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Gender role stereotypes in literature
Gender role stereotypes in literature
Gender stereotypes in literature
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While Fefu and her Friends portrays gender as a fixed idea in terms of women fulfilling the role of being biologically and having indifferent behavior in front of men and women, and men being dominating and strong, Cloud Nine portrays gender as an unstable idea thinking of gender being a spectrum which is constructed by the type of performance one gives depending on his or her opinion and not the society’s norms which is having the idea of gender as one either being a man or a woman innately and keeps imposing the same.
The play Cloud Nine strongly critiques the societal standards of a person being a man or woman by birth and portrays the radical idea of gender to be different from the biological sex with the help of cross-gender casting. The play begins with the introduction where different characters are introduced by Clive. Clive introduces his wife Betty, a submissive housewife, who is played by a man in Act 1 but by a woman in Act II as mentioned in the stage directions (Cloud Nine 6). Furthermore, Clive introduces his son Edward, who is played a woman in Act 1 and a man in Act II as depicted in the stage directions (Cloud Nine 6). Thus, with this cross-gender casting, the play is deconstructing the traditional ideas of a biological man and a
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In the beginning of the play, the role of Edward is played by a woman who says, “What father wants I’d dearly like to be, I find it rather hard as you can see” (Cloud Nine 6). This cross-gender casting is to show that gender is an artificial construct and even though Edward is biologically a man, he may possess the traits which may resembles the traits which is feminine according to do the societal norms, but is the true identity of Edward. Eventually with time, Edward is represented as a homosexual as Harry
The way M butterfly shows gender can very clearly be seen as the play moves on. When song Liling and Comrade chin are discussing about how men play women parts Liling says” No, its because only a man knows how a woman is supposed to act”. A statement that says that the man knows a real women one that is submissive to him and that is what liling gave song take the time when Gillard and song were talking and liling says “ its one of you’re favorite fantasies isn’t it? The submissive oriental women and the cruel white man”. By this Liling is pointing out the gender difference’s between men and women during that time white women were considered more outgoing than Chinese women thus when galliard finds liling he thinks he has found a women of his fantasies a women h can have as a mistress but she will not tell his wife only be submissive to him. Rene Gillard fantasied of being a true man because they did not consider Chinese men, Real men or masculine during the scene when song and the judge are talking songs says “Her eyes say yes but her mouth says no, the west thinks of itself as masculine big guns big industry while the east is feminine weak d...
She has us see someone with the same mindset as us, in regards to gender, enter an androgynous world and interact with the inhabitants to establish relationships. We share his reactions and can realize how much gender dictates within our society and restricts our views to understand other’s interpretations. Social norms have been shaped by the way we perceive gender in a way we’ve become blind to the issues it creates. We’ve become desensitized to the serious issues that gender has affected like gender roles, job inequality, politics, and much
Through the actions of the male hegemony and the mother figure, both plays show the different perspectives both sexes have towards homosexuality. The patriarchal figures, show an intolerant and abusive perspective whereas the mother figures show a more understanding way of coping with the identities of their sons. By seeing the reactions of both males and females, it is to say that the maternal figures of the play show a more comprehensive attitude towards the struggles that the male protagonist undergo. Both plays are related to today´s society, because there are still families in which homosexuality is not accepted. People are still
In Gender Trouble, Judith Butler discusses complications with constructions of inner and outer worlds of the body. She argues that “internalization of gender”, as common linguistics describes it, is a part of the heterosexual hegemonic binary of gender conformity which distinguishes inner and outer worlds. Gender, in the commonly accepted model, is innate and through a process of bringing out the inner gender is expressed. Butler proposes, instead, that “the gendered body is performative” and “has no ontological status apart from the various acts which constitute its reality” (173). Thus, gender does not exist within a person, a part of the body itself, but is a performance constructed through many displays. Gender is not explicitly connected to identity because it is not internal but rather on the body. Butler says that drag “reveals the distinctness of those aspects of gendered experience which are falsely naturalized as a unity through the regulatory fiction of heterosexual coherence. In imitating gender, drag implicitly reveals the imitative structure of gender itself – a...
Edward challenges the traditional gender roles in more ways than one. He has dealt not only with an absent father, but also is left to depend on his mother who was emotionally absent as well, making it difficult for Edward to experience a positive male role model in his life. Furthermore, he is a teacher, which is traditionally seen as a profession for a woman. In his mid-life stage at almost fifty years old, Edward has never been married, nor had any children. In the 1980’s, these factors may be seen by society as strange. Edward’s primary inner conflict with his role as a man and his masculinity comes from quietly dealing with issues of homosexuality.
The overarching the play demonstrates the men’s perception of women is entirely not treated as humans. The dialogue between
Though its primary function is usually plot driven--as a source of humor and a means to effect changes in characters through disguise and deception—cross dressing is also a sociological motif involving gendered play. My earlier essay on the use of the motif in Shakespeare's plays pointed out that cross dressing has been discussed as a symptom of "a radical discontinuity in the meaning of the family" (Belsey 178), as cul-tural anxiety over the destabilization of the social hierarchy (Baker, Howard, Garber), as the means for a woman to be assertive without arousing hostility (Claiborne Park), and as homoerotic arousal (Jardine). This variety of interpretations suggests the multivoiced character of the motif, but before approaching the subject of this essay, three clarifica- tions are necessary at the outset.
The masculine and feminine are how we view all things in life. There is a superiority of one over the other, and it cannot be confined to the likes of one’s mental state. The masculine is hardened, or what is outwardly described as tough, rigid, strong and basic. The feminine is at best described as the antithesis of masculine, softer, kindler, weaker, and to be protected. When I have to define the traits between the two, both masculine and feminine, I am relegated to speak based on perception of the two definitive aspects of male and female and none else.
This paper will look at the different conceptions highlighted by Bulman in his article through the use of different methods used by the actors in the play. Twelfth Night, by William Shakespeare captures the different conceptions of gender identity and different sexualities within the Elizabethan period.
On the surface, Shakespeare’s play Twelfth Night may seem like to the run of the mill Shakespearean comedy. It has loads of the ingredients you would typically see in a Shakespeare play; love being the be all end all, revenge, and yes, cross-dressing. Aside from dramatics, this comedy embodies the fundaments of the battle of the sexes; the age-old conflict is reminiscent to how gender roles are to this day. Man vs. Woman, or the main ingredient as it is, sets the ball rolling for the tone and the social construct of the comedy. Viola, disguised as Cesario, says, “Disguise, I see thou art a wickedness wherein the pregnant enemy does much. How easy it is for the proper-false in women 's waxen hearts to set their forms!” (Twelfth Night, II.ii 27-30.) This quote alone expresses not only the ambiguity of gender through identity, but also the way men portray female’s inferiority and deceitfulness. Despite the male protagonists ' view on women 's incapability to love, Viola 's
Edward’s detachment from society is the result of a floozy’s lie, a deranged woman’s religious claims, and a teen with an inflated ego that all seem to hate Edward because of his differences and because they cannot tell what he is and what his intentions are. Edward is a good person and he is not even a real human being. He is more kind and uncorrupt then the real human beings who live in the community. It matters to Joyce, Esmeralda, and Jim that Edward be definable and that they can recognize him as something with emotions and motives. However, Edward does not make any sense to any of them at all and their prejudices continue to exist because they do not and will not take the time to figure out that Edward’s differences are actually not as horrific as they make them out to be.
...ns of gender, and anxiety surrounding his newly “female” position and its implications. His newfound identity is rendered entirely dependent upon his portrayal of the role he formerly attempted to flee, and its finality is reliant upon Bertram’s capability as an actor – which, as has been demonstrated throughout the play, is as tenuous as the masculinity he seeks to embody. When made to reconcile the relationship between performance, gender, and the blurring of a social order, Bertram becomes disoriented, and relies ultimately upon the conventions of theatre: he falls back into his prescribed role, and, as such, may finally begin to portray his journey into manhood.
...ve been suffering mental abuse by their husband. This play presents the voice of feminism and tries to illustrate that the power of women is slightly different, but can be strong enough to influence the male dominated society. Although all women are being oppressed in the patriarchal society at that time, Glaspell uses this play as a feminist glory in a witty way to win over men. Mrs. Hale and Mrs. Peters solve the crime by reflecting on Minnie Wright’s unhappy marriage that leads her to murdering. Using the relationship between female and male characters throughout the play, Glaspell speaks up to emphasize how the patriarchal society underestimated women’s rights and restricted women’s desires.
In this play, the men and women characters are separated even from their first entrance onto the stage. To the intuitive reader (or playgoer), the gender differences are immediately apparent when the men walk confidently into the room and over to the heater while the women timidly creep only through the door and stand huddled together. This separation between genders becomes more apparent when the characters proceed in investigating the murder. The men focus on means while the women focus on motive: action vs. emotion. While the men...
... Critical Interpretations, ed. Harold Bloom (New York: Chelsea House Publishers, 1987) 43. For further discussion on renaissance gender performance and identity politics among Shakespeare's cross-dressed heroines, see Michael Shapiro's Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages (Ann Arbor: The University of MIchigan Press, 1994).