Mr. ____ say, Cause she my wife. Plus, she stubborn.All women good for—he don’t finish. He just tuck his chin over the paper like he do. Remind me of Pa.” (23)2 The referred incident proves the complexity of the Celie’s mind because she is found the extreme cruel as well as a‘loving foe ' for different men. Sometimes, sheconverts herself into beast and tries to seek the revenge on society.
First, patriarchy is not a concept, but an experience that mistreats women. Men believe women's nature is the motivation to be subjected. In this concern, Daily argues that "the killing of female divinity and independent creativity is the ultimate goal of patriarchy everywhere" (qtd. In Feminism, Theory and The Politics of Difference 33). Lessing starts the novel by using flashback expect that the reader might find out the secret beyond the tragic end of Mary.
The prophet regards her as the daughter of incestuous mother, an immoral burden befalling her pitilessly. Salome that we find such a change. Thereafter Wilde basically turns away from his aestheticism and moves to the path of realism. The characters he creates in his subsequent works come nearer and nearer to the ethics of reality. This change shows that Wilde exhibits less concern for aestheticism and more interest in exposing social reality.
Chauvinism and Feminism in Handmaid’s tale Introduction This paper explores the relations between patriarchy and class in the context of a dystopian society which is very well depicted by Attwood. In this sense, how patriarchy is used against women. Debates appeared when society acquired language and now a days is still a hot debate. Radical, feminists point men as the 'main enemy’ and they say that, patriarchy is considered as a form of domination imposed by men on women. Feminists are dealing with how to understand the relations between patriarchy and how to confront, oppose male chauvinism in the ruling class.
In the case of Hedda Gabler, the leading character Hedda through depicting a feminist character is truly deprived of the feminist traits that women commonly possess. Ibsen has intentionally failed to mold her into a true feminine character and has only achieved to strip her of all the characteristics that make her a woman such as faithfulness, loyalty, love, care and sacrifice. The play is a feminist one but its leading character is in no respect feminine, rather is a harsh, sharp and masculine one. The so-called feminism is merely a source of destruction for many women depriving them of motherly love and injecting them with frustration, depression and annoyance. Thus, women such as Hedda are not capable of being called a woman.
Another prominent broad subject of mockery throughout the play is women. Specifically, Wilde jokes on the supposed “morals” that women claim to have and their tendency to be easily deceived and manipulated. For example, women’s principles during this time states that they were supposed to have religious motivation for their courtships. However, both Gwendolyn and Cecily only wanted to marry their man if his name was Ernest. This comical situation demolishes the morals that women claimed to have in their relationships and expressed that as shallow, clueless, and untrue to their word.
Sohemous tells her of Herod’s return and she says to him: “I’ll rather break The heart of Mariam. Cursed is my fate! But speak no more to me. In vain ye speak To live with him I so profoundly hate” (3.3.17-20). That she says her fate is cursed suggests that she understands the potential consequences of the actions she is about to take.
Another major aspect of this conflict is Creon’s sexism. Antigone tries to defend her acts by saying that she just wants to share her love with the world. Creon replies, “Go then, and share your love among the dead. We’ll have no woman’s law here while I live” (440). This quote displays how afraid Creon is of having a woman above him or prove him wrong.
We will forget Him!” uses not only the words but the punctuation to comment upon the effect of emotion and logic, alluding to Dickinson’s own struggle with anger and love. The narrator expresses her anger through the use of exclamation points, demanding “Heart! We will forget him!”(1). There is a clear indication that the narrator is wanting intellect to win over her emotions, but that is almost never the case. The narrator assumes forgetting her lover will make the pain better and is angry at her heart for not allowing her to forget him.
against the traditional position of women in Indian society and they try to find their own way on their own choice. His plays mock the unjust values of the patriarchal society which does not care for the feelings of a woman and considers her a subhuman who exists only to serve him with absolute loyalty. Call it Hayavadana, Nagamandala or The Fire and Rain --- these elements are all there to serve the purpose of the dramatist. Exploitation and oppression of women have become a recognized culture of male chauvinism. So, his plays represent the junction point at which women are characterized as enlightened and emancipated with the power of resistance who struggle to overcome the male dominance.