How is Marlene presented as similar to and different from Margret Thatcher? Why does Churchill make these parallels? In Caryl Churchill’s Top Girls, we are shown a world of Post-Feminism and Thatcherism gone mad. Women speak over each other in dialogue, not really listening to what the other is saying, use rude language, and one character leaves her child in the care of her sister so that she may advance in her career. Churchill’s lead character in the play is paradoxically a female misogynist who takes on a stereotypically male business persona who climbs to the top of the corporate ladder.
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.
‘The Beauty Myth’ is an obsession with physically looking ‘perfect’ and traps the modern woman in an endless cycle of hope, self-consciousness, and self-hatred as she tries to achieve what society has deemed "the flawless beauty" regardless of whether it is realistic or not. Naomi Wolf censures the exploitation of women by the fashion, beauty and advertising industries, particularly in women’s magazines as we delve deeper in to the chapter on ‘Culture’. She claims that as a result of being sequestered from the world and isolated from one another, the only real women’s space in modern mass culture where women can seek solidarity is through women’s magazines. Ironically, it is through the same myth that women are brought together and driven apart. These women may not share any particularly close relationship, but develop a sense of solidarity through sharing similar interests, agenda, or worldview.
Pizan so obviously from the start of her writing, introduces how women should behave (from the perspective of a princess), so that her actions shall be beneficial to her and her husband. By talking about the finances, which is radical, Pizan degrades women in all other aspects. Degrading is used in the sense that she does not promote equality in any other way other than the financial aspect. These women could be considered early feminists if they looked for equality in other things as well not just a specific
August 7, 2011 JUS 110- Crime and Criminology Critical Feminist Theory VS Grauwiler and Mills A critical feminist views gender inequality as stemming from unequal power of men and women in a capitalist society, which leads to the exploitation of women by fathers and husbands. Under this system women are considered a commodity worth possessing like land or money. (Siegel 2010) In knowing this view we know that men feel that they have power over women since they are generally stronger they take advantage of this and try to control the women in their lives. Many times the control that they have over women is abusive. It is a known cultural difference that men usually dominate the world.
Organizational subheadings divide the article into three parts: Introduction, Men and Women in the Private Sphere, and Women and the Cane. Pollock introduces her ideas by declaring that the standard of early modern art be deemed unfair in the representation of female artist on the basis that the standards were created by men and because of that advantage glorification for female artist was unobtainable (Pollock 245). Another noted inequality faced by females of the time was the areas inhabited by women that separated them by social class (Pollock 245). As evidence, Pollock compares the works of Berthe Morisot and Mary Cassatt to that of their male colleagues. Paintings by Morisot and Cassatt portrayed females in settings, or femininity spaces that were considered domesticated (Pollock 248).
In Lepines’ letter, he sites how feminists had ruined his life and they were the reason he committed this crime. Feminist theory on crime explains this thought clearly. Lepines’ ideas about the roles of women were formed by a patriarchal society leading him to believe in some that women were not equal to men and should not be given all the opportunities of men (Knuttila, 305). These women wanted to be educated and become engineers; Lepine could not cope with this fact and blamed women, namely feminist for his short comings in life. Did Lepine come up with these ideas himself or was he a product of a society that dictated classical roles and oppression of women?
All that chaos contributed to the male chauvinism we see in our current society. Women had to handle that change without any moral support. It is also important to remember the important role women took in both world wars. A “Jury of Her Peers”, demonstrates how hard marriage was for all women who did not enjoy their relationships. Women in those types of relationships were treated as objects instead of being valued as women of freedom which represent intelligence, compassion, love and beauty.
The personality and strong character of the female archetypes on Othello can be seen through the Feminist point of view. The three main female characters; Desdemona, Emilia and Bianca; are all affected and oppressed by society in different ways. Desdemona; the faithful wife; and her servant, Emilia are suppressed by the society’s male domination, and its views that women should be owned by men as if they are property. Bianca, on the other hand, has more freedom than of an average woman due to her role as a courtesan. However, she, also is suppressed by the society due to her work as a courtesan.
Consistently, women are diminished by advertisers to pretty body parts used to sell products, a practice that perpetuates the glorification of this unreasonable ideal of beauty. Women’s bodies have not only become a huge money-maker for advertisers, businesses have picked up on women’s insecurities about their bodies and have capilatized on these insecurities. On one hand, advertisers heavily market weight-reduction programs and present young anorexic models as the paradigm of ideal beauty; on the other hand, the media floods the airwaves and magazine pages with ads for junk food. In 1996, the diet industry (as in diet foods, diet programs, diet drugs) took in over $40 billion dollars, and that number is still climbing (Facts and Figures 1). Young women seem to be especially affected by our culture’s obsession with weight and beauty.