The Wife's Lament is rather unusual in the way its primary subject is female. It is considered to be one of the few surviving Old English poems thought to be narrated by a woman, concerning a woman's thoughts and feelings, although it has been suggested that the poem was not in fact narrated or written by a woman, meaning it could actually be masculine in it's authorship.  This, some have argued, is not likely though, considering the nature of the grammatical endings in words such as 'geomorre' which make it clear that the speaker is feminine.  The poem itself speaks of a woman exiled as a result of secret plotting by her lord's relatives, who subsequently lives confined to an 'earth cave' under an oak tree, within a grove, surrounded by thorny branches. The poem describes her despair at this situation, and concludes by describing the terrible fate of those who depend too wholly on a loved one.
D.C. Heath and Co. MA. 1994. 800-12. Herndl, Diane. “The Writing Cure: Charlotte Perkins Gilman, Anna O. and Hysterical Writing’” NWSA Journal no.
By accentuating the female’s roles and responsibilities in the 19th century, Mary Shelley emphasizes females as domestic and explains her story from a feminist viewpoint, and shows how females in her novel were created from actual people in her life. Although the women’s roles and responsibilities were completely different and often unequal to the men’s roles, the woman in Frankenstein impacted the lives of the male characters in a positive way. Some woman in Frankenstein was taken advantage of and used since females felt they were not worthy and died due to muteness. Caroline Frankenstein’s death causes Victor’s health too decline because the indication of feminineness vanquished and the creature of evil and self-importance are created. The dying of the domestic sphere is exemplified by Victor's parting for Ingolstadt.
Compiled for English 370B, Spring 2005. Boston: Pearson Custom Publishing, 2003. Pages 418-77. Wollstonecraft, Mary. “A Vindication on the Rights of Woman.” The Longman Anthology of British Literature: Volume 2A- The Romantics and Their Contemporaries.
Donald Gray. New York: Norton and Co., 1993. pp. 291-295. "Jane Austen, " Discovering Authors' Modules, http://galenet.gale.com/a/acp/netacgi/nphrs?d=DAMA&s1=bio&s2=Austen,+Jane&1=50&pg1=DT&pg2=NM&p=17 Johnson, Claudia L. "Pride and Prejudice and the Pursuit of Happiness." Pride and Prejudice.
Westport, CT: Greenwood, 1996. 179-184. Lindberg, Laurie. "Wordsmith and Woman: Morag Gunn's Triumph Through Language." New Perspectives on Margaret Laurence: Poetic Narrative, Multiculturalism, and Feminism.
The New Cambridge History of India: Woman in Modern India. Cambridge University Press, Cambridge: 1996 Yasas, F.M. & Vera Mehta. Exploring Feminist Visions. Good Impressions, Bombay: 1990 Desai, Neera.
Routledge: London. (pgs 72-73, 196-203) Hansen, Elaine Tuttle. (1992). Chaucer and the Fictions of Gender. University of California Press, Ltd: England.
Afshar criticizes these Muslim women who have been struggling on different occasions for different reasons but none were doing as well as those who have placed their political action in the Islamic framework and its instructions. She believes the reason for this happened from the time when the ... ... middle of paper ... ...s because the regime gave priority to other issues. These women loyal to Guardianship of the Islamic Jurists (wilayat-e- faghih) and Islamic traditions recognized that “the present laws and regulations concerning women do not reflect the promising slogans of the revolution in the realm of the family, politics and society.’’ Although in the reform era some amendments occurred in favour of women, the progress was very slow in the male dominated parliament who supported the traditional framework of Islam. In short, Islamic feminism in Iran involves the supporters of traditional Islam who at the same time approve the framework of the regime and have an idealized image of Iranian Muslim women: A veiled woman liberated from capitalism and consumerism. Her role model is the Prophet Mohammad’s daughter, Fatimah and her right is considered as complementary to men.
Markandaya deconstructs the gender ideologies that propagate the dominance of male over female. The Paper is an attempt at scrutinizing the different female characters of the novel through feministic perspective. Body of the Article Women repr... ... middle of paper ... ...Kamala Markandaya in the form of a recurrent female ‘quest for autonomy’. It is Rukmani’s faith and belief in her own Self that makes her a unique woman protagonist. Thrity Umrigar in her “Afterword” to the novel regards Rukmani as a true “everywoman”.