This comes as a surprise to the audience as Don John attempted to trick Claudio previously saying that Don Pedro was 'in love' with Hero and intended to woo her and marry her himself. Once proved a liar, it seems difficult to believe that Claudio yet again chooses to believe the word of Don John rather than be wary of his character. Hero is thoroughly shamed by this outcry and faints in humiliation. Expectations of married and un-married women in Shakespeare's era were very high. Women were strictly governed in their behavior, especially women of higher status such as Hero.
Manney Bustos Dr. Holly Stave SCRT 181W 8 September 2013 “Blurred Lines” and “Battered Bitches”: When Misogyny Becomes Expressive and Embracive “Bitch I’ma kill you! You don’t wanna fuck with me — Girls neither --- you ain’t nothing but a slut to me…”¹ this is the opening chorus of one of the many ballads sported by the infamous Eminem. To the tweens and good-girls-gone-bad, he is a misunderstood ‘bad boy’ sex god. To the overcompensated and rebel-high intellects, he is a performance breakthrough and ‘artistic voice for the ages’; the guys down the street still allude to him as poetic Greeks of old. As is the case for most viral phenomena, there are those who aren’t too keen on hip-hop Elvis’s lyrical prose.
She often depends of men to lean on and protect her. She understands that sexual freedom does not fit the pattern of chaste behavior, which Blanche would be expected to conform. Characters: In the beginning of the play, Blanche Du Bois presents herself with an air of poise and elegance. However as the story progresses, Blanche, who is psychologically deluded about her beauty and attractiveness, reveals herself to be a neurotic and an alcoholic. Her flirtatious desires are split from her surface talk and behavior.
To what extent does Lady Windermere’s Fan offer serious criticism of contemporary social and sexual conventions? In Lady Windermere’s Fan, Oscar Wilde bitingly satirizes and ridicules the morals of Victorian London High Society and focuses particularly on the aspects of marriage. The play is a juxtaposition both comical and serious subject matters. Wilde examines sexual morality and gender politics throughout the play, especially through both of the characters of Cecil Graham, a typical caricature of the upper class and Mrs Erlynne, a lost character who is no longer accepted into society due to her reputation. Wilde criticizes the society he lives in during the time he wrote the play and uses characters to emphasize the inequalities of double standards mainly between the gender roles and how London High Society during that particular era was hard to get in to but easy to become an outcast.
For the Victorians, modernity meant numbness: urban life, with its constant over-stimulation and newspapers full of scandalous and horrifying stories, immunized people to shock. Many believed that the onslaught of amorality and the constant assault on the senses could be counteracted only with an even greater shock. This is the principle Browning adheres to in “Porphyria’s Lover.” In light of contemporary scandals, the sexual transgression might seem insignificant; so Browning breaks through his reader’s probable complacency by having Porphyria’s lover murder her; and thus he provokes some moral or emotional reaction in his presumably numb audience. This is not to say that Browning is trying to
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.
In addition, Petruchio’s determination to transform Katherina is disturbing to modern-day ethics, because of the methods and reasoning of taming her he employs and their connotations to animal imagery. The late 16th century was harsh to nonconformists of social role and standing, and the penalty of having an association with the stigma of a shrew was certain humiliation and public ridicule. As Baptista’s second, more desirable daughter, Bianca’s quiet submission in the presence of her potential suitors – Gremio, Tranio, and Hortensio, immediately draws comparisons with Katherina. Shakespeare uses the literary device of juxtaposition through the characters of Bianca and Katherina and their romantic encounters. As Holly A. Crocker describes, ‘Her aggression arises from the category of shrew itself because the behaviour her sister displays can look desirable only in comparison to extreme displays of feminine aggression.’(2003) In contrast to Bianca – who enjoys the pleasures of being wooed by a number of suitors, deceiving her father, and the ability to manipulate her husband before and after marriage; Katherina is presented
Violation of mores may result in a vehement outcry of disaproval by society. The scenario outlined in this movie fits in violation of mores asscociated with abnormal sexual behavior. The character named Tinna Brandon is featured as a yound woman who has a self proclaimed sexual identity crisis. She is not just being a Tom boy. That is, she is acting like a boy rather than just being boyish.
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.
In this time many modernist authors and artists sourced to change and challenge society’s expectations and their inflexible, harsh conventions that not only restricted free thinking but repressed the ideas of change in their beliefs. The idea of gender roles and the role of women in a patriarchal society are challenged and questioned in Hedda Gabler as Ibsen confronts the audience with the isolation and plight of women that was created out of extreme patriarchy during the Victorian period. The destructive consequences of society’s barriers and women turning away and escaping from established gender roles is also presented in Kate Chopin’s The Awakening with the two spheres of men and women being challenged with their desires. The rapidly changing world, socially and technologically, brought many people to a dilemma on choosing to stay in their traditional superficial world, or to welcome the new. The superficiality of life is constantly contrasted with the differing social structures within society in Katherine Mansfield’s The Garden Party and Virginia Woolf’s Mrs Dalloway with her continuing fear of aging and the new that constantly rocks her world.