Jane Eyre - Woman as Demon Missing Works Cited Women in Victorian literature often came to be seen as "the other" or in more direct terms, as somehow demonized. This is certainly true in Jane Eyre. Bertha Mason, Rochester's mad wife, is the epitome of the demon in the attic. By virtue of being the first wife she is in continually compared to Jane. Although there are parallels in plot and language between the two women, they are completely different people.
Poe describes the houses aura as the “hideous dropping off of the [opiate] veil.” (896) A “fine tangled web-work [falls] from the eaves” (Poe 898) and fungi has “overspread the whole [stone] exterior.” (Poe 898) Poe also describes the house as suffering “the discoloration of ages.”(898) These describers symbolically tell the story of a woman’s life. Poe’s use of the term veil conjures images of the wedding veil, a distinctly feminine aspect of the wedding and is symbolic of youth, vitality, and the beginning of a marriage. From the energy of youth, the house faces disintegration, stagnation and ultimately a stillness of vi... ... middle of paper ... ...traints and expectations of society. As the house loses it’s battle against the feminine with “tarn … clos[ing] sullenly and silently over the fragments of the ‘House of Usher’” (Poe 909) so to does Roderick lose his battle. Looking further at the character of Madeline, if one views her as a projection of Roderick’s feminine qualities, may provide and expand insight into the argument that ultimately, that which he has tried to suppress overwhelms him.
Emily Prager wondered why Ken’s genitals were not there but Barbie was designed with a giant bust. These dolls give not only an unrealistic idea of a perfect women, but also show that Ken was dignified enough to be censored but not Barbie. The Barbie franchise unknowingly shapes young girls identities and how they see themselves. Media is always setting a standard somehow that affects our identities and how we see ourselves. From Kilburn discussing the advertisements including models targeting women and Prager talking about how Barbies targeting young girls and displaying what kind of standard is being set, to Godsey talking about how seeing male models and actors lowering the self-esteem of men and setting standards for them as well.
The short story “The Yellow Wallpaper” by Charlotte Perkins Gilman, successfully demonstrates how madness and gender play an integral role in the lives of women during this period. “The front pattern does move - and no wonder! The woman behind shakes it! Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over. Then in the very ' bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard.”(8, Gilman) This quote from the short story “The Yellow Wallpaper” stuck out to me because it embodies the true meaning of madness and gender in women during the Victorian era.
In an interview “We reclaimed the word girl because it was so often used to belittle grown women. We also wanted to make older feminists sit up and n... ... middle of paper ... ...witty comical banter helps spread the understanding of the underlying themes behind the humor. It makes it easier for the artists to connect with the audience about feminism without an aggressive and hostile approach to the work. I believe viewers are more likely to communicate upon the works of the Guerrilla Girls with one another in society when they take on a more comedic approach. This investigation has examined the Guerrilla Girls through direct connection to the inequalities of compliance of power over women in the art world.
"Coral is far more red than her lips' red" (line 2) describes his mistress' faded lips. "If hairs be wires, black wires grow on her head" (line 4) shows the coarse, unkempt and dark color of her hair. "And in some perfumes is there more delight than in the breath that from my mistress reeks." (Lines 7-8) expresses his mistress' dire need for a breath mint. These comparisons give one a vivid description of his mistress' lacking beauty, and sets one up for the couplet at the end of... ... middle of paper ... ...manner, making them focus primarily on the lacking, yet lustful, physical attributes of his mistress.
The handmaids’ red dresses for blood, the commanders’ wives’ blue dresses for the mother figure association with Mary, mother of Jesus. The flowers in Serena Joy’s garden, the cool blue irises that associate with the commanders’ wives, and the red tulips representing the handmaids are they are both covered in red and fertile. Also, the brothel full of prostitutes is called Jezebels. Jezebel represents the biblical figure who is often referred to as a “fallen woman,” similar to the prostitutes at the brothel. The Handmaids Tale contains many elements which contains symbolic meanings that are meant to deeper the readers understanding of the novel.
Beauty is a cruel mistress. Every day, Americans are bombarded by images of flawless women with perfect hair and smooth skin, tiny waists and generous busts. They are presented to us draped in designer clothing, looking sultry or perky or anywhere in between. And although the picture itself is alluring, the reality behind the visage is much more sinister. They are representations of beauty ideals, sirens that silently screech “this is what a woman is supposed to look like!” Through means of media distribution and physical alteration, technology has created unrealistic beauty ideals, resulting in distorted female body images.
Although I am not at all a fan of neon, I appreciate that it was an admirably bold choice and it really contributes to the collection’s overall atmosphere. What I find that Kane does really well is take a specific idea and expands on that by playing with colour combinations and different fabrics or materials. In this instance all of the dresses are very similar, form-fitting with rather high hems. This would be a very boring collection if it weren’t for the striking colour combinations and beautiful decoration. Personally, my favourite piece of the collection is a ruby red/lilac/nude lace dress adorned with brass rings; flesh-coloured ruffles and lace trim the sleeves and hem, respectively.
“Simplicity is the keynote of all true elegance. (Gabrielle ‘CoCo’ Chanel) To her modesty was the chicest way of proclaiming one’s superiority. she wanted to get rid of everything that put women at the mercy of convention, that got in their way, that slowed them down.” Edelman (1997 p20) Chanel is now known as the creator of the Little Black Dress but it was not until 1961 that it really took off when the young Audrey Hepburn wore the definitive Little Black Dress in Breakfast at Tiffany’s designed by Hubert de Givenchy. This was not the first black dress Givenchy had designed for Hepburn, he also created two other successful pieces for the actress to wear in her films Sabrina 1954 and Funny Face 1957 but it was the iconic Breakfast at Tiffany’s dress that was named their chic style master piece. It was an instant hit and started a new craze for women in the 60’s.