It is this power, a dreaded one, that patrilineal filiation has the burden of subduing.” (Kristeva, 1982, p.77) Freud argued that woman terrifies because she is castrated. “Castration fear plays on a collapse of gender boundaries” (Creed, 1993, p.54) She suggests, that Freud misread Han’s fear in the Little Hans and that Han’s viewed his mothers as the castrator not his father, that his mother’s lack of phallus is seen not as a castrated organ but that of a castrating organ. The mother-child border is entangled in the complex and multi-faceted image of the castrating mother. According to Freud, man fears that of the mother as castrated and as that of the cannibalistic all devouring mother. “Construction of a patriarchal ideology unable to deal with the threat of sexual differences as it is embodied in the images of the feminine as archaic mother and is seen as the castrated mother.” (Creed, 1993, p.22) Kristeva suggests that the notion of the castrated women is to ease mans fear of woman, who has the power to psychologically and physically castrate him.
Another prominent broad subject of mockery throughout the play is women. Specifically, Wilde jokes on the supposed “morals” that women claim to have and their tendency to be easily deceived and manipulated. For example, women’s principles during this time states that they were supposed to have religious motivation for their courtships. However, both Gwendolyn and Cecily only wanted to marry their man if his name was Ernest. This comical situation demolishes the morals that women claimed to have in their relationships and expressed that as shallow, clueless, and untrue to their word.
Lenina Crowne has been driven in many ways to rebel against her society’s beliefs and values, threatening the community, identity and stability of the World State. Inconsistency and orthodox are presumably evident in her character in the novel as she portrays as a rebellion against the assigned caste colours, a rebellion against the conditioning for recreational sex and as she portrays the potential to see past the conditioning in the
The Weird Sisters answer to Hecate and her need for control is evident when she is infuriated by their dialog with Macbeth. By speaking of “riddles and affairs of death,” (Shakespeare 373) the Weird Sisters stepped out of line without their leaders’ permission. Being the “close contriver of all harms,” Hecate is enraged at the fact she was “never called to bear [her] part” (Shakespeare 373) in the handling of Macbeth’s prophesy. She wishes to control everything under the “umbrella” of spells and witchcraft. Although she is considered a goddess, the simple principle of her sexuality and influence coincides with female dominance.
However, in the end, Nick does exercise his dominance over her by calling an end to the relationship. The women in the novel are a unique group, because they do not fit into the traditional portrayal of innocent and pure figures, rather, they are depicted as a stark contrast to the norms and in no way represent the pure figures women were often perceived to be. However, they do still retain evidence of conforming to a patriarchal society, through Fitzgerald’s own desire to refrain from straying too far from societal ‘norms’, and also through a strong reliance on material needs, by the female characters. Psychologically, Daisy, Jordan, and Myrtle are obviously quite different from each
Daisy represents a modernistic woman who is very different from other women. The women of those times had to behave in a good manner and were very strict about their values but Daisy was a complete opposite. She thought that if men can have multiple relationships so why can’t women and this is the reason why she had an illicit relationship with Gatsby even after she was married to Tom. Her approach towards the values were completely flawed. Gatsby very well knew that Daisy is already married and still had gone for chasing his American dream.
“I wish you could persuade Mary not to be always fancying herself ill” (Austen 42). These are Charles Musgrove’s exasperated words to Anne Elliot concerning his valetudinarian wife. Throughout her novel Persuasion, Jane Austen writes much about Mary Musgrove’s grievances against unsuitable conditions, ranging from supposed illness to mistreatment by others. By infusing the caricature of Mary with an unwavering obsession and discontent with her health, reputation and situation, Austen shows that victim mentality leads only to childish and self-serving behavior. Mary is inordinately self-absorbed, especially regarding her own health.
Stereotypically, if not saint, the woman must be deceitful, manipulative, dangerous for men and it is possible to interpret the Wife of Bath in this way. However some may say that she is a feminist heroine, expressing her feelings and desires openly, rebelling against the domination of men. This interpretation has some evidences, for example, she evokes arguments with her last husband over a book Valerie and Theofraste which contains a stories about the most untruthful wives in history. Frustrated Alisoun wants to destroy the book, she provokes Jankyn and in a result of the fight, she loses hearing in one ear. Nevertheless, her behaviour cause laugh rather than admiration for her attitude to life and marriage.
Nathaniel Hawthorne shattered these boundaries with his novel, The Scarlet Letter. The protagonist, Hester Prynne, displays characteristics that make her a feminist hero. Hester is able to resist her punishment’s constraints and challenge the prejudiced court officials in the process. While her sin is plastered across her chest as a constant reminder of her past, she attempts to find feasible ways to live a normal life, defying the Puritan society’s standards. She surpasses all limitations that are put on her as a woman who has committed adultery.
This was so typical of marriages of that time, women were just not treated equally. Paula Anca Farca agrees wholeheartedly that there are touches of feminism and how often in Kate Chopin’s work you can find these themes, “I argue that due to reversals of power, Chopin’s oppressed female protagonists challenge patriarchal structures. (Paula Farca)” Chopin is clearly addressing her feministic outlook in the story “Desiree’s Baby” making sure that the text embellishes the fact the protagonist is scared of her