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Objectification of Women in The House of Mirth
Edith Wharton's The House of Mirth is an affront to the false social values of fashionable New York society. The heroine is Lily Bart, a woman who is destroyed by the very society that produces her. Lily is well-born but poor. The story traces the decline of Lily as she moves through a series of living residences, from houses to hotel lodgings. Lily lives in a New York society where appearances are all. Women have a decorative function in such an environment, and even her name, Lily, suggests she is a flower of femininity, i.e. an object of decoration as well as of desirability to the male element. We see this is very true once Lily's bloom fades, as it were, a time when she is cast aside by her peers no longer being useful as something to admire on the surface. The theme of the novel in this aspect is that identity based on mere appearance is not enough to sustain the human soul physically or metaphysically. Once she is no longer able to keep the "eye" of her peers, Lily finds herself with no identity and dies. This analysis will discuss the theme of the objectification of women in a male dominated society inherent throughout the novel.
Lily Bart and her mother have been socially "ruined" in a sense because of the economic failures of their father and husband respectfully. However, Lily's mother teaches her that she can still maintain a high social status if she marries well, i.e. a rich man. In fact, Lily's mother is known for making the most out of the least as she is "famous for the unlimited effect she produced on limited means" (Wharton 48). In a society where women are considered valuable only for the appearance they present, it is impossible f...
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...vel could possibly be that women are commodified from the cradle to the grave and that never in a male dominated society will they ever be fully appreciated as separate entities with whole identities equal and separate from males.
WORKS CITED
Restuccia, F. L. "The Name of the Lily: Edith Wharton's Feminism(s)." The House of Mirth: Case Studies in Contemporary Criticism. Benstock, S. (ed.). New York, Bedford Books, 1994, 404-418.
Robinson, L. S. "The Traffic in Women: A Cultural Critique of The House of Mirth." The House of Mirth: Case Studies in Contemporary Criticism. Benstock, S. (ed.). New York, Bedford Books, 1994, 340-58.
Wharton, E. The House of Mirth. New York, Bedford Books, 1994.
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This novel tells the story of the cultural and social aspects of patriarchal culture, which attempt to subdue Adele Lindner, a young Jewish woman living in New York City during the turn of the 20th century. Adele must continually face patriarchal oppression of the “workhouse” under the authoritarian management of young women to be domestic servants, instead of being trained as independently minded businesswoman in the community. Arthur Hellman, the manager of the working house, is a major barrier to Adele’s education, as the Beauvoir’s theory of women as the “other” is expressed in her critical opinion of the taskmaster of the working house:
Haney-Peritz, Janice. "Monumental feminism and literature's ancestral house: Another look at The Yellow Wallpaper". Women's Studies. 12:2 (1986): 113-128.
Irigaray, Luce. "This Sex Which Is Not One." Feminism: An Anthology of Literary Theory and Criticism. Ed. Robyn R. Warhol and Diane Price Herndle. New Brunswick, NJ: Rutgers UP, 1991.
When Nettie first introduces her newborn child to Lily, she tells her “Marry Anto’nette-that’s what we call her: after the French queen in the play” (Wharton 334). The significance of the baby’s name is because it is an allusion to Marie Antoinette. Her lavish lifestyle is similar to the aristocrats of New York, but she was soon murdered during the French Revolution. Her murder represents an imminent downfall, as Lily experienced. However, Wharton changes the spelling in order to signify that Marry will not belong among the wealthy, such as Lily did not. Therefore, Wharton creates a connection between Lily and Marry, because both will obtain wealth, but diverge from society causing their decline and untimely death. When Lily dies, Wharton continues to highlight Lily’s connection to Marry. After she has overdosed, Lily begins to hallucinate that she is holding Marry, in which “…the baby more likely symbolizes [Lily’s] desire to born again” (Dixon). From this wish, Wharton is able to symbolize that Marry will embody Lily, and then is doomed. But Marry is a child, who cannot control her life, and according to Social Darwinism, is forced to endure her unsuccessful future. By making Marry a futile and naive baby, Wharton employs a sense of pathos, so she can censure Social Darwinism for harming a child and
In his book Meditations on First Philosophy, Descartes tries to accomplish several subject concerns. Firstly, Descartes attempts to accomplish the use of methodological doubt to rid himself of all beliefs that could be false. Then, he arrives at particular beliefs that could not possibly be false. Next, he discovers a criterion of knowledge. Also, he proves that the mind is distinct from the body and also the existence of God.
The lives we lead and the type of character we possess are said to be individual decisions. Yet from early stages in our life, our character is shaped by the values, customs and mindsets of those who surround us. The characteristics of this environment affect the way we think and behave ultimately shaping us into a product of the environment we are raised in. Lily Bart, the protagonist in Edith Wharton’s The House of Mirth, is an exceedingly beautiful bachelorette who grows up accustomed to living a life of luxury amongst New York City’s upper-class in the 20th century. When her family goes bankrupt, Lily is left searching for security and stability, both of which, she is taught can be only be attained through a wealthy marriage. Although, Lily is ashamed of her society’s tendencies, she is afraid that the values taught in her upbringing shaped her into “an organism so helpless outside of its narrow range” (Wharton 423). For Lily, it comes down to a choice between two antagonistic forces: the life she desires with a happiness, freedom and love and the life she was cut out to live with wealth, prestige and power. Although, Lily’s upbringing conditioned her to desire wealth and prestige, Lily’s more significant desires happiness, freedom and love ultimately allow her to break free.
Haney-Peritz, Janice. "Monumental Feminism and Literature's Ancestral House: Another Look at 'The Yellow Wallpaper'" Women's Studies. 12 (1986): 113-128.
Haney-Peritz, Janice. "Monumental Feminism and Literature 's Ancestral House: Another Look At 'The Yellow Wallpaper '." Women 's Studies 12.2 (1986): 113. Academic Search Complete. Web. 24 Nov. 2014.
In his work, Meditations on First Philosophy, Descartes narrates the search for certainty in order to recreate all knowledge. He begins with “radical doubt.” He asks a simple question “Is there any one thing of which we can be absolutely certain?” that provides the main question of his analysis. Proceeding forward, he states that the ground of his foundation is the self – evident knowledge of the “thinking thing,” which he himself is. Moving up the tower of certainty, he focuses on those ideas that can be supported by his original foundation. In such a way, Descartes’s goal is to establish all of human knowledge of firm foundations. Thus, Descartes gains this knowledge from the natural light by using it to reference his main claims, specifically
Next, in the fourth meditation, which leads into Descartes’ thoughts on himself in God’s view. It is important to compare to the third meditation. A second point of view of not just an idea, but now Descartes himself. He asks why a perfect being such as God does not make a perfect being like Descartes himself. He questions why he is not perfect in that sense. Then he explains, it would take much arrogance to question the motives of God. Not only that, but it just simply cannot be comprehended. He rejects the trial, and simply believes; since he himself is not perfect, the idea as a whole may be. He is just a part of the “big picture.” He then concludes he should only make judgements on what he is certain of.
Edith Wharton once stated that she “ . . . [doesn’t] know if [she] should care for a man who made life easy; [she] should want someone who made it interesting,” showing how Edith reflects Lily Bart, an unwed woman living in the midst of the elite society of New York, who struggles to find a suitable husband and live in the elite society that leads to her inevitable demise, in Edith's novel The House of Mirth (CITATION). Although many of the characters in the novel were in an elite and prominent society, they were possibly the most morally corrupt people since women married men for their wealth, and men expected women to constantly act proper and sophisticated. Edith Wharton’s modern novel The House of Mirth demonstrates why people in the
Baird and Kaufmann, the editors of our text, explain in their outline of Descartes' epistemology that the method by which the thinker carried out his philosophical work involved first discovering and being sure of a certainty, and then, from that certainty, reasoning what else it meant one could be sure of. He would admit nothing without being absolutely satisfied on his own (i.e., without being told so by others) that it was incontrovertible truth. This system was unique, according to the editors, in part because Descartes was not afraid to face doubt. Despite the fact that it was precisely doubt of which he was endeavoring to rid himself, he nonetheless allowed it the full reign it deserved and demanded over his intellectual labors. "Although uncertainty and doubt were the enemies," say Baird and Kaufmann (p.16), "Descartes hit upon the idea of using doubt as a tool or as a weapon. . . . He would use doubt as an acid to pour over every 'truth' to see if there was anything that could not be dissolved . . . ." This test, they explain, resulted for Descartes in the conclusion that, if he doubted everything in the world there was to doubt, it was still then certain that he was doubting; further, that in order to doubt, he had to exist. His own existence, therefore, was the first truth he could admit to with certainty, and it became the basis for the remainder of his epistemology.
Cixous, Helene. "Laugh of the Medusa." Feminisms: An Anthology of Literary Theory And Criticism. Ed. Robyn R. Warhol and Diane Price Herndl. New Brunswick, New Jersey: Rutgers University Press, 1991.
The early 18th century in America is notably a great prosperous period. Since the use of money played a crucial role on where you stood in the social ladder, many people in that time period used their money for that reason. This was a problem since most of the society tried to climb up the social ladder. Nevertheless, as men mostly used money to manage their status in society, women used marriage to grant themselves a wealthy life. In The House of Mirth, written by Edith Wharton, the role of women in society is seemingly expressed through their characteristics. Different aspects of femininity are introduced by how Wharton depicts women in the society. By looking at how Wharton portrays women in the society, readers will have a representation on the role of women as they deal with their morals, money, privileges and affections.
Rene Descartes, a 17th century French philosopher believed that the origin of knowledge comes from within the mind, a single indisputable fact to build on that can be gained through individual reflection. His Discourse on Method (1637) and Meditations (1641) contain his important philosophical theories. Intending to extend mathematical method to all areas of human knowledge, Descartes discarded the authoritarian systems of the scholastic philosophers and began with universal doubt. Only one thing cannot be doubted: doubt itself. Therefore, the doubter must exist. This is the kernel of his famous assertion Cogito, ergo sum (I am thinking, therefore I am existing). From this certainty Descartes expanded knowledge, step by step, to admit the existence of God (as the first cause) and the reality of the physical world, which he held to be mechanistic and entirely divorced from the mind; the only connection between the two is the intervention of God.