The project of finding a voice, with language as an instrument of injury and salvation, of selfhood and empowerment, suggests many of the themes that Hurston uses as a whole. Zora Neale Hurston draws attention towards her novels because she uses black vernacular speech to express the consciousness of a black woman and to let the reader know exactly how statements are said. This use of the vernacular is particularly effective in Their Eyes Were Watching God. Their Eyes Were Watching God exposes the need of Janie Crawford's first two husbands for ownership of space and mobility with the suppression of self-awareness in their wife. Only with her final lover, Tea Cake, who's interest orbit around the Florida swamps, does Janie at last glow.
Perspective is a complex matter, as it is derived from each individuals’ context and understanding of the nature of the issue. Thus, the concept of perspective is relative, meaning that each person’s views will be different from another, which creates, but does not necessarily impose, conflicting perspectives. For the purpose of this speech, the poems The Minotaur by Ted Hughes and Daddy by Sylvia Plath will be used to example the extremities of conflicting perspectives created. The Minotaur shows how Plath was a violent and manic person through the allusion of the myth about the Minotaur, a creature from Greek mythology, throughout the poem. Imagery is used to show Plath as an aggressive person, such as through the line “smash it into kindling”.
The culture associated with “Girl” has a definite attitude towards women, believing they should live a modest, conservative lifestyle. In Diaz’s “How to date a browngirl, blackgirl, whitegirl or halfie”, the cultural associations with women is widespread and varies between race. Although not stated, one can suggest that the dialogue is between a teenage boy and a younger male relative. The older boy is authoritative pushes his advice on how to treat a woman based on her culture, and race. While he suggests how to kindly treat one race of women, he emphasizes on how to womanize another.
List the details you learn of the family in the first three paragraphs. How important is the opening of the story in providing you with information to understand the rest of the story and the conflicts? 5. A number of words are clearly used pejoratively in this selection: glossy, thoroughbred, mesmerized, rich, exactly, expensive, smooth-skinned. Find these words in the text and identify the negative qualities associated with them.
As a result, those people found themselves a little expose and decided to tell their own side story about her. Thus, Yo is described from point of views of different narrators in each chapter creating a unique personality and character of her and providing the readers a unique insight about Yo, the protagonist. The author successfully created a protagonist “who never tells her own story yet one who comes to life vibrantly through the miscellany of impressions and observations that people make about her” (Shuman, “¡Yo!,” par. 2). In this novel, Julia Alvarez manages to capture and express the true feelings of women which deconstructs the stereotypes through Yo.
This abuse can be physical, emotional, psychological, financial or sexual.This can include hitting, kicking, biting, shoving, restraining, slapping, throwing objects, threats, controlling or domineering behaviour, intimidation and stalking. Physical injuries, depression, anxiety, nightmares/flashbacks, fear, panic attacks, anger confusion, low self-esteem, lack of confidence, mistrust, suicidal, shame and difficulty to establish trust in new relationships. Discriminatory Discriminatory abuse involves picking on or treating someone unfairly because something about them is different, for example it may be: age, clothing or appearance, ethnicity, nationality or culture including traits like language, gender, health (such as AIDS) or disability (i.e. mental disorders), lifestyle or occupation, race or skin colour, religion or political affiliation, sexuality and sexual orientation,
The author prefaces her own reading of the Odyssey with an analysis of the issues posed by the earlier feminist readings on which she builds. Should the Odyssey be read as a "closed" text, that is, as one whose meaning is highly determined, or as an "open" text whose contradictions and ambiguities undercut its overt meanings? Siren Songs presents a feminist critique of the Odyssey in an accessible manner aimed at a more general audience. All Greek is translated, and critical terminology is clearly defined. Lillian Eileen Doherty is Associate Professor of Classics, University of Maryland, College Park.
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.
Marylin Farwell offers a detailed response to the complicated genre of lesbian literature. Farwell recognizes the need to “’read against the grain’” in order to establish the encoded meanings and forms in lesbian writing that are not clearly placed across a fictional tale. It is with this type of reading perhaps that a lesbian narrative space is created by Cather in My Ántonia. Cather illustrates a story of Jim Burden and his relationship with Ántonia within a backdrop of events that can be appropriated as forming a lesbian narrative space. Cather’s characterisation, with effective use of binary oppositions, a male narrative voice and critique of conventional gender/norms and roles allows this lesbian narrative space to be drawn out from the main text.
Hawthorne’s fabrication of Hester gives the reader an indication of Hawthorne’s opinion on the female gender. “Hawthorne’s pro-woman novel retains its value to feminist literature for its depiction of circumscribed female lives” (Snodgrass). Hawthorne is sympathetic to Hester and shows her strong and ambitious side throughout the novel. He creates this likeable character by analyzing her psyche, picking out specific traits in order to engage the reader, and giving her ambitious actions to carry out in order to show the reader her full potential. Hester Prynne is the wife of a man named Chilingworth, who has sent Hester to live in a village near Boston.