Later when Janie marries Jody Starks, we see another example of a member of the “in-group” enforcing the negative stereotypes the dominant culture has imposed upon them. Jody remembers the “other men figuratively wallowing in” Janie’s hair (55). He has her cover it up because “she was there in the store for him to look at, not those others” (55). Janie’s hair is a symbol of her sexuality and womanhood. Janie remarks that when Jody forced her to start wearing the scarf, their sexual relationship suffered. The “business of the head-rag” diminished Janie and Jodie’s sexual relationship, so that “the bed was no longer a daisy field for her and Joe to play in” (71). As a call back to the opening passage, in which Janie experiences a sexual awakening, …show more content…
Despite being used as props and blamed for their own exploitation, the heroines each manage to reclaim their sexualities from the men in their lives. After Jody’s death in Their Eyes, Janie rebels against her Nanny’s and Jody’s oppression, saying “Ah done lived by Grandma’s way, now Ah means tuh live mine” (114). Through her relationship with Tea Cake, she embraces the sexuality that has been repressed her entire life. Soon Hyo similarly reclaims her identity through her decision to no longer let Rick, or other men, take advantage of her; she shouts, “I will never, never again lay down for any man” (195). Helga also, in rejecting Axel Olsen’s offer of marriage rejects her supposed nature as a black woman. She tells him, “I’m not for sale. Not to you. Not to any white man. I don’t at all care to be owned. Even by you” (89). Although McDowell claims that women writers lash out against the stereotype of the hypersexualized female by deliberately desexualizing their characters, this is not exactly the case. Like Helga says, women’s sexuality cannot be bought or sold, only manipulated by those in power. The intersection of these three portrayals speaks to the volume of types of sexuality women possess. Rather than lash out against this stereotype, as McDowell claims, by deliberately desexualizing woman characters, these novels prove that by eliminating the dichotomy of innocence and sensuality through varied portrayals of women, you strike the stereotype at the root, blocking the male influence from contaminating the sexuality any
When, all of them were telling gossip and lies about Janie, her best friend came to defend her with a brazen of assurance. When the town’s people saw Janie, the women weren’t capering with joy to see she has returned home. The town’s women seemed to chastise Janie for how she looked and dressed but the men felt otherwise.
Anne McClintock wrote her essay “Gonad the Barbarian and the Venus Flytrap: Portraying the female and male orgasm” to examine pornography and how it has changed throughout history and its effects on how women perform as sexual beings. McClintock focuses on the various roles of pornography such as its emphasis on voyeurism, pleasure, and the male ego. She wants her readers to know that women are still not represented in pornography to satisfy their own desires, but they are there to cater to men and their subconscious. I will analyze how McClintock argues that due to the history of sexism towards women, the roles that men and women have in pornography are inherently different because of the societal belief that women are only seen as objects of sexual desire and are solely there to satisfy the male audience.
Janie goes along with Jody’s requests for a while before she realizes what he is doing to her. Jody needed to have complete dominance of everything in Janie’s life to be content with their relationship, and when Janie had different opinions than his, this caused problems in their relationship. In another instance, Jody insults Janie’s age, which leads to a significant argument between them. When Jody insults Janie, it is accepted in their society, but Janie finally gets fed up when she says, “But Ah’m uh woman every inch of me, and Ah know it. Dat’s uh whole lot
She questions why Janie would marry a dark man like Tea Cake. Mrs. Turner falsely assumes, like the rest of the people form the town, that Janie only married Tea Cake for his money because she could not possibly love him. Janie informs Mrs. Turner that her assumption is incorrect because Tea Cake was not wealthy when they met, and he is the only person that has made her truly
Just something she had grabbed up to drape her dreams over” (Hurston 72). Janie figures out that Joe is not the man she had married when the “image of Jody tumbled down” she begins to understand that Joe was not at all significant to her because he never cared for her and instead he was a bad influence. Janie figures out that he “never was the flesh and blood figure of her dreams” the life she desires of with Joe Starks, is an allusion and Janie’s dreams are once again crushed. Janie is deceived by Joe because he represents empty dreams for Janie, he was a “drape [for] her dreams” Joe took advantage of Janie and manipulates her to do excessive labour for him in the store and constantly silences her. Furthermore, Joe Starks never treats Janie with respect as he views her as an object and spends his time commanding her.
She lacks sexual determination. While Jasmine feels that sex is something that “he did that to everyone,” (11) when referring to the lifeguard, Erica still believes that one has to make a decision on whom to sleep with. After losing her virginity, Erica loses her naivety and gains full control of the situation to Erica, making her the subject of her own sentence, and allowing her to have total autonomy. She embraces her new sexuality. According to the article “Sexualities”, the genre of virginity loss is considered to be most popular and significant in the 21st century (McAlister 1).
The United States Constitution states that the country values liberty, life, and happiness for all of its citizens. These three values shape the ideal American experience. Most view it as living freely, where all men, women, and races are created equal, and where oppression of genders and races does not exist. In the novel Their Eyes Were Watching God, however, Zora Neale Hurston challenges the traditional view of this experience by illustrating how gender roles and racism change it, manifesting that it is not close to what the average citizen goes through, especially if he or she is black.
Interpreting the message of sexism in Their Eyes Were Watching God. Janie is now with another man named Joe Starks (Jody by the nickname Janie gave him) was a man in high wealth. Janie was not able to have the freedom she wanted with this man. Whatever he did she would have no say; Janie continued to keep silent regardless of what happened in their marriage, “No matter what Jody did, she said nothing. She had learned how to talk some and leave some.
In the novel, Their Eyes Were Watching God by Zora Neale Hurston, the protagonist Janie, is influenced by others to change her ideals. Hurston vividly portrays Janie’s outward struggle while emphasising her inward struggle by expressing Janie’s thoughts and emotions. In Kate Chopin’s The Awakening the protagonist is concisely characterized as having “that outward existence which conforms, the inward life which questions,” as Janie does. Janie conforms outwardly to her life but questions inwardly to her marriages with Logan Killicks, her first husband, and Joe Starks, her second husband; Janie also questions her grandmother's influence on what love and marriage is.
In the novel Their Eyes Were Watching God, Janie is a main character whose outward existence conforms, and her inward life questions. This tension helps to evolve the author’s theme of the importance of individuality and how individuality creates happiness. Janie experiences most of her life in trying to conform, and grows to despise it. Once free, she becomes herself and becomes happy. Early in the novel, Janie marries Logan Killicks.
Liberation and self-fulfillment within Zora Neale Hurston’s Their Eyes were Watching God By Wael Fadhil Hasobi PhD Scholar English Dept Acharya Nagarjuna University Waelfadhil38@gmail.com 4-16-25E,Bahertpetha,Guntur,Andrah Pradesh Mobile:9676703836
The novel 's plot is driven by Janie 's series of relationships with different men: a kiss with Johnny Taylor, followed by marriages with Logan Killicks, Jody Starks and finally, Tea Cake. Logan Killicks and Jody Starks see Janie as defined by her relationship with them, and expect her to be obedient, silent and proper. Jody sees her as a kind of ornament that bolsters his social standing and that helps to justify his efforts to assert control over everyone, men and women alike. Tea Cake, in contrast, defines himself not by political power but rather by his physical strength and ability to have fun. Even while Tea Cake treats Janie as an equal, there still exists a certain power struggle in Janie 's relationship with him, as her increasing ability to recognize her needs as an individual throughout the novel emerges in response to Tea Cake 's treatment of her.
Helga is once again cast to the roll of local misfit. This time, she is married to a black preacher but it is clear that this role is not suited to Helga. She is outcast by her lack of previous experience with religion and does not know how to behave as a pastor’s wife. Her menial skills cause her to once again return to a place where she feels
Eliza Haywood writes the cautionary tale Fantomina in order to instruct women against pursuing their sexual desires. The protagonist, an unnamed “Lady of distinguished Birth” (41), secretly pursued her desires for Beauplaisir under the guise of four different personas, ultimately leading to the ruin of her reputation and being sent to live in a monastery. I will refer to the main character when she is not disguised as the protagonist to avoid confusion. I will be discussing female sexuality, where I will be focussing on certain aspects including sexual identity, sexual behaviour, and how social and religious aspects affect this sexuality. I will argue that Haywood uses the cautionary tale in order to represent female sexuality as distinguishable
Her unsuppressed sexuality produces the appearance of a wild and uncontrolled woman, but in her relations with men she proves to be tamed and submissive. She is used, and often abused, by her powerful lovers, firstly, the colonial representative, the Englishman who fathered her child, and, secondly, the new neocolonial delegates: the General and the tycoon. For the renowned movie star, these men were “all the same… Carrying around her used panties as if they were a fetish, like a piece of her they had carved off, like her skin” (Hagedorn,226). Sex, for her, is the means of support, it provides her with luxury and she willingly accepts the price she has to pay in return.