While discussing Lenina admiringly, Henry tells the Assistant that he should “have her” some time. The conversation disgusts Bernard. Henry Foster first declares within the extract the name "Lenina Crowne", but poses the name as a question, suggesting that she is of little real importance or rather that she is merely one of many to him. His first actual description of Crowne follows this in the form of a simple sentence, also serving to reduce the woman to a mere two words: "wonderfully pneumatic". Here, one can question Huxley's word choice through the feminist lens; the adjective "pneumatic" immediately constructs for readers the violent sexual imagery of the so-named drill.
The antonym phrase “beauty versus the beast” is used to create illusion and make reference to the story, while creating humour and mocking Goody simultaneously. The writer uses the verb phrase “broke down” to suggest Jade Goody is unstable and unsteady. The adjective ‘controversial’ is used to describe the Big Brother house and the noun neologism ‘bitch’ is used in her quotation. These both represent Goody in negative ways and could imply that her social background and upbringing has made her into an inept person. The slang noun ‘malarkey’ is also used in Goddy’s quotation.
Along with the use of comedy as a means of critique, Fey also incorporates humor as a tool to downplay the serious aspect of her topic and as a way of keeping the attention of her audience. Fey incorporates humor throughout her entire narrative in order to critique the patriarchal society that she finds herself surrounded by. Fey’s use of humor is made up of sarcasm and does a good job at making her harder to refute. “The only person I can think of who has escaped the ‘crazy’ moniker is Betty White, which, obviously, is because people still want to have sex with her” (Fey p.3). Fey makes choses to talk about the way women are treated in the entertainment industry with a joke on Betty White, which targets both sexism and ageism, which Fey repeatedly addresses, but with a softer approach through the use of humor.
Rob White: Antichrist is already making headlines because of the explicitness of its sexual violence (especially two acts of genital mutilation). There are comparisons to be made with the current vogue for “torture porn” horror, but a better initial reference point is a group of 1970s films: The Night Porter, In the Realm of the Senses, and Salò, all of which relate sexual violence to mid-century fascism. Antichrist’s concerns are contemporary—gender, ecology, science—and its accomplishment, easy to recognize so long as one is not too distracted by the gore, is to explore these philosophical themes cinematically. Antichrist is also a carefully plotted thriller. Recalling Don’t Look Now, it begins with a child’s death while mother and father (simply credited as “she” and “he,” played by Charlotte Gainsbourg and Willem Dafoe) have sex.
Despite their very different settings and the huge differences between the two murderers, the writers of ‘Perfume’ and ‘American Psycho’ choose, as characterisation, to focus on the victimisation of women through the actions of their main protagonists. Both authors raise the question as to whether the brutality of the protagonists actions are committed due to the fact they are both mentally challenged, or whether the development of their morals stem from a deeper hatred of women. Whilst it may appear that Grenouille and Bateman have much in common, both being murderers of women, one could argue that their motivation comes from different places. Grenouille’s disturbing actions come, perhaps, from a lack of emotional commitment and indeed more of an objectification of women, while Bateman’s actions seem to come more from a sense of hatred and disregard. 'Perfume' tells a story in which the protagonist’s precarious position between olfactory prowess and lack of body odour motivates a string of despicable murders.
Summary of Argument 1. Opening quote from Middlemarch by George Eliot appeals to pathos with its lyrical and philosophical tone “lament[ing] the unfulfilled lives of talented women” (349). 2. Connects Eliot with study of anthropometry (measurement of human body), popular at the time she wrote, that sought to prove the inferiority of women. 3.
While the media sets the character’s description in stone, after critical analysis, the movie itself exemplifies the gender ramifications present in our society. Furthremore, issues of class can be cited and seen through various sections of the Devil Wears Prada. On the surface, this romantic funny piece of media can generally be seen as lighthearted but it’s ability to continually disregard these issues of gender and class comedically show that there is much to be explored underneath. It then can be asserted that underneath its superficial exterior,The Devil Wears Prada is actually the exemplification of what is wrong with our society through gender and class. Issues of gender are seen throughout the movie with the characters Miranda Priestly and Andy Sachs.
Girls Rule: “My Sassy Girl” as an Attempt to Promote Women’s Inequality By Olga Fedorenko “My Sassy Girl” is a hilarious comedy, which invites the audience to laugh at the misadventures of Gyeon-woo, who regularly gets beaten by his mother and by bossy girlfriend. Jae-young Kwak, the director of “My Sassy Girl,” seems to question the traditional gender roles; however, from another perspective, the movie can be interpreted as reinforcing the double standard for men and women and thus endorsing gender inequality. In this essay, I will argue that Kwak promotes gender inequality by portraying it as women’s secret weapon. While looking into how gender relations are presented in “My Sassy Girl,” it is important to keep in mind the social context of South Korea. Though the feminist movement took a strong hold and the ideas of gender equality are promoted within the educational system, women still have limited opportunities for self-realization outside the family (Cho, 2002; Janelli & Yim, 2002).
A comparison of great satire A satire will always have several life lessons to teach. The question is, will it simply throw it in your face, or will it hit you from the side with laughter? Voltaire’s Candide and Kaufman’s You Can’t Take it with You are two of literature’s greatest satires. While both make similar points against society, they are very different in how they satirize the world. Voltaire uses Candide to throw his beliefs in the reader’s face with the radical extremes of his story.
320) This is verbal irony because it shows that whatshe is saying is basically telling the grocer what she used for the murder of her husband. The irony here is amusing, knowing the fact that killed the supposed love of her life and can so easily lie about it. So again, the verbal irony really catches the toneof the dark comedy that Dahl is trying to capture here. Both dramatic and verbal ironyrelate to each other in the sense that the audience feels the ideas of a tragedy assomething funny therefore, relating back to the overall picture of the piece of literate asa dark