Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The menstrual cycle essay
The menstrual cycle essay
How does the social hierarchy affect people
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The menstrual cycle essay
The cultural attitudes of 1960s North America towards gender roles and marriage are typified in the characters of the ‘office virgins’ Marian works with at Seymour Surveys. They are all, as their nickname implies, virgins, who believe that sex belongs only in marriage. Lucie fears what people would say, while Emmy, the “office hypochondriac” (16), thinks it would make her sick. Their life plans are all similar: to travel, get married, settle down and quit their jobs. As Rebecca Goldblatt explains in her essay "Reconstructing Margaret Atwood's Protagonists," these women are typical of the time period in which The Edible Woman was written and can be assumed to take place. They are "young women blissfully building their trousseaus and imagining a paradise of silver bells and picket fences" (275). Goldblatt continues, "these women search for a male figure, imagining a refuge. Caught up in the romantic stereotypes that assign and perpetuate gender roles, each girl does not doubt that a man is the solution to her problems” (276). The other women in the novel also experience these patriarchy-influenced attitudes towards the institution of marriage, although they deal with them in different ways. Marian, in particular, experiences significant difficulties in her encounter with her boyfriend Peter. The exchanges that occur between the Marian and Peter reveal a great deal about the imbalance of power associated with male and female gender roles in the novel. Atwood creates associations between femininity and victimization in Marian’s mind, as becomes apparent via Peter’s discourse at the bar of the Park Place hotel involving a hunting story told to Len. Peter recounts the tale, telling how he “let her off and Wham. One shot, right through... ... middle of paper ... ...o avoid becoming a victim. On a symbolic level, Marian’s eating disorder can be seen as an attempt to detach herself from this cycle in order to avoid being processed or digested by society. In her mind, if she does not take in the raw materials, she cannot be consumed by society and turned into something she doesn’t want to become. Marian’s creation of the cake-woman, the inspiration behind the book’s title, symbolically unites the various elements of her struggle. Firstly, it makes explicit the connections between femininity and victimization. The cake-woman is the ultimate victim; she is literally consumable. And secondly, it serves as a definitive statement of her rebellion against societal pressures to conform to patriarchy-influenced gender roles. Marian ices the cake with a red dress, much the same as the red dress that signaled her surrender to Peter.
For centuries, women have been forced to live life on the outskirts of a male-dominated society. During the 1800’s, the opportunities for women were extremely limited and Mary Shelly does an excellent job portraying this in her gothic novel, Frankenstein. Furthermore, in this novel, Mary Shelly shows how society considers women to be possessions rather than independent human beings. In addition, the female characters rely heavily on men for support and survival, thus proving their inability to do it on their own. Lastly, the female characters in this novel are in many ways victimized by the male characters.
Mina clearly demonstrates her awareness and knowledge of the New Woman movement; whereby she exhibits her familiarity of the debate by referring to the term “New Woman” twice in her journal entries. Grant Allen’s “purity school” New Woman consisted of female characters that expressed particular interest in social problems while still maintaining their propriety. This sense of knowledge is exhibited when Mina attempts to reassure the oversensitive Lucy as they stopped for a “severe tea” (Stoker 141): “I believe we should have shocked the ‘New Woman’ with our appetites. Men are more tolerant, bless them!” (Stoker 141). The New Woman was a common subject of controversy in journalism and fiction (Senf 34). Mina’s preliminary reference merely characterized her as a well-informed young woman of the 1890s. Mina remains neutral and simply suggests her familiarization with the New Woman’s assertion on greater freedom and physical activity. Bicycle riding, badminton playing and bloomer wearing women may have shocked certain conservative people of the 1890s, but they were not enough to worry Stoker’s heroine (Senf 34). Nor was it a shock to her that the New Woman was often characterized as a professional woman who was capable of financially supporting herself. After all, Mina easily fell under this category of the New Woman; her career was not an archetypal Victorian housewife. She was often “overwhelmed with work […] [because] the life of an assistant schoolmistress [was] sometimes trying” (Stoker 83). Mina is able to support herself and by using her note-taking talents she is also able to support her husband too, outside of her domestic role. This notion was revolutionary at the time. Gail Cunningham notes that while independence and in...
The female characters in Young Frankenstein and One Flew over the Cuckoo’s Nest are, stereotypically, satiric and parodic renditions of oppressed or emotionally unstable feminine personalities. The theme of the treatment of women is not only played out in the external relationships the women interact within but also in the basic mentality and roles they embody within their personality. The women of Young Frankenstein add a comical element to the film which a direct contrast to the insignificance of the female in Mary Shelley’s novel. The women of One Flew over the Cuckoo’s Nest are either almost terrifying when thinking of the potential evil lurking just beneath the surface or effectual props in the healing of those who need it.
Mary Gaitskill uses a third person perspective, along with crafty diction and insightful allusions to keep her reader’s in suspense through her piece of “Tiny, Smiling Daddy”. It is with these tools that Gaitskill is able to slowly change our perceptions of the narrator from likeable to confusion and ultimately ending in dislike.
This analysis of A&P through the feminist lens will focus in on Sammy’s narration, character interactions and setting.
The female characters in Ladder of Years and Dinner at the Homesick Restaurant, Pearl Tull, Delia Grinstead, and Jenny Grinstead, are women who specially thrives in the environment where unjust treatment is mostly apparent. The dysfunctional family dynamics in Ladder of Years and Dinner at the Homesick Restaurant allows these female characters to manifest different aspects feminism. Feminism by itself is rather ambiguous, therefore, specific aspects of the Feminist Theories are applied. Liberal feminism, which advocates for individuals to freely develop their own talents and pursue their own interest, is primarily prominent in these novels. Anne Tyler promotes liberal feminism in Ladder of Years and Dinner at the Homesick Restaurant through
In fact, this manner of thought can be applied to all of the sweethearts. In “A Jury of Her Peers,” men and women occupy clearly gendered roles. The story portrays the differing opportunities available to men and women both in terms of labor and in society as a whole. Minnie Wright and Martha Hale are continuously defined as housekeepers. The responsibilities of caring for a house, and a kitchen in particular, are linked only to women.
Both "Happy Endings" and Foe provide commentary on gender issues in modern fiction writing. In "Happy Endings", Margaret Atwood’s attack on gender stereotypes reveals itself in the form of character interactions. Her various story versions portray how women are victims of conformity in a patriarchal societ...
Margaret Atwood’s novel, Alias Grace, nominated for the Arthur Ellis Award for Best Novel, depicts a young 16 year old girl who is found guilty of murdering her employer and his lover in conspiracy with James McDerrmott. James McDermott is put to death by hanging, but Grace is brought to prison because she is of the “weaker sex.” This is a reflection of the construction of femininity and masculinity of the mid and late nineteenth century. A social issue of the Victorian age was women being treated as subordinate to men. Queen Victoria says, “Victorian ideology of gender rested on the belief that women were both physically and intellectually the inferior sex”(YILDIRIM). Women were seen as highly susceptible to becoming mentally ill because of this belief. Women were subject to only be “housewives.” The novel, Alias Grace, accurately shows the construction of this gender identity through society, sexuality, and emotion while challenging it through Grace’s mother and Mrs. Humphrey.
The female characters are from various social classes and each of them has her own attitudes towards life and love. Lily, the caretaker's daughter is the first character to be introduced to us. In the story she is a representative from the labouring class. Comparily, Gabriel is a well-educated young man who seems to have a bright future. When he arrogantly greets her, "I suppose we'll be going to your wedding one of these fine days with your young man, eh?" (Joyce 123). The girl answers bitterly "The men that is now is only all palaver and what they can get out of you" (124). Then Gabriel "color" as if he has made a mistake when Lily becomes upset about the subject of men. This is because he never expects his self-conceited good intention will hurt her feelings so much. Instead of comforting Lily, he "without looking at her", kicks off his goloshes and flicks actively with his muffler at his patent-leather shoes. From this we can see he first chooes to avoid difficulty when the conflict between he and the ...
When reading The Coquette by Hannah Webster Foster a reader might wonder is this novel proto-feminist? Is Foster condemning the patriarchal society that she is living in? Or is she writing this novel as a cautionary tale as to what women should not do for them to not end up like the main character Eliza Wharton? The answer to the question as to whether this novel is proto feminist, is not a simple yes or no. This essay will examine that The Coquette is both a proto-feminist novel and a cautionary t
Which is caused by the narrator having a male perspective. The narrator does not give the women and credit or redeeming qualities. All the women follow a general stereotype. If they tried to break away from the stereotype, they would me more important and influential characters. Paquette, a chambermaid in the Baron’s castle, is described as “a pretty and obedient brunette” (5). She is identified obedient not because of her job as a chambermaid, but because she is willing to exploit her soul and body to the men around the castle. In regards to the old woman, she doesn’t even have an actual name, which does not matter since is ugly and useless. The old woman has the mindset that she is; an object; a mistake; a disgrace. That her time has passed as a beautiful useful woman. All the rape and abuse has physically affected her and she is out of luck. In fact, she is lucky if men talk to her, or even look at her without
Within every story or poem, there is always an interpretation made by the reader, whether right or wrong. In doing so, one must thoughtfully analyze all aspects of the story in order to make the most accurate assessment based on the literary elements the author has used. Compared and contrasted within the two short stories, “Girl” by Jamaica Kincaid, and John Updike’s “A&P,” the literary elements character and theme are made evident. These two elements are prominent in each of the differing stories yet similarities are found through each by studying the elements. The girls’ innocence and naivety as characters act as passages to show something superior, oppression in society shown towards women that is not equally shown towards men.
In the novel, women were affected by racism and gender role equality more than men. Pecola is one if the main characters, and she deals with the figure of a man who violates her. The female characters in the novel were apprehended by females roles that made them feel like they were non existent. Each character had their own personality. Claudia, another character in the novel escapes her suffering by pulling apart from Shirley Temple dolls. The expectations of theses women in the novel have been created through our society, and how we view our gender
... women teamed with the inability to change their lives. There is an economic dependence on men, and a naivety that is beginning to be lost with potential for fulfilment. All of Katherine Mansfield's women seem to be on a very fine dividing line between sanity and a nervous breakdown, and the large amount of internalisation of desires and wishes that they experience cannot be projected out to the world so remains in their heads thus intensified and likely to become a danger to their mental health. There is a sense of female sexuality, with deep unfulfilled desires that remain in the realms of fantasy. There is no relationship in the writings of Katherine Mansfield that is emotionally fulfilling, in sharp contrast to the Victorian novel there is never a happy ending. The women are always excluded from the relationships that were meant to define and fulfil their lives.