Annabella’s claim to be a part of ‘a wretched, woeful woman’s tragedy’ offers no solace to the other women in the play as she bought her punishment on herself. To what extent does the play as a whole appear to criticise or endorse the misogynistic attitudes shown by so many of the characters? T’is Pity she’s a Whore is undoubtedly a play that can be characterised by the sexism present in it, particularly in terms of the negativity associated with female sexuality. Ford presents misogyny through women and love, women and sex and the male advancement, but what is unclear is whether or not he endorses such an attitude or criticises it. This is best encapsulated in the debate as to whether Annabella can claim to be part of a “wretched, woeful woman’s tragedy” if her mistreatment was indeed her own fault.
The female characters in One Flew Over the Cuckoo's Nest can be divided into two extreme categories: "ball-cutters" and whores. The former is represented by Nurse Ratched, Harding's wife, Billy Bibbit's mother, and Chief Bromden's mother. Each of these women are intent on dominating men by emasculating them, whereas the whores Candy and Sandy are dedicated to pleasuring men and doing what they're told. Despite the obvious nature of this observation, Kesey aims higher than asserting male dominance over female acquiescence. His goal is to assert those qualities identified as feminine to undermine those qualities considered masculine.
Handmaid's Tale Essay Sexual relations are a major theme throughout The Handmaid's Tale by Margaret Atwood. In order to make sexual relations more normal the Republic of Gilead tries controls them but in doing so makes these relationships incredibly bizarre. By attempting to control and normalize sexual relationships and sexual tension, the Republic of Gilead made all types relationships and the sexual tension all the more strange. The majority of the relationships in The Handmaid's Tale are strange such as Offred's relationship with the Commander and Nick, and Serena Joy's relationship with the Commander and Offred. Sexual tension in Gilead is increased due to the disappearance of pornography.
During her trail scene, she is accused of being a whore and it is at this point in the play that she gains a voice. In this scene Vittoria exploits the constraints held over women by men. She refused to listen those talking in Latin, “I will not have any accusations clouded/ in a strange tongue” and begins to personate masculine virtue. As Vittoria speaks she is damned because she breaks her silence, her bad reputation is her ‘public fault’. A women who publicly speaks ultimately becomes a public women and is guilty of public sexuality: she is publicly accused of being a whore in this scene.
On the other hand that’s not always true, because if they didn’t want to have sexual intercourse with you this is considered rape, but if you give them money and they decide to that another story. Goodman stated, Rape perverts such meanings, and overlays a passionate or passionless violence on sexuality that violates the victim’s psyche even as her bodily integrity and self-image are violated and abused. (Goodman, 2010, pg.92) Clitoridectomy, is considered a women circumcision, in which the clitoris is removed with use of a surgery. This is practiced in numerous cultures and is used to guard virginity and to reduce sexual desire. This is a physically and agonizing procedure that no would should have to endure, and my opinion anyone who practices it would be incarcerated for attempt to murder.
In Lepines’ letter, he sites how feminists had ruined his life and they were the reason he committed this crime. Feminist theory on crime explains this thought clearly. Lepines’ ideas about the roles of women were formed by a patriarchal society leading him to believe in some that women were not equal to men and should not be given all the opportunities of men (Knuttila, 305). These women wanted to be educated and become engineers; Lepine could not cope with this fact and blamed women, namely feminist for his short comings in life. Did Lepine come up with these ideas himself or was he a product of a society that dictated classical roles and oppression of women?
By having sex to rebel against the mind-controlling Youth Movement’s talks about pro-creational sex, Julia goes against the Party because “sexual privation induces hysteria…and could be transformed into war-fever” (822). Sex poses danger to the Party, and because the Party outlaws it, Julia becomes an outsider. Unlike Winston and Julia, Parsons transforms from an outsider who hated Big Brother to an insider after staying in “the place where there is no darkness” (757). The place Parson transforms in refers to the room in the Ministry of Love in which torture alters people’s beliefs. Parson originally holds the belief that evil exists inside the Party, but he changes his beliefs to a pro-Party stance, even going as far as to thanking the Party for saving him.
The structure of the poem consists of the form, rhyme and meter of the entire piece. The poem is a petrarchan sonnet, comprised of fourteen lines and has a major shift after the eighth line. The first eight lines describe the act of rape from the victim’s point of view, which is sometimes the worst way to see it. However, at the ninth line, the description of sex stops, and Yeats switches the focus to another topic (mentioned in the next section). Yeats separates line eleven to make the phrase more powerful, and then shifts back to Leda’s perspective.
The character of Smasher Sullivan is effectively used by Grenville to demonstrate how such prejudice allowed settlers to ‘dehumanise’ the ‘savages’. Sullivan uses the females as sex slaves, offering one to Thornhill for his ‘use’, bragging that ‘she done it with me and Saggity…like a couple of spoons’. While we, the modern reader, recoil in disgust at this blatantly hideous treatment, declaring such heinous behaviour to be the province of years gone by, it is Thornville’s reluctant refusal of Sullivan’s offer, coupled with his belated guilt that ‘(h)e did nothing to help her’, that asks us to question whether we would indeed help. Indigenous people have been subjected to the same lack of help, the same guilty indifference, in modern times. This type of prejudice is not always manifestly obvious; rather, it is subtle and systemic, the kind that allows people queuing at a bus station to step over an Aboriginal woman lying on the ground, assuming that she is intoxicated when in fact she has suffered a stroke.
They consider some passages (e.g. those referring to slavery, burning some hookers alive, forcing rape victims to marry their rapists, raping female prisoners of war, etc.) as not being valid today, as immoral, and against the will of God. They differentiate among various homosexual and heterosexual sex practices, treating some (rape, prostitution, temple sex rituals) as immoral and some (consesual activity within committed relationships) as positive. Homosexual orientation and behavior is seen as a normal human sexual expression among a minority of adults.