Stating that women are failure, and add how men feel/want a sense of control though these sexist acts. Thus, provoking and perpetuating the idea of women being weak or incapable of the attributes that men
In the introduction from Eve Kosofsky Sedgwick’s novel, she states that her argument is that the continuum between male “homosocial desire” and homosexuality cannot be understood outside of its relation to women and the gender system as a whole (2435). She then uses the sociological neologism "homosocial" to distinguish from "homosexual", stating that the social bonds between males can be applied to “male bonding”. She also notes that these activities may be characterized in our society by “intense homophobia, fear, and hatred of homosexuality” (2435). Following this accusation of sorts, she explains why she views this homosocial behavior as potentially erotic to hypothesize the potential unbrokenness of a continuum between homosocial and homosexual (2435). Her use of the word “desire”, rather than “love”, she mentions is in response to the fact that “in literary critical and related discourse, “love” is more easily used to name a particular emotion and “desire” to name a structure” (2435).
Young’s “Throwing Like a Girl” is said to be a philosophical investigation consisting of phenomenological evidence of how we live in our bodies. Young seeks to look at what is deemed as forced embodiment. Young argues that within our bodies we pay close attention to what we want to do through them instead of directing our attention to make sure that they are doing what we actually wish them to do. We experience our bodies as a weakening handicap rather than using them for good. Iris Marion Young believes that after examining the various ways that both men and women embody their bodies, we will be able to gain insight into the way gendered differences unfold within our society, essentially damaging women.
Men will use words to discredit a women’s intelligence and make her sound that her own thought was not her own but came from someone else. Men will use something along the lines of “oh you are just saying that because, your (strong male figure) told you to think like that.” This silences anything else that woman may have had to say about the topic because now, she has to prove that that thought was not only her own but, she actually used her brain to form it. Stanley uses the example from Catherine MacKinnon article about how pornography silences women. Women who want to say and actually mean no are seen as saying yes to men.
Feminism has come to mean the push for equality for every gender and intersectional group. This is quite clear in the works of Collins and Lorde in their pieces around the intersectionality within modern feminism. In the past, some people have used the word feminism to support their own interest groups. These groups defined and used feminism differently than the feminist community does currently. Based upon works by Betty Friedan and documents like Declaration of Sentiments, feminism to these “classic feminists” is defined by the oppression faced by upper class, white, heterosexual, cisgendered women.
Wollstonecraft’s second argument is about the objectification of women. She notices that “a pretty woman, as an object of desire, is generally allowed to be so by men of all descriptions; whilst a fine woman, who inspires more sublime emotions by displaying intellectual beauty, may be overlooked or observed with indifference.” At first, this notion seems to have nothing in common with women’s desire. However, Wollstonecraft argues that some “women deluded by these sentiments [of being an object of desire], sometimes boast of their weakness, cunningly obtaining power by playing on the weakness of men”, and this game leads to nurturing the desires in women. This has to do not only with sexual desires but with desire for power as well.
Schultz, however, steps in to explain that these ads are simply pictures. They do not have a history with any person or anyone in that moment. Schultz explains that these ads take away the human and leave an object to observe. Similarly, Fosse takes the person out of the performer on stage and shows movement through an object or the anatomy or parts. According to Schultz the male gaze is driven by “sexual anxiety” (Schultz, 368), meaning that a male feels the need to look at a woman as an object in order to make her difference and mystery seem rational and okay in their mind.
Sexuality In this section the repulsion towards natural women, especially in the works of J.K. Huysmans A Rebour and Oscar Wilde’s Dorian Gray will be examined. As the work of Huysmans engages into the discourse of artificial (also “technological”) femininity vs. natural femininity several times it is at hand that my analysis will center upon this theme. Nevertheless, throughout the passage references will be given to the work of Dorian Gray, showing the parallels in the perceptions of women to Des Esseintes.
This novel subtly shows the difference between the values ascribed to male and female traits in which man’s needs take precedence over women’s needs. Deshpande subverts stereotypical conventional ideals of motherhood, femininity, and masculinity. She shows both male and female sexes transcending their gender attributed traits. Female characters in this novel- Kalyani, Sumi, Aru exhibit masculine traits which are conventionally associated with males, on the other hand male characters- Shripati and Gopal, who escape their duty and responsibility towards their families, unveil feminine traits. Vinay Kirpal also is of the opinion that “Deshpande’s protagonists generally seek to come out of their tradional beliefs” (Geethamala, 196).
Therefore, these are all essential communal struggles Holden experiences throughout the novel. To start off with, a central matter Holden faces and seeks to protect is innocence. Holden witnesses a “man and woman squirting water out of their mouths” at each other. Holden’s perception of this reveals to readers how Holden is uncomfortable with sexuality. Holden considers what the “perverts” are doing is “crumby behaviour.”
Overall, A Streetcar Named Desire is showing the downfalls of not expressing sexuality while doing the rare thing of showcasing sexuality in the context of a society that dismissed and condemned it. Tennessee Williams was a gay man who knew the frustration of living in a time period that demanded his sexuality be repressed. Through the play, he communicates how high a price individuals had to pay for expressing their desires. In Blanche’s case, her expression of sexuality led to her being committed to a mental institute, and in Allen Grey’s case death. Despite this Williams also imparts to his audience the negative impacts of disguising one 's sexuality behind the guise of what is considered normal and proper.
The “contradictory directive”, or conflicting ideals, is that women have been granted the freedom to understand themselves, but only to a certain point which keeps them from being able to reach self actualization, or a truly liberating sense of happiness (Bell 27). This is a subtle mental tactic that men use to keep control over women. The end result
Common among rape cases regardless of the gender of the victim is the disconnect between the psychological response and the physiological response. Men who are the victims of male perpetrated sexual assault may experience arousal despite the attack and actions being unwanted, which may lead them to question their sexuality. They equate an erection, or sexual arousal, with desire and attraction because that is what they have been taught through societal and cultural expectations for men to always be ready and always desire sex. Male victims may also feel “special” or like they were purposefully selected by their assailant which can further perpetuate their likelihood to internalize their shame and self-blame. Overwhelmingly, males are raped or sexually assaulted by someone they know and they are more likely to use their “position of trust to gain a psychological advantage” (King, 1990).
A major theme that is examined throughout many cultures is the preservation and destruction of individualism. These shifts in individualities have served as a mechanism for both understanding and appreciating the historical meaning and relevance involving these tribeswomen. The short stories and academic journals that help highlight these instabilities include: Chip Brown’s The King Herself, Karen Lange’s Himba: Consulting the Past Divining the Future, John Keshishian’s Anatomy of a Burmese Beauty Secret, and publication: Face It: The Impact of Gender on Social Media Images by Jessica Rose and others. These articles of reference demonstrate meaningful knowledge of foreign management of women in various tribes.