The Madonna, the Whore, and the Mad Woman: Female Stereotypes of the Romantic Period
In the 19th century, half of the population was so intensely stereotyped that they were barely allowed to leave their houses. Indeed, in the 19th century, women's place was thought to be the house, and nowhere else. Artists of the Romantic movement contributed to the oppression of women because of the way that they stereotyped women in their art. At first, it is easy to think that a woman, according to Romantic writers, artists, and society, was either pure, chaste, and innocent, just like Mary, the Mother of God and the source of mankind's redemption, or a seductive, evil temptresses that lead mankind to its ruin, like Eve (Fiero 723). There was, however,
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Fatal Women of Romanticism. Cambridge: Cambridge University Press, 2002. E-book. In this book, Craciun analyses the way that women writers of the 19th century either contributed to or challenged Romantic stereotypes about their own gender. This source was useful to my research because it examined not only Romantic stereotypes about women, but also the real women of the Romantic Period.
Downing, Lisa. "Murder in the Feminine: Marie Lafarge and the Sexualisation of the Nineteenth-Century Criminal Woman". Journal of the History of Sexuality 18.1 (2009): 121-137. Web. 05/05/16. Downing analyses the reactions of 19th century society to Marie Lafarge, a woman Romantic writer who was imprisoned and executed for the murder of her husband. Two groups formed during the trial of Lafarge, with two different opinions. The first group, the Lafargists, believed that she was an innocent virgin, almost an angel. The second group, the Anti-Lafargists, believed she was crazy and a hysteric. This source is useful to my research because it introduces a Romantic female stereotype that I had not thought of: the
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"Romantic Love and Romantic Stereotypes". The Humanistic Tradition, Volume II. 4th ed. New-York: McGraw-Hill Higher Education, 2002. Fiero explains both the Romantic Period's ideas on Love, that it should be an all-consuming union of souls, and the stereotypes about women in that period, that they were both the destroyers of mankind and its salvation. This source is interesting for my research because it directly examines stereotypes about females during the Romantic period.
Hughes, Kathryn. "Gender Roles in the 19th Century". British Library. British Library, n.d. Web. 05/05/16. Hughes analyses gender roles in the 19th century, and explains the duties of women during that period, how they had to behave, act, and talk to be considered respectable women. This source is useful for my research because it explains how these stereotypes about women came to exist. If women were always told to be quiet and invisible to be considered proper, then of course men would think that all women were naturally quieter and less
In the eighteenth century, the process of choosing a husband and marrying was not always beneficial to the woman. A myriad of factors prevented women from marrying a man that she herself loved. Additionally, the man that women in the eighteenth century did end up with certainly had the potential to be abusive. The attitudes of Charlotte Lennox and Anna Williams toward women’s desire for male companionship, as well as the politics of sexuality are very different. Although both Charlotte Lennox and Anna Williams express a desire for men in their poetry, Charlotte Lennox views the implications of this desire differently than Anna Williams. While Anna Williams views escaping the confines of marriage as a desirable thing, Charlotte Lennox’s greatest lament, as expressed by her poem “A Song,” is merely to have the freedom to love who she pleases. Although Charlotte Lennox has a more romantic view of men and love than Anna Williams, neither woman denies that need for companionship.
Throughout history, women have struggled with, and fought against, oppression. They have been held back and weighed down by the sexist ideas of a male dominated society which has controlled cultural, economic and political ideas and structures. During the mid-1800’s to early 1900’s women became more vocal and rebuked sexism and the role that had been defined for them. Fighting with the powerful written word, women sought a voice, equality amongst men and an identity outside of their family. In many literary writings, especially by women, during the mid-1800’s to early 1900’s, we see symbols of oppression and the search for gender equality in society.
In Zora Neale Hurston’s novel, Their Eyes Were Watching God, the reader is treated to an enthralling story of a woman’s lifelong quest for happiness and love. Although this novel may be analyzed according to several critical lenses, I believe the perspectives afforded by French feminists Helene Cixous and Luce Irigaray have been most useful in informing my interpretation of Hurston’s book. In “The Laugh of the Medusa,” Cixous discusses a phenomenon she calls antilove that I have found helpful in defining the social hierarchy of women and relationships between them in the novel. In addition, Cixous addresses the idea of woman as caregiver, which can be illustrated through the character of Janie in Their Eyes Were Watching God. On the other hand, Luce Irigaray discusses the different modes of sexual desire of men and women in her essay, “The Sex Which is Not One.” Many examples supporting and refuting her claims can be found in the novel. According to Cixous, the most heinous crime committed by men against women is the promotion of antilove. “Insidiously, violently, they have led [women] to hate women, to be their own enemies, to mobilize their immense strength against themselves, to be the executants of their virile needs” (1455). Their Eyes Were Watching God offers many examples of women in vicious contention with one another, usually involving or benefiting a man. Janie is confronted by the malice of her female neighbors in the very first chapter of the novel, as she arrives back in Eatonville after her adventure with Tea Cake. “The women took the faded shirt and muddy overalls and laid them away for remembrance. It was a weapon against her strength and if i...
Women in the Romantic era were long away from being treated as equals, they were expected by society to find a husband and become a typical housewife and mother. So what happens when women get tired of being treated horribly and try to fight back towards getting men to treat them as an equal? Both Mary Robinson’s “The Poor Singing Dame” and Anna Barbauld’s “The Rights of Women” show great examples on how women in the Romantic Era were disrespected and degraded by men, whereas all they wanted was to be treated as equals with respect and dignity.
The 19th Century is an age that is known for the Industrial Revolution. What some people don’t realize is the effect that this revolution had on gender roles in not only the middle and upper classes (Radek.) It started off at its worst, men were considered powerful, active, and brave; where as women were in no comparison said to be weak, passive, and timid (Radek.) Now we know this not to be true, however, back in the day people only went by what would allow ...
Before the Women’s Rights Movement women were viewed less than men in every aspect. Pre- Civil War women were viewed as the source of life but viewed less than men intellectually . In the 19th century the ideal women was submissive, her job was to be an obedient, loving wife . There were two important thing that ruled the way that women were treated. One of these was the most important out of the two during this time period this was the Cult of Domesticity, which basically said that women were supposed to do all of the domestic work in a household 3.
Welter, Barbara. “The Cult of True Womanhood: 1820-1860.” Nineteenth Century Literature March 1966: 102-106. Jstor. On-line. 10 Nov. 2002.
Bloch, R. Howard. Medieval Misogyny and the Invention of Western Romantic Love. Chicago: U of Chicago P, 1991.
In an essay on feminist criticism, Linda Peterson of Yale University explains how literature can "reflect and shape the attitudes that have held women back" (330). From the viewpoint of a feminist critic, "The Lady of Shalott" provides its reader with an analysis of the Victorian woman's conflict between her place in the interior, domestic role of society and her desire to break into the exterior, public sphere which generally had been the domain of men. Read as a commentary on women's roles in Victorian society, "The Lady of Shalott" may be interpreted in different ways. Thus, the speaker's commentary is ambiguous: Does he seek to reinforce the institution of patriarchal society as he "punishes" the Lady with her death for her venture into the public world of men, or does he sympathize with her yearnings for a more colorful, active life? Close reading reveals more than one possible answer to this question, but the overriding theme seems sympathetic to the Lady. By applying "the feminist critique" (Peterson 333-334) to Tennyson's famous poem, one may begin to understand how "The Lady of Shalott" not only analyzes, but actually critiques the attitudes that held women back and, in the end, makes a hopeful, less patriarchal statement about the place of women in Victorian society.
To begin this paper, I want to explain a little bit about Feminist Criticism. This category of criticism scrutinizes the means in which texts have been molded in accordance with matters of gender. It concentrates on social and financial disparities in a “male-controlled” culture that continues to impede women from grasping their true potentials. There are several perceptions and theories universally shared by feminist critics. One such belief is that our society is undeniably regulated by men. Another belief is that the concept of “gender” is mostly, if not wholly, a social standard that has curtailed from the never ending masculine biases that engulf our world. This male dominated philosophy is excessively abundant in most of the writings that are deemed exceptional literature. In addition, many feminist consider females, in literature, to be represented as destructive or docile objects, while most males are portrayed as being brave and resilient leaders.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
Evaluate and respond to the presentations of women in the Romantic period. Feel free to discuss presentations of women, by women (such as Austen’s Persuasion) as well as presentations of women by men (such as the “she” in Byron’s “She Walks in Beauty”). Consider the following questions: are these presentations problematic? What do they tell us about the values and briefs of the Romantic Period? Do any of these presentations subvert (complicate, or call into questions) the time’s notions of femininity?
Over the years, the romance is being changed--and the women who write romances have struggled with the form. In fact, the struggle over the romance is itself part of the larger struggle for the right to define/control female sexuality. Catherine Kirkland--who studied a group of romance writers--found that most had been avid readers before they turned their hand to writing. Some may want to promote changes outside the privatized family environment (p. 75).
Hurston portrays women as independent and capable of infinite possibilities. Many aspects contribute to how an author, male or female, portrays his or her female characters. Fitzgerald, Hemingway, Steinbeck, Wharton, and Hurston all illustrate their own perception of women based upon personal experience and social acuity of their particular era. The portrayal of women in American Literature is based solely upon an author’s personal opinion and interpretation and does not necessarily symbolize the true spirit and quintessence of women as one. Bibliography:..
The Romantic Period is a very enthralling era in British history. From it’s poetry prose, literature, and music, it dishes out ample history for the modern romantics to be engulfed by.Considered the shortest period in British history, it takes place between the years of 1785 to 1832, a chapter when revolution was the overarching theme as the French, American, European, and Haitian Revolution were on going. It revisited a lot of the wild verse-tales of adventure, chivalry and love, which had been previously ignored by literary historians. This period in time held much significance for women’s place in society, women rights, and not forgetting the connection between nature and an individualistic imagination of it. Empowering individuals to speak