The shattering of classifications and stereotypes, and the subversion of traditional gender roles, and the concept of sisterhood or unity among women are among the main tenets of feminist criticism. In the words of Catherine Besley, she mentioned that the cultural construction of subjectivity is one of the central issues for feminism (qtd. in Con Davis and Schleifer, 355). All women are feminists. However, it cannot be denied that women still experience the effects
She shows how women can only be categorised as either an angel or a whore. It shows the way that women can only be judged at the time. She also frequently alludes to the “bad” women in literature to show how women could only be categorised in those binary opposites like Lady Macbeth or Eve. She uses rhetorical devices to explain how bad women are needed to disrupt the static order which is Patriarchy. Atwood also shows her opposition to the extreme feminism that existed in her time where feminism was influencing the creation of literature at the time.
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. The theme of marriage in The Bell Jar and Top Girls Is shown to demolish the female identity of the women. In The Bell Jar Plath uses Buddy as a symbolic figure to show how even the “clean” men of that time were only out for one
Her claim was to argue the problems of how women are supposed to be seen as thin, long hair, and busty. She dismisses that argument as she focuses on her past problems that end up coming out as anger and just nagging. Also, reveals her own problems with her own race. Her bias is revealed as she called the man a “redneck” and called herself a “nigga,” as she stoops down to her offenders’ level. Her unsupportive argument is not to prove the misconceptions of what makes a woman a woman, really her arguments about her own anger and aggression towards her past.
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.
When it comes to literature she says “All too often, the excuse given is that the literatures of women of color can only be taught by colored women, or that they are too difficult to understand, or that classes cannot “get into” them because they come out of experiences that are “too different.” I have heard this argument presented by white women of otherwise quite clear intelligence… Surely there must be some other explanation” (856). She also believes that “white women to believe the dangerous fantasy… And true, unless one lives and loves in the trenches it is difficult to remember that the war against dehumanization is ceaseless” (857). She sees why white women sometimes think the way they do. She presents these thought to show how misunderstood some people
She believes that feminists and feminism attacks marriage and women who believe in marriage and simply being a good mother and wife. An example O’Beirne uses to express these attacks is an excerpt from a book call “The Future of Marriage” by Jessie Bernard. In the excerpt Bernard says that marriage simply holds women back: “Being a housewife makes women sick.” “To be happy in a relationship which imposes so many impediments on her, as traditional marriage does, women must be slightly mentally ill.” O’Beirne says that the feminist movement did nothing but confuse gender roles and weaken the family structure that was established. I personally am not quite sure which side to take so I’m sitting on the fence. I believe that feminists and their movement did do a great deal of good for our society as a whole.
Adele Ratignolle and Mademoiselle Reisz are two women in which Edna’s options of life paths are exhibited, however, Edna finds both role models lacking. Edna then begins to see that the life of freedom and individuality is the path she wants to follow, however goes against society. The restrictions imposed on Edna Pontellier are based purely on her gender.
Thus Julia; thus the cami-knicker-wearing, orgy-porgy seducer of the Savage in Brave New World; thus the subversive femme fatale of Yevgeny Zamyatin's 1924 seminal classic, We. I wanted to try a dystopia from the female point of view - the world according to Julia, as it were. However, this does not make The Handmaid's Tale a "feminist dystopia", except insofar as giving a woman a voice and an inner life will always be considered "feminist" by those who think women ought not to have these
the laws of man cry out against it. the voice of God cries out against it- and so do I.”(284) This humorous approach of satire to pointing out society's general misconception of females is again present when Howe discusses a woman's viable options to get what they want and how to achieve there desires. She goes on to say “Women, we don't need vote in order to get our own way”(288), but rather cry ,“crying always brings them around. get what you want.”288) “Make a scene.”(288) “That is so much more dignified and refined than walking up to a ballot and dropping in a piece of paper.”(288)