Nora’s flirtatious behaviors reveal a woman using her sexuality to get what she wants. In “A New World for Women” Stephanie Forward believes Nora’s behavior is “…flirtatious- even sexually manipulative. Perhaps, Nora has devised her own means of coping with her husband, and occasionally, she can circumvent his control.” (A New World for Women) In Act 2, Nora playfully hits Dr. Rank on the ear with her stockings and says “that’s for you...because you’ve been naughty.”
In contrast to past gender stereotypes, they argue that girls should be strong, independent, and intelligent. Orenstein takes a second wave feminism approach, meaning females are just as capable as males. She references how she commonly writes about feminism and warning parents of a “preoccupation of body and beauty” in order to pull for a change in society (327). The beauty standards give women an impossible set of goals deterring their confidence. In addition to unrealistic standards, Orenstein is alarmed by the growing popularity of princesses because she views them as “retrograde role models” (329).
Hermia respond is that she's done her best to get rid of him (because she loves Lysander). Helena wines: “Helena: O that your frowns would teach my smiles such skill! /O that my prayers could such affection move!” (Act 1, Scene 1, Page 8).
He watches Helena’s humiliation as she confesses her unwanted love for Demetrius,“thou shalt fly him, and he shall seek thy love,” (2.1.246). Out of pity, Oberon tells Puck to put love potion on Demetrius’ eyes, forcing Demetrius to fall in love with Helena- if all goes as planned. He plans for Demetrius to beg for Helena’s love even though Demetrius is in love with Hermia (3.2.87-91). Once again, Oberon’s careless thinking manages to put him in a pickle, leading to more drama. He reverses the love potion on Lysander’s eyes, but Oberon still gets his way by keeping it on Demetrius’s.
People prejudice women in every situation, they are seen as inferior to men and are supposed to act a certain way that society says. In Neil Gaiman’s works; How to Talk to Girls at Parties and Cinnamon, women are seen as objects that are put in place to move the plot along, to prove a point about a male character, or to be something that society can just push around and do what it wants. The girls in his story How to Talk to Girls at Parties are just objects to help Enn and Vic be better people. In his story “Cinnamon”, Cinnamon is a girl, who has to behave the way society expects her to until she can not take it anymore. Neil Gaiman’s works “Cinnamon”, “How to Talk to Girls at Parties”, and Coraline address the patriarchal society and the
Each person will manipulate and handle the other until the time that one of them gets bored, hurt, or just leaves the imbroglio. In this story, the mistress starts out trying to prove herself morally, intellectually, and physically superior through comparison to others and learns this will not serve her in life. She compares herself to her sister Claire, Peter her lover, and Mrs. Piper, his wife. The mistress shows a sudden speck of maturity but never claims any culpability for her actions.
The original rendition is said to have been told to convey two morals: the first, warned female readers against the dangers of curiosity; the second, warned husbands against expecting the impossible from their wives (Sheets 1991:643). Carter has however adapted the original story to appeal to the modern reader and provide some personal commentary on social issues. She also gave it her own controversial twist, by making the husband a murderer, and what some might refer to as a pervert. As Sheets accurately states, “Carter situates the story in the tradition of aesthetic sadomasochism” (Sheets 1991:643). Throughout the story the heroine notices various erotic art forms in the castle.
Juliet evidences her desire to be with Romeo by listing the terrifying things she would do to be reunited with Romeo, including,“ hid[ing] with a dead man in his [shroud]”(4.1.86). She concludes by saying “I will do it without fear or doubt/ To live an unstained wife to my sweet love” (4.1.89). Her willingness to commit acts of physical bravery without fear shows Shakespeare’s reversal of gender roles. Juliet continues to show emotional bravery when she fakes her own death.
Nora will do whatever it takes to get it through with Krogstad that he will not tell Torvald about the money. Once again, Nora goes against the stereotypical norms for females and acts like a wife to Krogstad. She is very influential with her looks and wants to show Krogstad her undergarments which is a manipulation she is playing to get him on her side. Krogstad appreciates the show Nora has put on for him but he says that he will send a letter to Torvald and which it will discuss all the truth behind the money Nora has acquired.
Iago hints to Othello here that the reason for this “flee” is that Cassio is having relations with Desdemona. This is where all the manipulating starts. Later on in the play, it says, “Hang her, I do but say what she is!” (Act 4 Scene 1 Line 206). Iago has finally convinced Othello that Desdemona is cheating on him thanks to his miraculous manipulation