As Julia Kristeva stated in the Stabat Mater, the maternal image of the Virgin Mary does not provide an adequate model of maternity, therefore with the Virgin as a role model, the maternal body is reduced to silence. Moreover, she apparently implies interrelations between desexualizing and silencing women (Kristeva 145). Thus, the name of the poem doubly attacks the Catholic rules—if women are reduced to be mothers, a homosexual love act is an act of disobedience, and the detailed description if the act with “thighs” and “back” and “your breasts and belly” (Dorcey 1120) emphasizes that the scene in the poem is purely lustful, it is an act of desire and passion, what contradicts the religious model. The line “Blood on our thighs” may have two
For Hirsch, feminist family romances are those novels where the development of female subjectivity and self-empowerment is determined by the continuation of the mother-daughter relationship, as opposed to the previous common rejection of the maternal figure theorised, among others, by Julia Kristeva and Luce Irigaray. The bond between mother and daughter is re-evaluated and comes to be considered as an important site for female development, and a basis for a vision of gender difference and female specificity. In this type of narratives, women are represented as subjects capable of relating their own stories. However, despite the increased room for the subjective representations of consciousness, the maternal perspective is still silenced under the weight of the daughter 's emerging
Similarly, Luke Venture touches her heart and removes the wounds from her heart. She brings a change in her life and starts to realize her individual existence. The silence is chief factor in house and she comprehends that Mac and she have different temperamental polarities as they are like two parallel lines which can move in parallel but can never meet. As Patel says, “Deshpande looks forward for the spaces of extra marital relationship. Through her female protagonists she recommends that in spite of the domination of male authority, a women retains the strength… through the expression of her hidden talents (Writings in English 15).
In his writing, Nathaniel Hawthorne creates a new female-image, one that focuses on remaining a pure reputation. WHile Hester suffered from ridicule and shame from her neighbors, she presents feminist spirit in her conscious. Hester develops a strong spirit and mind. Wang notes that the feminism is carefully placed throughout the story. He analyzes Hester's refusal and determination when she is asked who the father of her baby is.
Elizabeth, despite the fact that she still fulfills her societal roles to a slight extent, still contrasts her mother in that she balances care for others with her own well-being, indicating that she remains sympathetic without sacrificing her own needs to fit the expected role of women at the time. In contrast, both Elizabeth and the rest of her sisters are limited by Mrs. Bennet’s influence on their life decision. Author Sylvia Myers takes a far more critical approach on the role of Mrs. Bennet in comparison to her daughters in deeming her the “bad mother” through hindering the lives of her daughters. Myers asserts that Mrs. Bennet desires only for her daughters to fulfill their societal expectations, rather than reach their own full potential (Myers 228). She lacks the same free will which Elizabeth displays in her growth as a character, and therefore directly opposes Austen’s vision of an ideal woman.
Later, he prays to Buddha that she will learn to do what he believes are a woman’s responsibility. In his eyes, Anna is incapable of understanding his god because she is a woman, and that she is therefore not in Buddha’s interest. However, The King does seem to have a change of heart when he states, “I think it very strange that a woman shall have been the most earnest help of all” (Jones). Through this, Rodgers and Hammerstein reinforce the notion that men are in all ways equal to men and are capable of just as
Leah and Natalie deviate from social scripts for women such as pregnancy and fidelity. For Leah, there’s great internalized societal pressure for her to bear a child; she’s thirty-five years old and newly married. Yet, as Wells claims, she rejects the idea by surreptitiously using birth-control pills, because it opposes her paradise, which includes only her and her husband Michel. To this end, Smith explores chauvinist gender roles affects on women. Conversely, Smith also explores the sexual identity of her female characters.
Rachel Cameron and Mac Aindra are sisters. Rachel’s resolution of silence is a struggle to bring out her which is deafened by the society. Stacey on the other hand revolves between the present and the memory. Throughout A Jest of God, Rachel Cameron chastifies herself. When Rachel moves from the fantasy of masturbation to the action, she resists her desire and feels as though she needs to justify her need for pleasure and also for the escape.
A woman whose virginity has been violated is looked down upon, but the men are never called to question. Just because Swarnalata’s husband doubted her chastity, she is made to suffer for no fault of hers. The play, Nagamandala celebrates female sexuality. The story of Rani in the play Nagamandala mocks exaggerated male claims and ambitions to control female sexuality. The patriarchal world has specific restricted codes of behaviour for women regarding the issue of sexuality.
e- Modern lifestyle: " Intolerance for early marriage, violence, infidelity" are big reasons that found to determinants of spinsterhood. Some women became spinster due to violence, which encourage them to be single, since some men have tends to violence. Another modern lifestyle is betrayal, for example intimate partner infidelity, that affected the marital decisions for same spinsters. This study shows that women reject the idea of marriage because the other side don’t believe that they can be the best at home and at work at the same time. ( Ntiomo and Abanihe, 2011).