As a result, those people found themselves a little expose and decided to tell their own side story about her. Thus, Yo is described from point of views of different narrators in each chapter creating a unique personality and character of her and providing the readers a unique insight about Yo, the protagonist. The author successfully created a protagonist “who never tells her own story yet one who comes to life vibrantly through the miscellany of impressions and observations that people make about her” (Shuman, “¡Yo!,” par. 2). In this novel, Julia Alvarez manages to capture and express the true feelings of women which deconstructs the stereotypes through Yo.
All six stories in Bombshells revolve around the notion of a woman’s dream falling apart such as the dreams of Meryl Louise Davenport, Theresa McTerry and Winsome Webster. This essay will argue that it is true to say the stories contained in Bombshells mirror each other, as all stories are about women’s dreams being shattered. In each of the monologues, the women have dreams and expectations that they are trying to capture and hold. In the very first monologue, Meryl Louise Davenport is a manic mother who is highly pressured to raise her children in a way that would make her look like she is in control. Her dream, every mother’s dream, is to do what’s best for her family.
For generations, Barbie has been the doll that most young girls aspire to be. Barbie can be many different things at the same time such as a business woman, a party girl, and a mother whose whole existence revolves around beauty. So, is Barbie the ideal woman? The poem “Barbie Doll” by Marge Piercy, shows the dangers of false standards and the consequence of their applications, in the lives of teenagers or young girls. In other words, this poem shows the outcomes of dissatisfaction with one’s self as a result of societies expectations for women.
As an example two influential short stories will be discussed in depth in order to shed light into the lives of the two authors and their stories. The short stories by Charlotte Perkins Gilman (1860–1935) and Angela Carter (1940–1992) both sideway the same idea; the confinement of women in particular roles and positions in both personal and professional lives, posed on them by patriarchal figures. Toril Moi quotes in her examination of feministic criticism, Sexual/Textual Politics (2002), Elaine Showalter’s idea that “women writers should not be studied as a distinct group on the assumption that they write alike, or even display stylistic resemblances distinctively feminine” (Moi, 2002: 49), which comes across when reading the two stories which are stylistically already very different. It might be so that a feminist reader of both times (there’s some 80 years difference between the two stories) did not only want to see her own experiences mirrored in fiction, but strived to identify with strong, impressive female characters (Moi, 2002: 46), and looked for role-models that would instil positive sense of feminine identity by portraying women as self-actualising strong identities who were not dependent on men (Moi, 2002, 46). The two stories bring out two female characters, very different by position and character; the other a new mother, scared and confused of her own role, and the other a young newly-wed girl, still a child, being fouled by a much older man, mainly as a mark of his authority over women in general.
Analysis of A Doll House and Fences At a mere glance, a reader would believe that Henrik Ibsen’s “A Doll House” and August Wilson’s “Fences”, could not be more different. But, as we transcend deeper into the underlying themes and personal characters of these two plays, similarities can be drawn. Regardless of their obvious differences, the two award winning plays share more in common than meets the eye, in terms of plot and characterization. Nora, the main character in “A Doll House”, is a younger women living in nineteenth century Europe; a place and a time where women were literally seen as inferiors under the law. They were not allowed to handle their own affairs or undertake any duties that would distinguish them as independent, self- sufficient beings.
Panttaja aim in her article is to convey to us that Cinderella was not without allies. Rather than being motherless, she is constantly being guided by her mother. She describes Cinderella as being crafty, dishonest, and impatient. She goes on to say that it is our assumption
Georgiana is a beautiful woman, whose only flaw is the human feeling of love; in which she loves her husband unconditionally and gives her all to him. Every man she comes in contact with lust over her and believes that she is amazing. She never once contemplated leaving her husband for one of the men that follow her around and treat her likes the true angel she is; in-stead she stays with her unsatisfied husband. He is unsatisfied because Georgiana is not perfect in every single way; for Georgiana has a small birthmark on her right cheek, a crimson hand as if a fairy has placed its hand upon her. Her husband, Aylmer, grows more and more annoyed with her only imperfection as every day passes.
This is the point or message Shaw is trying to prove or show making the role of women very important. In the play we are introduced to Mrs. Higgins professor Higgins' mother. Mrs. Higgins a lady in her sixties. In the play when she is introduced to Liza Doolittle and learns of the plan to experiment with the young girl, she has concerns for the girl and her future. “No, you two infinitely stupid male creatures: the problem of what is to be done with her afterwards.” (Shaw, 65) Mrs. Higgins shows she doesn’t see the girl as some experiment un like the men in the play who do not seem to view women as the same value.
In more developed countries however, the women have chosen that they need to be something more than just a “doll” in society. Henrik Isben’s A Doll’s House so greatly portrayed how a woman changes how she wants to be seen in society. When Henrik Isben released the play A Doll’s House, many believed that it was a feministic play. Isben himself denied this and in fact said it was more of a humanist play. This meant that the play was more geared to
Discuss in detail how you would play Nora in the Scene eight of ‘A Doll’s House’. Referring to voice, movement, gesture and facial expression, as well as to how Nora responds to others on stage. During scene eight of Ibsen’s ‘A Doll’s House’ (1879) I would play Nora as a matured, knowledgeable and sensible woman. In this scene she has decided to leave her life and start anew, therefore I would perform responsibly, showing her development throughout the play. The scene starts with Helmer reacting violently to the idea of Nora deserting her ‘position’ as a wife and a mother.