Female characters are dehumanized because they are used as of men’s desire, men’s world and men’s Dream. The Great Gatsby, therefore depicts “the new social and sexual freedom” enjoyed by women through the lives of Daisy Buchanan, Jordan Baker and Myrtle Wilson who are “the focus [of both] romanticism and the moral indignation. They are symbols and are seen as objects which speak to the still unstable role of women in the society” (Fetterley
Chapter One - The Abject Julia Kristeva is a Bulgarian-French philosopher, psychoanalyst and feminist writer. Her work on abjection gives an engaging insight into human culture in terms of it’s relationship to larger overarching power structures. In Powers of Horror, Kristeva argues that the oppression of woman in patriarchal societies is constructed through fear of the abject. “The tremendous forcing that consists in subordinating maternal power (whether historical of phantasmic, natural or reproductive. )” (Kristeva, 1982, p.91) The abject refers to the human reaction of revulsion to the threat of breakdown between the subject and object, the self and other.
Personal happiness and social obligation are always on the opposing end of the spectrum. They can also be one in the same. Literatures written over time express social obligation over personal happiness or personal happiness over social obligation, such works include “The Love Suicides of Amijima” by Chikamatsu Monzaemon and an excerpt from Mary Wollstonecraft’s “A vindication of the rights of woman”. These two stories are distinctly different in which they show more favoritism towards. Monzaemon’s play has a perpetual sadness issued by the fact that personal happiness caused the downfall of many characters.
He mentions a handful of rude statements in the play that are meant to put down the person his message reaches. Sophocles utilizes hyperbole in the play to depict how Creon thinks of the likes of Antigone and Ismene. When Creon asked about Ismene’s part in the Antigone’s plan to bury Polyneices, Ismene admits that she was part and aware of the plan. Antigone, however argued with Ismene and said that Ismene wasn’t guilty. Furthermore, Creon would interrupt this conversation by sarcastically saying, “One has just now lost her mind; the other, It seems, has never had a mind at all.” From this statement, we continue to learn about the insecurities of Creon and his inappropriate behavior.
Then, when the image of Sir Lancelot shows of in the mirror, she can not resist the temptation. Thus, she stops doing her thing and gets distracted of the life the other but her can live. ”She look’d down to Camelot./Out flew the web and floated wide;/The mirror crack’d from side to side;/‘The curse is come upon me,’ cried”. Tennyson suggests, through an exaggeration, the bad consequence that trying to experience the real world has on the lady, who was supposed to take care of her home only. Being attracted by the knight, with his „coal-black curls”, she is guided by the desire to experience the feeling of love.
“I wish you could persuade Mary not to be always fancying herself ill” (Austen 42). These are Charles Musgrove’s exasperated words to Anne Elliot concerning his valetudinarian wife. Throughout her novel Persuasion, Jane Austen writes much about Mary Musgrove’s grievances against unsuitable conditions, ranging from supposed illness to mistreatment by others. By infusing the caricature of Mary with an unwavering obsession and discontent with her health, reputation and situation, Austen shows that victim mentality leads only to childish and self-serving behavior. Mary is inordinately self-absorbed, especially regarding her own health.
Hester having committed adultery and tries all what she can so as to ensure that she live of repentance and dignity. In the Scarlet letter, the influence and characteristics of Pearl, Hester Prynne daughter is used to convey the theme of sin and hypocrisy in the novel. Hawthorne uses pearl to draw a parallel between forgiveness and punishment From the beginning of her life she is viewed as, a product of sin. The puritans shunned her, their treatments affected Pearl
The themes taken up in Emily Dickinson’s poem, “Much Madness is Divinest Sense,” are those of sanity, insanity, and rebellion. For instance, many of Dickinson’s poems reflect her own feelings and moods towards the society she lives in. According to critic Joyce Hart, “Dickinson writes that the majority defines the term ‘madness’ and judges it to be wrong. The majority dictates the rules, and those rules demand conformity. To go against the majority means the perpetrator with be punished.” By using a paradox, and the inversion of this paradox, connotation, and denotation, Dickinson is able to show the fact that people who are mad may actually be the people who have any sort of sense and challenges the constructs of the society she lives in.
In both roles, Beloved uses cruelty to speak for her two intentions. As the ghost of slavery, Beloved’s intention includes wanting a voice and accounted for rather than forgotten. As the daughter, Beloved’s intention includes wanting love from her mother who took her life to save her from reality during the time of Sethe’s enslavement. To alleviate the exertion for herself, Beloved combines her two intentions and directs it toward
Psychoanalysis is the investigation of the conscious and unconscious mind, examining the phallic envy of a woman, often stated as the Oedipus complex; the implicit impulse to kill your father and marry your mother. Sigmund Freud’s research of the unconscious and conscious mind has established the psychoanalytic critique on texts, looking specifically at dreams, infantile sexuality, libido, repression, and transference (Psychology Today 2018), all of which delve deeper into the meaning behind characters and provide inference into the writer’s life. In Jane Eyre, psychoanalysis can be utilized to interpret the each character’s role in the five stages of being, establishing the impulse, the mediator, and the absolute good forces throughout the text. Three characters from each stage represent Jane’s three branches of ego, ordered by ego, ID, and superego. The novel begins with Mr. Lloyd, John, and Mrs. Reed, leading into Maria Temple, Mr. Brocklehurst, and Helen, followed by Blanche Ingram, Bertha, and Alice Fairfax, then St. John, Jane herself, and Diana Rivers, and finally Jane reaches a point of full-realization by the last stage and contains all the states within herself.