This research paper is designed to look into gender identity and gender roles through Disney movies. In order to do this, Disney princesses are being researched through four main Disney movies that have a quintessential Disney princess. The research is designed to look at how media exposure affects gender, in particular young girls. It is done in order to see how identity is transformed through long term ideals and virtues set forth from the animated films and from the standard viewpoints of feminists. There is tension between the Disney Corporation and feminists since the first Disney princess movie in 1937.
The shared opinion by the men on the ranch is that they think ‘Curley’s married… a tart’ and that she is ‘giving men the eye’. Steinbeck uses this technique to create a biased opinion and set up the thoughts that men had of women in those days, calling her a ‘tart’ makes the reader think that she is unfaithful or prone to be, causing a disliking towards her. However given the fact that this is coming from gossip the reader realises it may be slightly exaggerated. Curley’s ‘glove fulla Vaseline’ make us pity Curley’s wife as it objectifies her as nothing but a sexual property to someone, which links in with her only ever being referred to as ‘Curley’s wife’ showing us that she is nothing but Curley’s property as she remains nameless throughout the whole novel. Even though we see a sense of power with Curley, we are then brought to the idea that she is ‘giving men the eye’ which makes us dislike her for we assume then that she is being unfaithful and portraying her as a floozy.
This implies that Hero is only there for her physical appearance – a very demeaning portrayal of women, focusing as it does on their objectification. Much ado is very misogynistic as women like Hero are constantly being taken advantage of. Woman are seen as mere possessions and used whenever they are deemed fit. This reflects male dominance and patriarchy. Women are the weaker sex in this play: they are forced into giving into male power by doing what they are told; which is expected of them.
The dynamic verb of “watch” shows to the reader that Manon feels a little bit of pain towards the slaves and that she feels that they are only being used for torture. This tells us that Manon hates the sight of violence and torture, making us believe that she is a woman of peace. However, because of her restricted viewpoint this may make us to believe that she is exaggerating at bit because it is only from her point of view but also because she will want to make her husband look and sound bad, possibly because
In the poem “Medusa” gender conflict through control is also illustrated when she says: “a suspicion, a doubt, a jealousy”. This depicts that she feels ownership over her husband and wants him to “be terrified” if he does not obey her commands. However, in “Les Grands Seigneurs” the narrator conveys that after she was “wedded, bedded … a toy, a plaything … wife” she is nostalgic for the first three stanzas to how men were towards her before she was married as she is now powerless. We can depict that there was less gender conflict before she was married. Moreover, in “Medusa” powerlessness is also portrayed when she rhetorically questions herself “Wasn’t I beautiful?
Charlotte Bronte wrote Jane Eyre in the 19th Century. It was set in England, however the exact location of different settings such as Lowood is kept hidden from the reader. Charlotte herself was a governess, and we can assume from this that she wrote Jane Eyre based upon her own experiences. In comparison, Romeo & Juliet is a romance play, where as Jane Eyre is a bilgundsroman novel. This shows the development of the central character, Jane, from being a child to an adult.
Ibsen’s eye for resemblance and use of symbolism highlights issues that he wanted to convey about the social environment at the time, including the harsh patriarchal society, seen mostly in Torvald in the play and the role of women, represented mostly in Nora. These symbols act as foreshadowing before the tragic events at the end of the play, as they show the problems which lead to the demise of the Helmer’s ‘perfect’ family life. The name of the play itself ‘A Doll’s House’ is symbolic of the domestic dynamic in the Helmer’s household, as it reflects Nora’s position as the ‘doll’ in Torvald’s doll house. It is clear from this that Nora is seen by Torvald as an accessory or pet, who is simply for aesthetic purposes—"The squanderbird’s a pretty little creature but she geets through an awful lot of money. It’s incredible what an expensive pet she is for a man to keep".
She protected me and was my best friend.” (Cooke page 1). In the same way Bourgeois cites her mother as a positive figure in her life inspiring her work, she notes her Father as equally important but in the converse. Conflicts in her household growing up, mainly involving her father's extramarital affairs with his live-in mistress are the driving force between many of her works. It is in this compromise and tension between both extremes that I believe the underlying strength of Louise’s Bourgeois’ “Crouching Spider” lies. The spider is reserved yet present and aloof and mysterious but
Torvald refers to Nora by her real name only while scolding her, calling her by childish nicknames such as “my squirrel” and “my little skylark” (Ibsen 793). This shows the audience how he belittles and dehumanizes her. While one would think that that would hurt her feelings and make her feel insignificant, she seems to enjoy it. As argued by Unni Langås, she goes long with it in order to do what she seems to spend most of her life doing, which is “to please him and manipulate him” (Langås 162). Nora is commonly perceived as childish, which is emphasized when Mrs. Linde points out that Nora has gone through very little hardships throughout her life, saying: “How kind you are, Nora, to be so anxious to help me!
Cinderella is a Classic fairytale that most people have grown up watching or reading. There are also many versions of Cinderella around the world that told a tale of a young girl who went through many hardships and in the end married her prince charming with the help of some animal friends and a fairy Godmother. In "Cinderella: Not So Morally Superior" Elisabeth Panttaja examined Grimm’s Cinderella and wanted her audience to see the deeper meaning in the story in which the reader is left questioning the morality behind this fairytale. Good writers can change their reader’s mind or even move their audiences into actions though the art of persuasion and that’s exactly what Elisabeth Panttaja did in “Cinderella: Not So Morally Superior". She used pathos and logos to persuade her audience to look at Cinderella in a whole new perspective.