are quite young, or were young at the time of their capture. Chances are, with the times being what they were, the Agent is older than them, perhaps even significantly so. Therefore I conclude that the agent was using his position of power as an adult and as a man--both of which are aspects of identity that did and still do significantly impact one's life, opportunities and privilege--to predatorily manipulate Kitsune, as well as the other …show more content…
As the story states, most of the girls had no say in whether or not they became the Agent’s property, and certainly no say in whether or not they consumed the tea. Kitsune’s story differs slightly in the sense that she felt the illusion of free will, when in reality she failed to recognize the invisible walls that barred her decisionmaking. She felt obligated to sign the contract with the Agent in order to help pay off her father’s debts because that was her duty as a daughter and as a woman (35). She also felt obligated to drink the tea because she thought it was a test that the standing of her future career depended on, although it is later revealed that she would have been forced to do so anyway (Karen Russell, 36-37). Kitsune describes feeling uneasy before the tea ceremony, literally thinking to herself “something is wrong” (Karen Russell, 35). Despite her intuition, she continues to make the choices that will satisfy the men in her life and subsequently cost her
She is fairly new to the work world and has lied on her resume’ to get hired, and realizes that the job is harder than she first thought. All hope is not lost because Violet assures her that she can be trained. She ends up succeeding at the company and telling her husband she will not take him back after he comes back begging for her love again.
The contrast between how She sees herself and how the rest of the world sees Her can create extreme emotional strain; add on the fact that She hails from the early 1900s and it becomes evident that, though her mental construct is not necessarily prepared to understand the full breach against Her, She is still capable of some iota of realization. The discrimination encountered by a female during this time period is great and unceasing.
The book then flows into the section of seduction. This chapter looks at how women were mistreated by their employers as well as other men. One example it examined would be the difficult times women had in trying to get guys to face up to their actions after pregnancy.
This ESSAY discusses the female Lowell factory worker as portrayed in the Offering. Although the magazine never expressed an overtly feminist view of the factory girls' condition, nor invoked a working-class consciousness similar to later labor expressions in Lowell, there is evidence of a narrative strategy and ideology speaking both to the factory women and the middle-class readership outside of the mill town. The paper's short stories, epistolary narratives and commentaries seek to legitimize an operatives' role within the feminine ideal of domesticity. In conforming to the norms of feminine literature, the Offering reconstructs the operatives' character. It subordinates the evidence for independence or autonomy to relate stories of familial or sentimental ties binding the factory girl to the world outside of factory life. The magazine sought to provide an answer to this question: given her new liberties, what kept the "factory girl" from losing contact with her moral sentiments?
Elisa Allen is working on her garden and she sees her husband, Henry, speaking with two men about selling his steers. The garden bed and the house are called to attention and it is pointed out that they are very clean and organized. Once the strangers leave, Henry comes over to her and politely praises her on how lovely the garden looks and then wishes that she would attend to the orchards in the same way. She at first is egger to help but realizes that he was joking. Henry says they should celebrate by going to town and jokingly suggests seeing a fight, to which Elisa turns down. Henry leaves and a wagon pulls up with a charming, yet uneducated, tinker. They joke about the ferocity of the dogs. He asks for work to pay to feed his self and Elisa denies that there is work for him to do. He notices the chrysanthemums and tells her that he has a client that wants to raise some. She suddenly is excited and begins to ready some plants for him to take with him, and she instructs him on how to take care of them. She expresses her passion and her connection to the flowers in a seductive manner, even to the point of wanting to have physical contact with the tinker. She refrains from touching. The tinker points out that it’s hard to feel that way when hungry. Elisa gives in and finds something for him to work on. As the tinker works, Elisa expresses her opinion that women can do that same kind of work he does, to which he says it would be to lo...
She does so by repeating the word “our”. Starting at line 66 she writes, “ The children make our shoes in the shoe factories; they knit our stockings; our knitted underwear in the knitting factories. They spin and weave our cotton underwear in the cotton mills. Children braid straw for our hats, they spin and weave the silk and velvet wherewith we trim our hats” (Kelley 66). The repetition of “our” is meant to remind the audience that the young are working on things we use and need. In a way this is almost blaming the audience, or guilt tripping them, for what child workers go through for the people's’ needs. She continues sparking the powerful use of guilt when she says, “ They carry bundles of garments from the factories to the tenements, little beasts of burden, robbed of school life that they may work for us” (Kelley 75). She wants to audience to understand that that child work is taking away from their childhoods. Kelley wants the reader to compare their lives to those of children
With this the paint factory emerges as a symbol of racial prejudice in novel. The Liberty Paints Plant proves the larger notion of the racism within society,
The Wasp Factory is a novel that focuses heavily on the power of gender. It is a novel that associates masculine power and feminine weakness to animality. Within the novel, males are characterized as skilled, cunning, smart, and powerful; they are associated with dogs. On the other hand, women are viewed as stupid, docile, and frightened; they are associated as sheep. Each of these characterizations is made clear by viewing what Francis Cauldhame is (sheep), and what she desires to be (dog).
Norma Rae a loom operator in the weaving room is an outspoken individual and is very out spoken about her poor working conditions such as excessive noise, long hours with short breaks, physical stress from standing for long periods and abnormally high temperatures in the work areas. Added to all this is management¡¦s apathy for the working conditions, as seen when her mother looses her hearing temporarily with little or no sentiment from the company doctor, who knows this is a common problem for the workers. With this setting, the film progresses through most of the stages for employee organization. While management tries to get the workers support to keep the union out, and labor struggles to get a foothold to develop worker unity and get the union elected as the official bargaining agent both sides violate federal laws or come precariously close. First the Unfair Labor Practices (ULP) of the union will be examined.
1 This passage is taken from Siegfried Kracauer’s essay “The Little Shopgirls Go to the Movies.”
Although, a mother’s determination in the short story “I Stand Here Ironing” mother face with an intense internal conflict involving her oldest daughter Emily. As a single mother struggle, narrator need to work long hours every day in order to support her family. Despite these criticisms, narrator leaves Emily frequently in daycare close to her neighbor, where Emily missing the lack of a family support and loves. According to the neighbor states, “You should smile at Emily more when you look at her” (Olsen 225). On the other hand, neighbor gives the reader a sense that the narrator didn’t show much affection toward Emily as a child. The narrator even comments, “I loved her. There were all the acts of love” (Olsen 225). At the same time, narrator expresses her feeling that she love her daughter. Until, she was not be able to give Emily as much care as she desire and that gives her a sense of guilt, because she ends up remarrying again. Meanwhile narrator having another child named Susan, and life gets more compli...
The narrator has two daughters, Dee and Maggie. Dee was this cute girl who was super intelligent and sophisticated. She often saw herself as being above her mother and sister and would often make them feel stupid and bad about themselves. "She used to read to us without pity, forcing words, lies, other folks' habits, whole lives upon us two, sitting trapped and ignorant underneath her voice". She shows that Dee enjoyed making her mother and younger sister feel dumb about themselves because it made her feel superior. Her whole life Dee detested her family and where she came from and couldn’t wait to get away. But, still her mother worked her booty off to provide her with high education and a good life. Dee goes away to college and when she returns she is a completely different person, suddenly interested in her family; photographing them upon arrival. With her guest, new "Wangero Leewanika Kemanjo", invades her mothers house taking everything in like it’s a cute display for her. Finally, when Wangero (Dee) demands that her mother give her some quilts, her mum can not take anymore. She tells Dee that Maggie, not her, will be receiving the quilts and she snaps. "I did something I never had done before: hugged Maggie to me, then dragged her on into the room, snatched the quilts out of Miss Wangero's hands, and dumped them into Maggie's lap. Maggie just sat
Failing to find a positive opportunity for work, Maria’s next job is seemingly much worse in multiple ways. Maria gets offered enough money to hold her over for a long time in Colombia, by becoming a international narcotrafficker, even though it still “yields ve...
The story of “Life in the Iron Mills” enters around Hugh Wolfe, a mill hand whose difference from his faceless, machine-like colleagues is established even before Hugh himself makes an appearance. The main narrative begins, not with Hugh, but with his cousin Deborah; the third-person point of view allows the reader to see Deborah in an apparently objective light as she stumbles tiredly home from work in the cotton mills at eleven at night. The description of this woman reveals that she does not drink as her fellow cotton pickers do, and conjectures that “perhaps the weak, flaccid wretch had some stimulant in her pale life to keep her up, some love or hope, it might be, or urgent need” (5). Deborah is described as “flaccid,” a word that connotes both limpness and impotence, suggesting that she is not only worn out, but also powerless to change her situation; meanwhile, her life is “pale” and without the vivid moments we all desire. Yet even this “wretch” has something to sti...
in any group of people, and there will be struggle to achieve it--be it a