Kingsolver uses media in the book to show how women are over sexualized. Kingsolver shows women treated and seen as objects that are used for others’ gain, not as individuals with their own thoughts. There are also examples where the women are mentally and physically abused, and the consequences of these problems. The Bean Trees is a novel that questions the treatment of women and girls in not only the time it was written, but even in today’s society where many of these issues are still present. Kingsolver wrote her novel to spread awareness to the discrimination and injustice through a cohesive narrative and her characters’ development to connect to her
Carol Karlsen 's The Devil in the Shape of a Woman: Witchcraft in Colonial New England provides a sociological and anthropological examination of the witchcraft trends in early New England. By examining the records, Karlsen has created what she suggests was the clichéd 'witch ' based on income, age, marital status, etc. She argues that women who had inherited or stood to inherit fairly large amounts of property or land were at particular risk, as they "stood in the way of the orderly transmission of property from one generation of males to the next." These women, Karlsen suggests, were targeted largely because they refused to accept "their place" in colonial society.
No one enjoys being called out for a wrongdoing or urged to confess a mistake. However, that is exactly what Audre Lorde does in her paper “Age, Race, Class and Sex: Women Redefining Difference.” She discusses the role of the oppressors and the oppressed while both reprimanding and sympathizing with her readers. At a first glance, Lorde’s paper may seem like it attempts to tackle too much, from race and gender to socioeconomic class and sexuality, all at the cost of potentially ostracizes those in positions of power. Because of that, Lorde must work to not divide her readers between the privileged and those less fortunate while also answering the question of whether or not society can combat prejudice programming without falling into the paralyzing
“On the one hand there was liberal feminism; on the other hand, there was women’s liberation. People also sometimes talked about that wing as comprised of radical feminism and socialist feminism, with radical feminists regarding women’s oppression as the root of all oppression and socialist feminism placing women’s oppression within the other context of other forms of oppression, particularly race and class” (Finsterbusch, 2013, p.147). Epstein goes on to suggest that the women’s movement currently has narrowed its politics and as the women’s movement has aged it has become vulnerable to absorbing the current trends within its own class and as a result this has led to the movement not taking center stage. Epstein concludes that we need to “return to a sort of revised version of radical feminism and place feminism within the demand of an egalitarian society and a demand for a society that respects human connection and communities and promotes them rather than destroying them” (Finsterbusch, 2013,
Identity politics derive from some trait that has resulted in discrimination: being a woman, being African-American, etc. Liberation movements form from such traits and become sources of social empowerment, such as the feminist or Civil Rights movements. In her paper “Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color” , Kimberlé Crenshaw states that “Although racism and sexism readily intersect in the lives of real people, they seldom do in feminist and antiracist practices” (Crenshaw). Crenshaw points to the real problem that arises from identity politics--if experiences of discrimination are only delegated to the bounds of either being a woman or being a person of color, the experience of being a woman of color cannot be told. This is not to say that there is a problem with identifying with others who are discriminated against, but rather that there is a problem with the rigidity of these definitions in their exclusion of women of color.
A trifle is defined as someone or something of little value or importance. Women during the time of 1916 were treated as people of lesser value. In her play Trifles, Susan Glaspell uses symbolism, irony, and characterization to illustrate how men and women are unequal during that particular point in time. The woman overcame the obstacle of the murder case on their own, illustrating how Glaspell’s work challenges the status quo of the society during the time of 1916. Glaspell’s main interest in writing Trifles is to focus on the roles women played during the time.
According to both Gloria Anzaldúa and Audre Lorde, marginal bodies become silenced and invisible by hiding difference and the “whitewashing” of history. Through their writings, both authors recognize different ways for a marginalized body to be seen by those who would try to make them invisible. From their standpoint, there are problems with identity that requires exclusions, and as feminists, they are speaking against feminists. The identity that is being discussed is being proposed from women that “don’t fit”, by those who are going against the “norms”. Therefore, identity is being both embraced and rejected at the same time by these authors.
Gender Separation in “Jury of Her Peers” Susan Glaspell was a woman author that developed a different genre of writing for women in her time period. She was a feminist that broke the silence that women had in the early 1900s, giving an insight into how women thought and were treated. Glaspell wasn’t what was thought to be the typical woman of her time, and she tested the idea of how a woman must act through her writings and achievements. “Her plays, stories, and novels explore universal themes that continue to be vital and challenging to readers and scholars today: themes of American identity, individuality vs. social conformity, the idealism of youth, the compromises of marriage, the disillusionments and hopes of aging” (“About Susan Glaspell.”).
The feminist theory is based on finding and exposing negative attitudes toward women in literature. Their goal is to reveal the reality of how women get portrayed in literature due to the fact that most literature presents an inaccurate view of women and are most of the time minimized. In the Catcher in the Rye there is a few female characters such as Sunny, the girls at the club, and Sally who are put in situations that show nothing but stereotypes and puts them in a bad spot throughout the novel. J.D Salinger decides to put some of the female characters in situations that can cause those who read this novel to think bad or leave readers with a bad image of women. This bad image on women is due to the fact that he decided to portray some of
In James Davis’ literary essay “Frankenstein and the Subversion of the Masculine Voice,” he discusses the oppression of women and the minor roles of females in Mary Shelly’s novel Frankenstein. With a feminist perspective, Davis claims, “He [Victor Frankenstein] oppresses female generation of life and of text; he rends apart both the physical and the rhetorical ‘form’ of female creativity. In fact, all three male narrators attempt to subvert the feminine voice, even in those brief moments when they tell the women’s stories” (307). Throughout his essay, Davis demonstrates the underlying message of Shelly’s subversion towards men and the social consequences of misogyny. Davis draws parallels between the three men, Robert Walton, Victor Frankenstein, and Victor’s creation, Frankenstein, in which they
Gender in Mary Shelley’s Frankenstein and its 2004 Television Adaptation (2004) Mary Shelley’s Frankenstein: A Modern Prometheus (1795)—a paradox for both gender theorists and filmmakers. A paradox for filmmakers, because most of the book consists of needlessly verbose reflections on natural scenery, emotions, and relationships, with little dramatic tension or any of the other elements that makes for a page-turning thriller; there is conflict, much melodrama, and occasional moments of horror but not enough to maintain much suspense. Nevertheless, Frankenstein appears to be one of the stories most frequently adapted in film, and even more so if one counts films that owe it a debt without giving credit, such as Blade Runner and the recent television