on Feminine Sexuality in Chopin’s The Awakening In her essay “Un-Utterable Longing: The Discourse of Feminine Sexuality in Kate Chopin’s The Awakening” Cynthia Griffin Wolff sees the lack of a language—for Edna Pontellier’s sexual desires in particular and female sexuality in general—as the main theme in Chopin’s novel. She particularly looks at how issues of sexuality remain unsaid in the novel, or how they are expressed in a different way, because of the lack of a language of feminine sexuality
The story alludes to the controversial topic of women's sexuality and passion, which during Chopin's time no one spoke about much less wrote about. So controversial was 'The Storm,'; that it was not published until after her death in eighteen ninety-nine. The story is broken up into five sections, each filled with small clues and hints that reflect her message. In short, Kate Chopin's 'The Storm'; is about a confirmation of feminine sexuality and passion and a rejection of the suppression of it by
An Analysis of Anne Bradstreet: In Memory of My Dear Grandchild Elizabeth Bradstreet The Puritan woman's life was one entrenched in self-examination; bringing about the assembly of a spiritual armor in order to duel feminine sexuality to the death. In the elegy "In Memory of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665, Being a Year and Half Old," Bradstreet does not to fight with the expected vengeance against the manifestation of her "evil," her child, as one would
symbol for for Bertha and her life and the awakening of her sexuality. First I will sketch on the symbolic meanings of a pear and a tree as they are described in symbolic books and I will then focus on the pear tree in relation to Ber-tha throughout the story. In many books such as those of psychoanalysis and symbolism the pear is ¡V like the apple ¡V a symbol of fertility and due to its bosom-like shape an image for the feminine sexuality. Moreover a dream of a pear or an apple tree means good
Feminine Sexuality and Passion in Kate Chopin's The Storm In Kate Chopin's short story The Storm, the narrative surrounds the brief extramarital affair of two individuals, Calixta and Alcée. Many critics do not see the story as a condemnation of infidelity, but rather as an affirmation of human sexuality. This essay argues that "The Storm" may be interpreted as an affirmation of feminine sexuality and passion as well as a condemnation of its repression by the constraints of society.
Victorian Sexuality in Stoker’s Dracula, LeFanu’s Carmilla, and Polidori’s Vampyre Literature is representative of the time in which it is produced. Literature can reflect societal views, attitudes, and fears.Vampire literature, in particular, often represents the fears of a society.In the Victorian Era, a time of intense sexual repression, it was common for vampire stories to reflect the fear of sexuality that was rampant in society. Bram Stoker’s Dracula illustrated fears about sexual women
on film, and in other art forms that female sexuality and beauty are a threat to patriarchal society and that they must be controlled. Showalter affirms this in her essay by quoting David Laverenze's essay, "The Woman in Hamlet." In this essay he asserts that, " Hamlet's disgust at the feminine passivity in himself translated into violent revulsion against women and into his brutal behavior toward Ophelia" (Showalter 222). As men begin to see feminine aspects within themselves they will go to great
Anna Livia Plurabelle: The Lost Truth of Feminine Subjectivity The oppressed, repressed, and impressed subjectivity of feminism finds a new opportunity to assert its true self against the stultifying atmosphere of modernism and identity-oriented crisis of postmodern ambience by appealing to the unique characterization of Anna Livia Plurabelle which frequently oscillates phallocentrism and proves the me'connaissance of male selfism and female-otherness to establish a new doctrine based on the
Images of Women in Sports Over the years the perception of women in sport has changed considerably. In this course we have viewed several films all dealing with the depiction of female athletes in an attempt to gauge society's current perception of women in sport. I will briefly summarize each film and the main themes of the films before providing a description of the female athlete which I will infer from commonalities between the films. The first film we watched was a documentary entitled
in the wider sense, with life. Eroticism, nourishment, abundance, expression, feminine power, as well as feminine subservience, are different contradicting themes of the breast played out in time. Different reiterating views of its importance and the way it should be displayed are used to reflect upon the views of women of the time and life in society in general. At times, it is near-worshipped as a sign of sexuality, or as a sign of nourishment. Other times it is restricted down, sometimes a sign
and although athleticism is clearly a major aspect of these sports, the individual stars are known, culturally at least, more for their "feminine" attributes like self-sacrifice, glamour and grace (Banet-Weiser, p 411). From the article by Banet-Weiser, we can see society and the general public recognition of female athletes has always been based on their feminine beauty and objectified status, rather than their athletic skill, which becomes a major drawback to women's sports and probably a significant
Black is Beautiful in Shakespeare's Sonnets and Sidney's Astrophil and Stella Germinating in anonymous Middle English lyrics, the subversion of the classical poetic representation of feminine beauty as fair-haired and blue-eyed took on new meaning in the age of exploration under sonneteers Sidney and Shakespeare. No longer did the brown hair of "Alison" only serve to distinguish her from the pack; the features of the new "Dark Lady" became more pronounced and sullied, and her eroticized associations
reference to the actual binding of a foot is from the court of the Southern Tang dynasty in Nanjing, which celebrates the fame of its dancing girls renowned for their tiny feet and beautiful bow shoes.[2] The practice apparently became the standard for feminine beauty in the imperial court, spreading downward socially and geographically as the lower classes strove to imitate the style of the elite. [3] In its most extreme form, footbinding was the act of wrapping a three- to five-year old girl's feet
Gender and Sexuality in Sports When individuals, male or female, decide to enter a non-traditional sport for his/ her gender, there will inevitably be benefits and costs. Because sports themselves are divided along gender and race lines, one would expect that individuals who intend to play a sport deemed by culture and by society as counterintuitive are bound to be criticized and alienated because of their choices. Difference automatically threatens conventions, traditions, and expectations, and
Black Women in Sports: Sexuality and Athleticism Men and women who chose to engage in sports from which they would traditionally be discouraged because of their gender, particularly as professionals, redefine the sport. The social and cultural "costs" are not the result of the individual's participation, but rather the way in which sports have been socially, politically, and economically constructed. Gender is only one of the few ways in which people are categorized according to their proficiency
Sexuality in Steinbeck's The Chrysanthemums Reading over this excellent story once more, I am again filled with the same emotion (if it can be called that) that I experienced when first reading it. Steinbeck planned for that. In a letter to George Albee in 1933, Steinbeck comments on this story and his interest in Albee's opinion of it. "...It is entirely different and is designed to strike without the reader's knowledge. I mean he reads it casually and after it is finished
expected to have—to be feminine, good looking, passive, sexy, skinny, and domestic—they should be judged on their talent and not their attire. Women should be acknowledged for their creative ability instead of their physical beauty. Powers states, “For women in pop music, sexuality is both the most powerful force and the biggest trap” (2). There are also many people in the industry that agree with Powers. However, I disagree with Powers, because I still believe that sexuality is not a big source of
the traditional Anglo-Saxon views of women by praising Wealhtheow, condemning Grendel's mother, and showing the need to suppress feminine forces like Wyrd; however, he does offer some criticism of these views by creating sympathy for Grendel's mother, allowing Wealhtheow to assert herself in the interest of her husband and children, and revealing masculine fear of feminine power. The author creates Wealhtheow to embody the role of a traditional Anglo-Saxon woman, and he presents this role as the
The Problem That Has No Name The Feminine Mystique written by Betty Friedan was one of the first books that targeted the idealized image of an American woman at the time. The ideal image of an American woman, during the civil rights era, was a middle-class, college-educated housewife. Who's sole purpose was to happily take care of the home while the men focus their time on more pressing issues, such as the fast-paced world of business or the politics of the Russian conflict. These issues were simply
represented women's primary opportunity for achievement and respect within previous societies, second-wave feminism critically explored the lived reality of women as mothers within our middle-class American society. Betty Friedan's influential The Feminine Mystique, published in 1965, indicted the deadly boredom of the suburban home, while later works such as Adrienne Rich's Of Woman Born, articulated with devastating incisiveness the oppressive qualities of the contemporary institution of motherhood