Lillian Eileen Doherty is Associate Professor of Classics, University of Maryland, College Park. Praise / Awards "Applying an elegant blend of narratological and audience-oriented analytic strategies, Doherty argues that, for the late twentieth-century woman reader (as well as the male reader of lower-class status), the Odyssey must be considered a problematic text. In contrast to the bulk of Greco-Roman literature, it assumes the presence of females in its implied audience and offers them positive subject positions with which to identify--those of privileged, intelligent women like Penelope and Arete. Yet, by restricting the narratological operations of such 'good' women to the secondary function of
Motherhood and marriage is seen to be a key factor in the society of which The Bell Jar is set ,and is portrayed as one of the things that supresses female identity when Esther is asked to be “Mrs Buddy Willard” as if she is owned by Buddy and not her own person. Even though Top Girls is set in 1980’s England while Margret Thatcher is Prime Minister, it shows direct correlations to the ideas shown in The Bell Jar. Just as the bell jar itself portrays motherhood and marriage to be a hindrance to Careers In the form of Dodo Conway, Top Girls protagonist Marlene symbolises the other option women have in the choice between a career and a family. Marlene, unlike her sister Joyce, is shown to have given up her child for the chance to pursue a career as if having both is impossible; a lot like Jaycee is in The Bell Jar. This essay will argue that In both texts motherhood and marriage is shown to be a hindrance to both women’s careers and their female identity.
NOW was not quite two years old in March 1968, but the organization was making its women's voices heard across the U.S. The article offered explanation and analysis from Betty Friedan, then president of NOW. Martha Weinman Lear reported such NOW activities as: • Picketing newspapers (including The New York Times) in protest of sex-segregated help wanted ads • Arguing on behalf of airline stewardesses at the Equal Employment Opportunity Commission • Pushing for the repeal of all state abortion laws • Lobbying for the Equal Rights Amendment (also known as ERA) in Congress What Women Want "The Second Feminist Wave" also examined the often ridiculed history of feminism and the fact that some women distanced themselves from the movement. Anti-feminist voices said U.S. women were comfortable in their "role" and were lucky to be the most privileged women on earth. "In the anti-feminist view," Martha Weinman Lear wrote, "the status quo is plenty good enough.
Anse Bundren is an uneducated farmer whose selfish tendencies in his personality result in poor parenting and relations with others. Anse is extremely selfish as well as stubborn and throughout the book he butts heads with the other characters. For Anse his wife's death is just bad luck and he seems only to feel bad for himself, not for the loss of her. Even his intentions for her burial are laced with selfishness because he will acquire a new set of false teeth. Anse’s exaggerated traits of selfishness distance him from the other characters and others tend to dislike him because of his self-centered personality.
Tom Walker is specifically an American antihero as he is selfish and only wants money, unfaithful in his marriage and deals, and is trying to fight back when he realizes consequences of his deal. * Page 2 * In colonial times, when this story takes place, the British use the colonies in America to get natural resources. These resources are used to make money, but the colonies do not benefit from the deals with the British. This relates to the story as Irving describes Tom as a selfish person throughout the story. When the devil offers Tom a deal he would have accepted “However Tom might have felt disposed to sell himself to the
These men on Tally’s corner don’t have the right amount of love to keep a family in tact, or make the right amount of money to stay off the streets and take care of them selves. We are all living in a pretty mad
Creon is compared to “a politician without the capacity to be a statesman, because he cannot resist the temptations of power” (Winnington-Ingram). Creon struggles with greed for money and lust for power. He is an unjust lawmaker as well as a strict and ruthless law enforcer. This causes the people of Thebes to live in fear of Creon. Creon asks Antigone if she attempted to bury her brother Polynices.
I believe, Jane represents a new type of hero the revolutionary feminist ideology of equality between men and women. Jane realizes that she holds something more important than beauty or accomplishment, she is an intellect, and through Blanche, Jane learns the true value of her character, and her importance to society. Another way in which Bronte, portrays the role of Blanche, is when Rochester gives her complete attention," I saw his attentions appropriated to a great lady…" he seeks her company and her affection alluding to their marriage, he openly confesses his intentions on marrying her to Jane. Rochester manipulates Blanche; she served him as a catalyst to strengthen his relationship with Jane. He deceives Blanche and dupes her into believing an affinity
He needed her to say that she never loved her current husband Tom. His behavior clearly portrayed his conflicting emotions and excessive moodiness. Why would someone become angry or not accept that the one that they loved admits to loving them back? Even though Gatsby is rarely ever alone, from his extravagant parties, to the non-stop company of Klipspringer he is a loner. Mr. Gatsby really does not have any real friends, just people flocking to him to live off of his fortune.
Despite her antithetical ideologies, Haywood remains centuries ahead while incorporating the very themes of contemporary pop culture: Woman Power. The novel’s opening section establishes a socially inverted, female-oriented paradigm through the novel’s architecture, Fantomina’s authorial perspective and her gender-based assumptions. By deliberately situating Fantomina above the male aristocracy, through her box location, Haywood spatially partitions the PlayHouse a la the Panopticon where Fantomina serves as judging Syndic above the pit-seated male audience. Haywood’s syntax iteratively casts men as naïve tools subject to Fantomina’s scrutinizing eye. Fantomina articulates her ‘contempt’ of the men while labeling them as ‘depraved’ (227).