The Crucible, written by Arthur Miller, depicts women as weak persons, who are expected to submit to men, and whose only access to power is through dishonest means. None of the females in The Crucible possess extreme power, but the truthful, pure-hearted, and family oriented women seem to be even less powerful than the others. Elizabeth Proctor and Rebecca Nurse are two of the less powerful women in The Crucible. Both of their lives are led by an instinct to serve their families and communities . Elizabeth Proctor is convicted in participating in witchcraft even when it seems obvious to her loved ones and most others around her that she had never involved herself with demonic forces .
"By day and by night his tyranny grows harsher... lets no daughter go free to her mother... lets no girl go free to her bridegroom." (George, I, 3-4). Women, on the other hand, play many more roles than men in this classic and make subtle, but key decisions to greatly change the course of the story. Take Ninsun, the mother of Gilgamesh, for example. She plays the role of the loving, caring mother and also that of the wise counselor that provides guidance.
Since her mother was such an uptight and organized person who needed everything in its place and for everything to be clean. Everything from the chesterfield couch to the purple rug in the living room was covered in plastic. Her mother even wrapped the lamps in cellophane for protection. When recalling this memory from her past Joan comments on how her mother “didn’t want anything touched, she wanted it static, dustless, and final..” (66). Joan fells like she doesn’t have freedom to be a child, and the reader is able to feel that imprisonment.
While this woman depicted in the wallpaper is in the light, the view of society, she doesn’t move or rebel; equally, when the woman is in the dark, alone, she resents society and the “bars” it places in front of her. In this case, the “bars” are in the form of the stereotype and role society determined for woman; furthermore, society prearranged that every woman was to be the homemaker: cook, clean, raise children, and care for the man of the household. Other
“It’s a Woman’s World” “It's a Woman’s World” by Eavan Boland is a poem that encourages women to look beyond the “sexist” rules of society, take charge and strive. As shown by Boland, women in our society are seen through a stable “lower than men” view. Boland's poem shows that woman are trapped, looked down upon, are seen as inferior to men. For many generations women have only been seen as housewives and even after time as passed, that is all they are seen as now. But one women in particular seems to stand out from all the others, the one who is trying to change and break away from all the pain and sexist rules.
She uses the room as a symbol for many larger issues, such as privacy, leisure time, and financial independence, each of which is an essential component of the countless inequalities between men and women. Woolf predicts that until these inequalities are rectified, women will remain second-class citizens and their literary achievements will also be branded as such. In A Room of One's Own, a canonical text in feminism, Woolf asserts that intelligent women have been denied the expression of their talents, forced to spend their lives at menial domestic tasks. She used fictional narrators whom she called Mary Beton, Mary Seton, Mary Carmichael and Judith Shakespear as she relate how her thoughts on the lecture mingled with her daily
Curley’s wife essay Curley’s wife is a character of wide complex and diversity. Her role slowly unwinds and develops throughout the course of the novel, constantly changing the reader’s opinion of her due to her ambiguous characteristics. We see through the novel that in 1930’s America women were generally treated with contempt through the course of the novel and as a general theme. Steinbeck depicts females as ‘trouble makers’ who bring ruin on men; Curley’s wife who walks the ranch as a temptress, seems to be a prime example of this destructive tendency. Women were looked upon as inferior; and incapable of the skills men were, so a woman’s role was mainly housework and nothing with manual requirement.
He documents a complex woman’s struggle to cope, as she is suffocated by the male dominated society that she has been forced to subject herself to. The following essay will in particular discuss the relationships between the women of Hedda Gabler. Ibsen uses the themes explored in the play to examine and challenge the role of women in society. This is evident through the relationships that Hedda has not only with the male characters in the play but from those that she has with the two other prominent female characters in the play; Thea Elvsted, the delicate love interest of Ejlert Lövborg and Aunt Julie the benevolent aunt of Hedda’s new husband Jörgen Tessman. Both women are contrasting representations of Hedda.
According to Miss Wolf, the myth has a number of uses. It pits women against one another, thereby diluting their political influence; as she puts it, What women look like is considered important because what we say is not." It stokes the consumerist engine of our economy, where women shoppers play a pivotal role; and it enables employers to get away with paying women less than men. Indeed, Miss Wolf charges that the success of Western economies is linked to the chronic underpayment of women. The author notes the historical roots of this problem.
Housework or domestic labour is commonly known as being oppressive in nature as there are no boundaries or limits to its demands and endless supply. Walters & Whitehouse (2012) note that housework is an essential task that has little reward; rather, it is repetitious and dull acting to serve the perpetuation of life. Thus feminists view housework as something that women needed to be emancipated from in order to be empowered. The feminist movement led to increased opportunities for women in the labour market and a transformation about the expectation and norms for women with “few occupations or professions still closed to women” (Walters