Another intriguing perspective Jaidka picks up is Maureen Reddy 's theory that three possible responses to male domination are represented in the novel: “imitation of men, avoidance of men and of patriarchal institutions, and bonding with other women while continuing to participate in patriarchal institutions in the hope of reforming them” (17). Jaidka combines this theory with Showalter 's historical division of feminism. Janet Mandelbaum represents the first phase in which “women writers 'internalized ' and imitated male aesthetic standards” (ibid.). The second phase corresponds to the avoidance of men and is depicted by the sisterhood. Showalter calls this the “ 'feminist ' phase” (18) which is characterized by utopian fantasies of solely female spaces in society.
Indra, regarded here as the “highest god among the gods” lusts after a child, who he later stalks and deceives (19). Yet, the even more disturbing part of this tale exists in the relationship between Gautama and Ahalya, husband and wife. In this depiction of marriage, the husband punishes his wife much more harshly than he does the man who schemed her into sex. This outcome portrays involuntary female infidelity as worse than sexual coercion. However, Rama and Sita’s marriage, which composes the bulk of the epic, overshadows Ahalya’s story to provide a vision of passionate, forgiving, and loving Hindu marriage.
This is the mindset that permeates both Oscar Wilde’s The Importance of Being Earnest and Henrik Ibsen’s Hedda Gabler. Both plays, having been written at the end of the 19th century, offer insight into how this societal pressure creates an environment in which women face a particularly large amount of pressure to find wealthy, suitable husbands rather than ones they truly love. This issue of marriage being classified as business is best summed up in The Importance of Being Earnest when Algy, after having learned Jack intends to propose to Gwendolyn, remarks, “I thought you had come up for pleasure…? I call that business” (Wilde
Shakespeare's Othello is set during the Renaissance period and therefore the roles of the women in Othello are supposedly bounded by the period when women are considered to be of low intellect. In Othello, most male characters assume that women are inherently promiscuous, which explains why all three women characters in the play are accused of sexual infidelity. Yet Shakespeare develops the women to speak the most sense throughout the play and able to trust other characters in the play. To the men in Othello, female sexuality is a threatening force more than it is an attractive one. Shakespeare cheapens Othello by lowering his standard with impertinent language.
She uses the metaphor of “eclipse” for marriage. The adjective “soft” with metaphor seems to support marriage tie, but an eclipse itself indicates darkness and reclusion. Dickinson wanted to highlight the insignificance of woman as a result of marriage contract but in a patriarchal society their mindset is that they become superior and significant only by getting married and look down upon the girls just the way the people of heaven give inferior look to the people of earth. This inferior perspective from wife to girl is very ironic because women are in false conscience that they are only acceptable and can enjoy their life when they get married otherwise as a girl they have to face many problems in a society. The poetess is making a feminist point that this concept is wrong and she is of the view that the institution of marriage reduces a woman to a mere object that has to follow blindly the wishes of her husband.
Chauvinism and Feminism in Handmaid’s tale Introduction This paper explores the relations between women and men in a context of a dystopian society which is very well depicted by Attwood. Debates raised since society acquired language and nowadays 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 to oppose male chauvinism. “You can only be jealous of someone who has something you think you ought to have yourself.” ― Margaret Atwood’s saying at her official Facebook page.
For example, in Branagh’s film, Ophelia shows her dependency on men through her sexualizing action when she sings, “Before [a man tumbles a women],/ [he promises her] to wed, […] So would [he do], by yonder sun, An [she does not] come to [his] bed.” (4.5.62-66) She is saying that men seduce women just for sex but degrades those who are virgin which is a common gender roles in Elizabethan era. Additionally, in Tennant’s film, Ophelia assaults Gertrude and Claudius, the royal family, by touching Gertrude 's hair when she
As a realist he needed to uncover the different impediments set on ladies by the patriarchal society to keep them in repression. Tough composed his books on the premise of his own supposition of women.He consequently enables them to act in non-conventional ways, so they are not viewed as perfect Victorian ladies. While in his time most ladies needed to manage without independence of any sort, the ladies in his books endeavor to acquire genuine social uniformity and reject the longstanding conviction that ladies are powerless and need to rely on upon men to make due in this world. In Far from the Madding Crowd Hardy rejects the conventional idea of marriage. He nearly saw the sexual orientation inclination inborn in the Victorian culture and culture.
Thus it is likely that Desdemona’s, and Emilia’s, honest developments were influenced by awareness of a female audience. Furthermore, Shakespeare doubtlessly wrote Othello as somewhat of a social commentary on the patriarchal society in which he was living. Generally, women were thought of as “subjects” to the men in their lives, and were to be used at their disposable, doing whatever they demanded (Iyasere). Shakespeare even clearly points this out by means of Emilia’s speech early in the play, discussing with Desdemona why Othello was acting so aggressively about his lost
From Stylistics to Narratology A Critical Reading of Charlotte Gilman’s “The Yellow Wallpaper” Abstract This paper aims to analyze “The Yellow Wallpaper” a short story written by Charlotte Perkins Gilman employing a combination of two stylistics tools, namely transitivity and presupposition. Studying such linguistic elements coupled with background contextual factors aim at illustrating the female protagonist’s attempt to liberate herself from her husband’s restraints which characterize the pressure that was brought to bear on women by the Victorian society. The male-domineering America of the nineteenth-century would dictate ideal values of femininity including sexual purity, piety, domesticity and submissiveness with the least degree of tolerance for any “deviant” behavior on women’s side such as using their own intellect and talent. The narratological techniques employed in this story can further be utilized as a great indicator revealing the process of the main character’s mental deterioration which is caused by her deprivation from mental and physical activities. The narrator-focalizer proves to be unreliable throughout the text, though this unreliability serves to bond the implied author to its implied audience.