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.
Through a feminist critique of Othello, it is possible to examine the influences of sexism in the society by inspecting the construction of the patriarchy, the idea that gender is not the same as sex, and lastly, the construction of femininity within the play. Feminism, is defined by the Oxford English Dictionary to be “the advocacy of women’s rights on the ground of the equality of the sexes”, and as A. Balu Vijayaraghavan said, by applying feminist criticism, one could “investigate how Shakespeare’s plays relate to the codes and conventions of the gender system specific to the early modern period”, as well as having an understanding of “how thoroughly Shakespeare shared the gender assumptions of his own time and the ways in which his plays must have disrupted these assumptions”. The
Margaret Atwood’s speech “Spotty Handed Villainesses” explores Patriarchy, feminism and “bad” women in literature. She uses wit and humour to disarm the audience and often uses anti-climatic statements to grab the audience’s attention. Margaret Atwood’s speech resonates through time with her critical study of feminism in a social context and the impact that feminism has had on literature. In the speech Atwood explores the moral dichotomy that exists in Women at the time. She shows how women can only be categorised as either an angel or a whore.
In this paper, I will argue for Butler’s view on how certain gender performance is restricted in these numerous fields, and how Ms. Butler would object to these various situations. In the opening statement of Gender Trouble, Butler states, “feminist theory has assumed that there is some existing identity, understood through the category of women, who initiates feminist interests and goals.” (CITE GENDER TROUBLE PAGE 1 HERE) By this quote, she explains that feminist theory created the problem that it represents, while at the same time preventing its own progression. She supports this claim with her primary example of gender restriction in the field of representation in politics. Although this problem has no surefire resolution, it is suggested that in order for women to have true political visibility, the development of an identity that truly represents one as an individual is key. Butler suggests the following theory as a solution to these multifaceted complications.
Summary of Argument 1. Opening quote from Middlemarch by George Eliot appeals to pathos with its lyrical and philosophical tone “lament[ing] the unfulfilled lives of talented women” (349). 2. Connects Eliot with study of anthropometry (measurement of human body), popular at the time she wrote, that sought to prove the inferiority of women. 3.
Seminar paper On Feminism in Sylvia Plath’s The Bell Jar Course code: ENGL705 Course Title: Literary Theory Submitted by: SAYANTANI SARKAR ENROLL NO: A0710313014 Submitted to: Dr. Shweta Saxena Assistant Professor AMITY INSTITUTE OF ENGLISH STUDIES AND RESEARCH AMITY UNIVERSITY UTTAR PRADESH INTRODUCTION Simone de Beauvoir's gender theory is considered to be one of the pioneers of feminist thought. Her book The Second Sex is seen as a milestone in explaining how and why women were and are subjected to men's rule. While some of Simone de Beauvoir's insights might be seen today as self-evident (such as “one is not born a woman but becomes one"), other remain revolutionary till this day. Simone de Beauvoir argues that whenever there are two different human categories at the same time and place, there will always be one striving to subject the other to its rule. The burden of childbirth in ancient societies made women dependant on men's labor, and thus enabled the initial inequality.
Sex, Gender and Gender roles redefined In her book The Second Sex, Simone De Beauvoir states, “One is not born, but, rather becomes a woman”. This statement highlights the difference between sex and gender. While sex is a biological term, gender is a social and cultural construct. An individual is born into the categories of male or female but it is the very task of ‘accomplishing gender’ that determines the social identity of the person. Women are under a constant pressure to adhere to roles that are specific to their gender and so are men.
For instance the fragmented element of the narrative can both reflect Offreds 'state of mind' and contribute to the suggestions about Gilead as a nation/ society. The autobiographical narrative itself acts as a rebellion against Offreds dystopia. This is the primary function of the novel which must be considered. It is important to acknowledge that this is not a neutral description of events therefore the focus remains on Atwood's message rather than the issues of any fictional dystopia. Atwood reveals Offreds 'state of mind' through the use of flashbacks.
Then in reservations to CEDAW based on Reitman, cultural relativism work towards the global of elimination of gender discrimination. Comes to the end of this section Reitman provide the explanation about how relativism could be an obstacle to the protection of women’s human rights. One pragmatic things in reservations to CEDAW, actually it’s affect women from non-reserving states in that the integrity of the Convention is inferior to that of instruments in relation to which no or fewer reservations are entered (Clark 1991). Author suggested that cultural relativism has inflicted the serious obstacle for the enforcement of women's
Contrary to its putatively gender-normalizing conclusion, Eliza Haywood’s Fantomina generates a narrative of sexual subversion and female authority. The repetitive occurrence of female protagonists inverting gender hegemonies from the prostitute to Fantomina’s mother to the convent, produces a ‘gynocratic’, or woman-centered novel. When juxtaposed alongside the nameless, beguiled admirers and the named, yet four-flushed BeauPlaisir, the narrative constructs a hierarchy of female over male, contradicting the possibility of its reinstating archetypal gender roles through its questionable inclusion of assault. While acknowledging seemingly anti-feminist sections, this essay will articulate how Haywood’s text empowers its atypical heroine through Haywood’s syntax and plot, her covert theme of naming and the conclusion itself. Despite her antithetical ideologies, Haywood remains centuries ahead while incorporating the very themes of contemporary pop culture: Woman Power.