The way women are viewed in today’s society is miles ahead of the women in Jack Kerouac’s novel On the Road. Not many people would consider Kerouac a feminist. His semi-autobiographical novel paints a picture of men who treat women as drinking mates that they can later sleep with. The main character, Sal, is recently divorced and looks for alcohol and women in every city he visits. His counterpart, Dean, moves through women as if they are tissues all while being married. Kerouac 's views of women are typical of the time, but he does nothing but reinforce women as vain stereotypes with little to no actual use for them as anything else than entertainment. The first of many women of Dean’s to be introduced to Sal is Marylou. She is described …show more content…
She is also not afraid of her husband and the consequences of her unfaithfulness. She also proves she can be a “dirty-minded” as the men she is with throughout the country. She is not a typical stereotype of her time, but she still follows many common traits a stereotypical woman is believed to have. In the end, she ditches her wild, childish ways and settles down with a used car salesmen to have children, Kerouac manages to have a reckless, unconventional women turn into a typical housewife who does not conflict or control men. One of the only women Sal manages to date long enough to be notable is Terry. The main factor of Terry in the beginning is her breasts. She is described almost a piece of meat would be, “ Her breasts stuck out straight and true; her little flanks looked delicious; her hair long and lustrous black” (Kerouac 74). Sal even jumps to the conclusion that because she is too beautiful as well as “too good to be true” she must be a prostitute and treats her as such. Sal“is convinced Theresa is a whore until he discovers with relief that she is only a baby, as fragile and vulnerable as he” …show more content…
She is also viewed as typical crazy woman who is too needy to be on the men’s journey. She is shown yelling a lot at both Sal and Dean at one point even kicking them out of her house. She is expected to stay out home with the children and never expects Dean to help with raising them as that is a woman’s job. She stays hopelessly devoted to Dean throughout the novel even though he is unfaithful and still clearly in love with Marylou. She reinforces the stereotypical 1950s housewife where she cooks, cleans, raises the children and has no life of her own. However, she is a gifted painter who creates beautiful portraits. Sal and Dean are surprised to learn that she has artistic talent that could reveal their poetic skills. It seems unbelievable that Galeata and Camille were able to support themselves as well as be able to function normally or maybe even better without the men. Camille is portrayed as a mother and lover who both portrays a woman’s typical role in the late 1940s and early 1950s and breaks by being a strong, stable woman who can take care of
The first woman seen is Emma, a Brotherhood employee, who is perceived to be very powerful and demeaning toward the narrator although physically attracted to him. She engages in limited dialog which, I believe is intended to paint her as diminutive; however she is described as “smartly dressed” with a “hard, handsome face” (300). Her...
...ty that does not encourage that kind of behavior in women. During the novel she is told what to do, how to do it and at one point who to marry. She struggles with her growing unhappiness until she finally meets her true love.
Society continually places restrictive standards on the female gender not only fifty years ago, but in today’s society as well. While many women have overcome many unfair prejudices and oppressions in the last fifty or so years, late nineteenth and early twentieth century women were forced to deal with a less understanding culture. In its various formulations, patriarchy posits men's traits and/or intentions as the cause of women's oppression. This way of thinking diverts attention from theorizing the social relations that place women in a disadvantageous position in every sphere of life and channels it towards men as the cause of women's oppression (Gimenez). Different people had many ways of voicing their opinions concerning gender inequalities amound women, including expressing their voices and opinions through their literature. By writing stories such as Daisy Miller and The Yellow Wallpaper, Charlotte Perkins Gilman and Henry James let readers understand and develop their own ideas on such a serious topic that took a major toll in American History. In this essay, I am going to compare Gilman’s “The Yellow Wallpaper” to James’ “Daisy Miller” as portraits of American women in peril and also the men that had a great influence.
Many different depictions of gender roles exist in all times throughout the history of American culture and society. Some are well received and some are not. When pitted against each other for all intents and purposes of opposition, the portrayal of the aspects and common traits of masculinity and femininity are separated in a normal manner. However, when one gender expects the other to do its part and they are not satisfied with the results and demand more, things can shift from normal to extreme fairly quickly. This demand is more commonly attributed by the men within literary works. Examples of this can be seen in Tennessee Williams' “A Streetcar Named Desire”, where Stella is constantly being pushed around and being abused by her drunken husband Stanley, and also in Charlotte Perkins Gilman's “The Yellow Wallpaper”, where the female narrator is claimed unfit by her husband as she suffers from a sort of depression, and is generally looked down on for other reasons.
The twentieth century was filled with many advances which brought a variety of changes to the world. However, these rapid advances brought confusion to almost all realms of life; including gender roles, a topic which was previously untouched became a topic of discourse. Many authors of the time chose to weigh in on the colloquy. In F. Scott Fitzgerald’s The Great Gatsby and Kate Chopin’s The Awakening, gender role confusion, characteristic of modernist literature, is seen in Nick Carraway and Edna Pontillier as they are the focal points in the exploration of what it means to be a man or a woman, their purpose, place, and behavior in society.
With a husband and two children at the age of twenty eight, Edna Pontillier realized that the mother-wife life was not for her. With her new found independence Edna’s husband was unsure of how to handle his new untraditional wife. “I came to consult—no, not precisely to consult—to talk to you about Edna. I don't know what ails her.”(pg. 109) Mr. Pontillier is a loving and good husband but, his slight narcissistic personality causes him to lose touch with his wife. Mr. Pontillier buys Edna bonbons and compliments her in front of their friends but it would seem that he enjoys spending time with his friends and working more than he values his time with his wife. “Coming back to dinner?" his wife called after him. He halted a moment and shrugged his shoulders.”(pg. 8) The only reason Mrs. Pontillier stays with her husband for so long is because of her children. Although the Pontillier children are not major characters they help demonstrate her true commitment. Edna would rather die than let her children think their mother left them to be with another man. “She thought of Leonce and the children. They were a part of her life. But they need not have thought that they could possess her, body...
Lois Tyson’s text, Critical Theory Today (2006), explains the various theories that are utilized to critique literature and explain plots, themes, and characters. With feminist literary theory, Tyson writes, “Broadly defined, feminist criticism examines the ways in which literature (and other cultural productions) reinforces or undermines the economic, political, social, and psychological oppression of women” (83). With Edna Pontellier, her place in the story relies on her husband’s social status; her husband, Leonce Pontellier, is a successful businessman in New Orleans and wants to maintain appearances of success and marital stability. With Leonce, a product of society, he sees and treats Edna as an object: “‘You are burnt beyond recognition,’ he added, looking at his wife as one looks at a valuable piece of personal property which has suffered some damage” (Chopin 44).
In addition, Maria plays the role of the lady in waiting who essentially doesn’t do anything for herself except take orders. Later on the reader soon realizes that, Maria is a strong witty character that takes matters in to her own hands. Maria developes a strategy, first she goes for the messed up drunken Sir Toby and her goal is to straighten him out. Maria confronts Sir Toby about his drunkenness, “That quaffing and drinking will undo you: I heard my lady talk of it yesterday” (1.3.128). Sir Toby begins to take notice in Maria. Maria begins to plot with Toby to bring down Malvolio (the condescending butler) as a practical joke. Through the process of plotting against Malvolio with Toby, Maria develops a back bone something she was not known for with Olivia. Maria took the lead in the plotting and Toby starts taking her orders, “Observe him, for the love of mockery, for I know this letter will make a contemplative idiot of him” (2.5.18-19) As a result of the jokes success, Mari...
The women in Jack Kerouac's On The Road were, it seems, not afforded the same depth in character which the author gave the men. The treatment of the women characters in both word and action by Sal and Dean seems to show that women could only be a virgin/mother figure or a whore. Throughout the novel there are many instances in which women and their feelings or actions are either referred to flippantly or blatantly degraded. It can be said, however, that Sal (Kerouac) did not necessarily agree with this narrow female identity, and there is evidence to support this claim. The novel also shows though that Sal did participate in this male forced female stereotyping whether he wanted to or not. This is not to say that Sal (Kerouac) is necessarily malicious in his treatment of women but more possibly he is merely acting in accordance with the way he was raised and the way in which society treated women at the time. In effect while Sal and the novel may try to make points against the poor treatment of women, on the whole the novel tends to reinforce the sexist male domination at the time. The novel, on a certain level endorses the narrow female identity and the virgin/whore dichotomy contained therein, while at the same time attempting unsuccessfully to rise above the limited female identity.
Women are seen from a biased point of view in pop culture as they are often criticized and portrayed in degrading ways. The Great Gatsby takes place in the early part of the 20th century which is also known as the Roaring 20's. In regards to feminism, the women in The Great Gatsby are mainly depicted as second class to men. The story gives readers an insight of the roles that gender played in past World War I America. In The Great Gatsby, the author Scott Fitzgerald shines a light on the submissiveness of females toward males during the Roaring Twenties by giving the women in the novel an unfair representation as they are often identified as passive or negative “objects”.
It was expected of women to get married, have children, buy a suburban home and do housework. The video, “A Word to the Wives” displays what Betty Friedan calls, “the feminine mystique”. The video presents the dilemma of a woman who is not happy because she does not have the newest house. Her friend has all the new “necessities” in order to successfully complete housework. Women were defined by what they had, not by who they were. Friedan’s research found that despite fulfilling the “feminine mystique”, when women were questioned they realized they were not truly satisfied with their life. The woman in the video would not of been fulfilled by buying a new house, or object. Women were deprived of the need to put their skills and talents to a purpose. The video, “Are You Popular” also shows the expectations of women.. It promotes that appearance, serving others, and rewarding men with “women” gifts such as baking is how to be popular. It condones girls for “parking in cars” but accepts men who do the same thing. Women must earn the approval of men, and men must earn women by doing thing women are “incapable” of. The repression of women in the 50’s is what eventually causes the “outbreak” of feminism in the 60’s. The idolism of the “female mystique” covered the sexism against women in the
Betty Friedan wrote many books, however, “It Changed My Life”, “The Second Stage”, and “Beyond Gender” will be mentioned in my paper. Friedan fought for many things such as the perspective of the change in school, home, and workplace, women’s rights, and women’s right to choose whether it is how they want to live their life or how they take care of their bodies such as abortion. The mindsets of women from her novels between the1960s to the 1980s changed drastically, from the time of women having plenty of free time, to women not having enough free time. Many women during this era, did not want to be like their mothers, and Betty Friedan was one of them. Women play such an important role in our society that they should be given everything a
Clarissa's relationships with other females in Mrs. Dalloway offer great insight into her personality. Additionally, Woolf's decision to focus at length on Sally Seton, Millicent Bruton, Ellie Henderson, and Doris Kilman allows the reader to see how women relate to one another in extremely different ways: sometimes drawing upon one another for things they cannot get from men; other times, turning on one another out of jealousy and insecurity. Although Mrs. Dalloway is far from the most healthy or positive literary portrayal of women, Woolf presents an excellent exploration of female relationships.
Throughout the story there are several aspects of the Protagonist’s character that play a major role in the shaping of her future. During her childhood she often demonstrates a sense of fear when she is sent to her bedroom. “We were afraid of the inside, the room were we slept (pg. 549).” She is intimidated by her personal space because she does not have control over it. Later, she gains control by adding lace to her side of the room; symbolically adding personality to herself and slipping into womanhood. When she felt uncomfortable she exercised her imagination, to psychologically regain control over the confusion in her life. Her subconscious effort to control confusing times were carried on to her later years as she was constantly put in difficult situations, which helped her to adjust quickly to change during adulthood. The dreams she created changed when she began to place emphasis on her appearance-that which she could control, other than past dreams of heroism that seemed so distant from reality. The Protagonist filled her childhood with much pride and maintained a consistent focused upon the activities that filled her childhood. She relished working at the side of her father, taking immense pride in every aspect of her assigned duties. She proclaimed, “I worked willingly under his eyes, and with a feeling of pride (pg. 551)” Once after her father introduced her to a feed sales man as “my new hired man (pg. 551),” the Protagonist was flooded with pride as she “turned away and raked furiously, red in the face with pleasure (pg. 551).” In her later years her pride helped her to assemble strong self-confidence she used in her years of growing. Passion and depth were characteristics that impacted her future as a woman. Her passion and depth was revealed early on in the story ...
“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.