In Victorian society, women had the choice between two roles: the pure woman or the fallen woman. Bram Stoker plays with these anxieties revolving around female sexuality – he follows the gothic tradition of innocent damsel in distress against looming evil. The narrative structure Stoker imploys to the text through intertextuality reveals multiple point of view distinguishing a duality in Lucy - her true self and 'thing'. In order to cope with Lucy’s worsening condition, the male authoritative figures of the text assign a duality present in Lucy to make sense of her shifting from “pure woman” to “fallen woman”. Stoker exhibits in the structure of the multi-faceted narrative how certain characters are unable to cope with the duality present
t Lucy’s Home for Girls is a safe haven for werewolf girls to learn how to change into better humans through a curriculum taught by the home’s nuns. Claudette, a student at St Lucy's Home For Girls, follows the nun’s curriculum closely, but sometimes she strays from it. This short story written by Karen Russell follows three werewolf girls as they learn about and adapt to their new way of living as humans, all of them heading in separate directions. In the beginning of Claudette’s journey, everything is new and different. She shortly learns that hard work is crucial to adapt to her new way of life and that from that point onward the stakes will be high.
Judith Butler’s Gender Troubles emphasizes gender as the constant repetition of non-existent ideals to uphold a masculine-dominant culture. Likewise, “Body Politics” highlights this belief within the overtly feminine qualities of city women. As a whole, the poem contrasts idealized feminine “city women” with a “real woman” who possesses both feminine and masculine qualities. The mother figure challenges both the gender binary and the patriarchal order by rejecting the feminine gender norms of the society. This feminist reading of the poem makes many valuable and probable claims, however the feminist approach contains some weaknesses.
Karen Russell's “St. Lucy’s Home For Girls Raised By Wolves” is a story of lycanthropic girls who have been raised by their wolf parents who are being assimilated into human culture by forceful nuns. Claudette is the main character who is also telling the story. She faces many achievements and struggles, but by the end of the story Claudette has clearly conformed to human culture. This is supported when Claudette shows her loss of wolf-like traits, such as when she loses compassion for her pack members, and in the later stages when she starts to have complex human thoughts and starts to lose detectable traces of her wolf origins. Claudette encounters cultural shock and struggles to assimilate, however, she also reaches many milestones on her journey to becoming human.
Prior to St. Lucy’s Home Claudette, Jeanette, Mirabella, and the rest of the pack only worried about things like food and survival, as well as the pack as a whole. Then all of the sudden, they are forced to leave their families and come live with the nuns at St. Lucy’s Home for Girls Raised by Wolves so they may become civilized human girls. Their ability to adapt determines whether or not they are successful and are able to function in society. Each member of the pack must focus on their
As demonstrated within Deadwood Dick the Prince of the Road by Edward L. Wheeler, the critique of the manhood is presented with Calamity Jane, who exerts her femininity in the form of a rugged masculine persona. Jane, whose reputation for dressing like a man and being able to shoot like a cowboy, often makes her audience question her sexuality, but not in terms of merely preference, but as a role within the Western society. Ultimately, in Wheeler’s novel, Deadwood remains unmarried and without an inherited fortune--automatically denouncing his success
Lucy stands in many ways in contrast to Mina’s character as their moral views and ways of life are distant. She has no occupation and is in no way seeking any form of education. Due to this fact she resembles at first initially in no case the modern New Women, as these sought for independence and education. Her personality can be described as girly, lovely and ‘sweetly innocent’, a seeming sample of Victorian perfection. Lucy is highly beheld for her beauty as her appearance is that of a luminous beauty with fair hair, that is described as “sunny ripples” , and pure bright eyes.
The Man, the Bitch, and the Closeted Sexism The Lion, the Witch, and the Wardrobe is a wonderfully imagined novel that the author, C.S. Lewis, wrote for his goddaughter Lucy. He aspired to incorporate many elements that little girls like Lucy, in particular, would find intriguing, such as the compelling beauty of the wood inside the wardrobe, the magnificence of the characters in it, and the great significance of relationships between family and friends. He even named the young protagonist Lucy. However, by focusing on his intention to enchant her, Lewis also negligently integrates sexist attitudes and stereotypical gender roles into the tale.
Lucy’s Home for Girls Raised by Wolves, the girls have their identity stripped away from them. While Miura chooses to leave behind her “real self,” the way she performs in Japan, in order to please the audience, the girls of St. Lucy’s do not have a choice; if they want to succeed, they will be forced to change their performance of race. In both cases, whether intentional or unintentional, the race that surrounds them uses their majority to dominate the minority race. In Miura’s situation, she understands the need to perform differently for different audiences. However, the girls of St. Lucy’s have only known the “wolf way” of life and must change for “survival” purposes.
Due to Lucy childish innocence she is the perfect character to draw children into the story. Lucy embodies the mannerisms that most well behaved children are expected to have. She does not lie, she forgives others,
Throughout time and history, patriarchy has taken over. The Penelopiad, a novel by Margaret Atwood set in ancient Greece shows a group of characters differently than The Odyssey. Before, The Odyssey portrayed the maids as promiscuous, evil, and wanted the audience to think badly of them. The Penelopiad, however, shows them as innocent and harmed, and wants the audience to have sympathy for them.
In each woman’s encounter with their personal challenge, this goal is expressed in a form specific to them. Audiences see this interest of reaching equal status conveyed through the work and intentions the women produce. The female characters present a side to themselves that, at times, switch the gender roles their society is accustomed to. At other points, women’s abilities to lead in times of distress or confusion establish themselves as the same types of leaders that society grows to associate with men. Finally, the female character’s voicing of society’s unjust contradictory standards for women furthers paints the idea of a movement towards equality.
This novel follows the life of a recent college graduate, Marian MacAlpin, through her career and emotional maturation in a somewhat unnatural, if not threatening world. The queer concept of this world is branded by a spectrum of moral viewpoints of gender politics that manifest themselves and surround Marian. The political and cultural values and practices of a male dominated and sex driven society depicted in the novel are so strong that they seem to devour Marian physically and emotionally. She rebels against this cannibalistic, patriarchal society through a comestible mode and the end, reclaims her identity crisis by restoring her relationship with
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
This novel is also autobiographical. Throughout history, women have been locked in a struggle to free themselves from the borderline that separates and differentiate themselves from men. In many circles, it is agreed that the battleground for this struggle and fight exists in literature. In a