Female authors as well as characters gain that feeling of freedom, due to the less constricting binds of literary writing. Susan Glaspell, the playwright of Trifles relays feminist drama in a fascinating and psychological way. This play introduces women helping women in confinement to find freedom. Confinement can tear a woman apart, but the desire for freedom from society is embedded deep in the heart of all strong women. Trifles was written
Confused on what to do? Whenever you feel isolated from society your brain becomes perplexed and it negatively affects your well-being. Holden Caulfield and Tyler Miller are the main protagonists from Catcher in the Rye by J.D. Salinger and Twisted by Laurie Halse Anderson who experience isolation. They experience isolation and it becomes evident the way they get into the state of seclusion.
Shaw crafts these nasty words to display how many men felt during the time period of a woman who chose to go out and make a life for herself. This underlying tone that money is only okay if it is respectable arises within Frank’s communication to Vivie, with Frank going so far to say that “if [Vivie] ever put your arm around her waist in my presence again, I’ll shoot myself there” (Shaw 1812). This ridiculous and hyperbolic claim calls further attention to Frank’s disrespect for Mrs. Warren in that his fragile masculinity has been so attacked by her disapproval of marriage that he feels the need to influence Vivie. This conversation points out the irony in Frank’s thought process, where
There exists a very real relationship between the Female Gothic novel of the late eighteenth and early nineteenth-century and the social context of women at that time. This new class of fiction is essentially treated by women as it addresses women’s experiences offered an opportunity to address “the hidden, unspeakable reality of women’s lives: not just their lives in the private inner world of the psyche, but also their social and economic lives in a real world of patriarchal institutions” (DeLamotte 165). Notwithstanding the success of male Gothicists, Gothic fiction is perceived as a female-dominated genre as Leonard Wolf writes: Despite the triumphs of Lewis and Maturin, the Gothic novel was something of a cottage industry of middle-class
Pride and Prejudice also deviates from social conventions at that time because Austen writes Pride and Prejudice as a social satire and makes humor of the traditional roles of women. Compared to other novels with female characters at the time, such as Mary Shelley’s Frankenstein, Jane Austen’s female characters in Pride and Prejudice break the social norm for women and do not portray them as passive. Pride and Prejudice, published in 1813, is about five sisters whose mother is desperate to see them married off. The book deals with themes that include love, reputation, and class. However, Pride and Prejudice received much criticism for being a novel full of female characters that fit the social norms for women in the 19th century.
Gives women who read the book that there is hope for them to have fun and be successful in their lives. Lady Brett in the novel, The Sun Also Rises, is a powerful character who is constantly in control of who ever is around her. Her great looks, seduction, and education all attribute to her overall attractiveness. Lady Brett Ashley does not follow the ideals of the traditional victorian women. She is concerned with her moral code and she pursues her own personal goals.
He is determined to gain back the attention he thinks he deserves from making lies about the war. Krebs finds that not even his ludacris lies will get him the attention he desires. This shows a selfish side of Krebs. Krebs also is struggling with his luck with women after he comes back from the war. He notices that the women overseas were a lot different than the women in America.
This causes a lot of internal conflict within Winston; he feels that he is psychotically out-of-place in a world of rigid order and subordinance. When he finds Julia, she becomes more of an ally than a mentor. If Goldstein had been further developed as a character, or perhaps if his existence would have been confirmed, he could have potentially mentored Winston. The Party was most likely aware of this, which is why they kept all of his whereabouts vague. The main anomaly in 1984’s role as both a Hero's Journey novel and a fiction book is that the Elixir of the Shadow is met rather than the Hero’s Elixir.
The femme fatale character gave women the opportunity to prove that they can be more than a “damsel in distress” who needs to be saved by the male hero. The introduction of this archetype allowed women to be portrayed somewhat equally to men in movies. Women were allowed to be dangerous, cunning, intelligent, and in control of the situation. Thus, the femme fatale character is a "good" feminist good feminist because it demonstrates that women can be equal to men various ways. However, some may argue that the reliance on sexuality does not celebrate a women agency because it is demeaning to women and prolongs the stereotype that women are just eye candy/sexual objects.
After the success of Sarah J. Maas’s series Throne of Glass, female assassins have become more prominent in young-adult fiction and an obvious trope. Not only this, but she has a Grace, like a superpower or extreme skill, that we originally believe is the extreme skill to kill well. However, the author deems it “too violent” or “too evil,” and we learn that no, she is not a savage (because that would be repulsive and unappealing) but can survive through anything. I absolutely abhorred this change; with killing as a skill, perhaps the author could have built more on Katsa being a morally-grey protagonist, something young-adult fiction lacks, but she instead goes on to introduce all sorts of other ways Katsa is oh-so-good and working to help others. She runs The Council, a group of people who oppose corrupt and power-hungry male leaders, another trope.