Jane Austen’s novels, specifically Northanger Abbey, have key undertones of modernity. Namely, the heroine struggles with this modernity as a passage of their bildungsroman. These struggles with modernity are relatable and help to Austen’s success throughout the 19th, 20th and now 21st century. Catherine Morland, heroine of Northanger Abbey, confronts the influence of Gothic fiction which is widely available for the female audience and she opposes the political unrest during that period; the threat of riots and war of the age. Gothic fiction became socially acceptable around the time Austen was writing Northanger.
In Katherine Wilson’s “Dude Looks Like a Lady,” she begins with a powerful introduction saying “this is about hair, breasts, and identity” (Wilson 21), insinuating it is going to be a gender identity piece. Reading more of the first page, you assume the thesis is about the common misconceptions of how a woman is supposed to look and how not looking that way could take away from a woman being a woman. Wilson gives the example of her hair being buzzed and people looking at her differently. Although she tries to argue the hardships of not looking like the normal female, Wilson’s argument fails to meet the rest of her story. She claims her argument is about “hair, breasts, and identity,” she is really just ranting and raving her being disrespected and her own issues of being black.
Such an apprehension of what a name is (or is perceived to be) becomes key to our understanding of Jane’s and the novel’s sense of self and identity. keywords Jane Eyre, identity, names, onomastics A reader of Jane Eyre probably knows that Charlotte Brontë initially published the novel under a pseudonym, and, if not, will learn of this in an introduction to the novel or through the presentation of a title-page facsimile.1 The reader will think little more of it, eager no doubt to press on with the selfcontained story. But it may be worth pausing a while to consider what is going on in the seemingly innocuous information, ‘JANE EYRE. An Autobiography. Edited by CURRER BELL’, for this presentation is highly significant for a contextual appreciation of Charlotte Brontë’s first published novel.
Women during this time were only allowed to go so far and do so much without being restrained it seemed like. She doubts herself in letters she sends to her female friends who sympathize with her problems in choosing her partner for marriage. As a result to her resent of her thoughts about female powerlessness, and her outspoken thoughts of marriage. Virtue also resulted in achievement of morality, which was identified with marriage. Also Eliza resisted the sexual double-standard which I found really amazing.
Do you agree that Shakespeare presents Beatrice and Katherina as “offending against society’s expectations about women”? The idea that both Beatrice and Katherina offend against society’s expectations of women in the plays Much Ado About Nothing and The Taming of the Shrew is open to personal interpretation. We must take into account which society it is we are suggesting they are offending against, if we are judging it on Shakespearean society’s expectations we could, in theory, agree with the statement, due to the fact that at that time, women were largely expected to be submissive, quiet and respectful to the superior sex, males. However, it would not be correct to say that Beatrice and Katherina offend against modern day expectations of women. Further to this, it would also depend on at which point in the play we are making our judgement.
Before her story even begins, Marie de France contests the idea of female inferiority. She believes the women deserve as much respect and power through literature as men. Guigemar’s lady herself is a representation
Although some perspectives on the subject claim women live in bad faith and put themselves in situations to be defined as a body part, if there was no routine of male’s looking or the notion to dominate and females attention starvation or feelings to please, there would be no need for a dominant and submissive relationship. Overall it seems woman will be in a constant battle overcoming their gender because it’s society and that’s just how it works. Whether it’s right or wrong, at the end of the day, if nothing drastic is done for change, then it is what it is and people will conform to
Enlightened Sexism in Girls “Feminism? Who needs feminism anymore? Aren't we, like, so done here?” This question, excerpted from the writings of Susan Douglas, defines the reality of a contemporary issue that is encroaching upon our culture, a culture that no longer sees feminism as a necessary force in society. That being said, Douglas posed the question as a kind of rhetorical refutation, challenging the notion that feminism has reached an appropriate expiration date on the grounds that "because women are now 'equal' and the battle is over and won, we are now free to embrace things we used to see as sexist.” She described this two-pronged idea as “Enlightened Sexism”, stemming from a highly distorted demographic of strong professional women in the media. She argues that this misrepresentation has caused the media illusion “that equality for girls and women is an accomplished fact when it isn't.” The misconception, Douglas writes, encourages young women to "focus the bulk of their time and energy on their appearance, pleasing men, being hot, competing with other women and shopping."
She simply will not let the matter rest and it is her persistence that allows Mariane to realize that she does not and should not have to marry Tartuffe when she is in love with another man. Dorine and Mariane are examples of strong women that defy societal norms and become stronger individuals because of it. They challenge what is simply accepted by other women and demonstrate that women do have voices and deserve to be heard. This inparticluar is something I really enjoyed while reading this play. the entire play represents a clash of reason and feelings.
For example, Antigone seems to be impervious toward Creon’s misogynistic ways; however, her sister, Ismene, is seen to be internalizing the idea that women are insignificant compared to men. We see the impact that this sexist culture has on Ismene when she tells Antigone, “We must remember that by birth we’re women, and, as such, we shouldn’t fight with men. Since those who rule are much more powerful, we must obey in this and in events which bring us even harsher agonies… Since I’m being compelled, I will obey those in control. That’s what I’m forced to do. It makes no sense to try to do too much” (77-85).