Subverting the Normative, Idea of Gender, Sexuality and love in Jeanette Winterson’s ‘Written on the Body’
Body plays an important role in describing ones identity. One with breast is considered to be women and one with penis is man these are biological identifiers to determine ones sex. Terms, for example, he/she, his/her is related to recognize the sexual orientation of man or women and when such parallels are expelled then it becomes difficult to distinguish ones gender. Such an endeavor is made conceivable in Jeanette Wintersons fictitious world in her most fascinating and controversial postmodern novel ‘Written on the Body’ by its genderless narrator. Consider, what if the normative structures of society are seen in different ways? Can it be made possible to deconstruct gender and establishing a genderless society? Is it not possible to remove stereotypes regarding men and women to generate fluidity in gender and sexuality? Or is love constrained, to happen only between heterosexual relationships? Such questions are widely explored in this novel to open up new possibilities and new thoughts in postmodern readers. Winterson have raised her voice against orthodoxy of social institutions, normative structure of society, and also questioning
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In ‘written on the body’ winterson chose not to reveal the gender of the narrator there by creating a debatable plot. The engendered narrator has drawn many critics to rethink what gender can mean when crossed its boundaries. The narrator has many relationships with women and men therefore cannot be fixed in a hetero or homo relationship. Later deeply falls in love with a married woman named Louisa and wanting or one could say desiring to settle with her but soon discovers her cancer resulting in their end in relationship. The following sections of the novel have detailed description of narrator deep mourning’s for his/her lover
At the heart of this case is the questions surrounding Hall’s ambiguous genitalia. The women determine that it is too different from their own. This is easy enough to understand but where it gets confusing is when the men also distinguish Hall’s genitals from their own. In the case of the men, Norton argues that it is less about the anatomy and more about the physiology. (Norton 195) Hall admitted that they could not produce a family, so too men, this made them a woman.
The author, Alice Dreger, wants to know why we let our anatomy decide how our future is going to be. In the future, as science continues to become better, are we still going to continue to look at anatomy? Would we ever confess that a democracy that was built on anatomy might be collapsing? Alice Dreger argues that individuals who have bodies that challenge norms such as conjoined twins and those who have atypical sex threaten the social categories we have developed in our society. We have two categories: male and female.
The queer historical past has been characterized positively, with aspects such as identification, desire, longing, and love highlighted (31). In contrast, Heather Love seeks to focus on the negative aspects that characterize the relationship of queer history amid the past and present, in her work, “Emotional Rescue: The demands of Queer History,” the first chapter in her book, “Feeling Backward: Loss and the Politics of Queer History” (31-32). According to Love, some queer critics have failed to include the harsher accounts when studying queer cross-historical relations. The negative aspects of the past that queer figures can relate to makes it relevant. In her article, Love critiques various works to identify the negative aspects present within the queer history.
As with all theories, this feminist approach to Louise Halfe’s “Body Politics” does not come without its flaws. While it can be argued that this poem criticizes the performativity of feminine gender roles in a patriarchal society, this cannot be proven definitively without knowing the author’s original intentions. Furthermore, the poem does not give its readers enough information to conclude that the society the women live in is in fact a patriarchal society. This becomes evident, as there is no reference to any masculine figure – so any assumptions about the masculine-dominant culture are purely speculative. It is possible that Halfe wrote this poem in an attempt to challenge the gender binary, however one stands to question how successfully she is in doing so.
Eliza Haywood writes the cautionary tale Fantomina in order to instruct women against pursuing their sexual desires. The protagonist, an unnamed “Lady of distinguished Birth” (41), secretly pursued her desires for Beauplaisir under the guise of four different personas, ultimately leading to the ruin of her reputation and being sent to live in a monastery. I will refer to the main character when she is not disguised as the protagonist to avoid confusion. I will be discussing female sexuality, where I will be focussing on certain aspects including sexual identity, sexual behaviour, and how social and religious aspects affect this sexuality. I will argue that Haywood uses the cautionary tale in order to represent female sexuality as distinguishable
In the novel Their Eyes Were Watching God, we follow our protagonist, Janie, through a journey of self-discovery. We watch Janie from when she was a child to her adulthood, slowly watching her ideals change while other dreams of hers unfortunately die. This is shown when Jane first formulates her idea of love, marriage, and intimacy by comparing it to a pear tree; erotic, beautiful, and full of life. After Janie gets married to her first spouse, Logan Killicks, she doesn’t see her love fantasy happening, but she waits because her Nanny tells her that love comes after marriage. Janie, thinking that Nanny is wise beyond her years, decides to wait.
She subtly interjects a commentary on the absence of sufficient historical research concerning the role women played in shaping our society, past and
Traditionally structured gender roles place both men and women into very strict categories. However, as we move into the future this way of thinking becomes increasingly archaic. Thinking of such things in such black and white terms gives one a narrow point of view and places people in categories which they do not fit. In Octavia Butler’s Dawn and William Gibson’s Neuromancer the ideas of the feminine gender role are redefined.
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
What is equally important in this process of thinking is to look at the views the author has on certain aspects, in this case masculinity and womanhood,
Women’s Body The Figuration of the female body is well described in both Woman at Point Zero by Nawal El-Saadawi and Margaret Atwood’s The Handmaid’s Tale. Both novels show that the women bodies are not their own and controlled by others which it turned into an object in order to survive. In this paper, I would like to argue how the objectification of the female bodies in both novels resulted in their oppression and sufferings. Moreover, what is the definition of the figuration of a body to both Offred and Firdaus? And is there a way out to survive this tragedy in both novels?
To stop gender inequality we have to treat women and men equally. If we continue to make believe about the society’s expectations towards ourselves, then we will be locked in the doll's house with the ghosts of Torvald and Nora hanging
It is 1997 in Jackie Kay’s Trumpet. While society experiments with various labels for defiers of gender norms, Joss Moody and loved ones defy society. How Kay, in a highly conservative era, dares to discuss gender identity – a topic still controversial nowadays, is undoubtedly the prime reason her novel can captivate readers of all generations until the very last page. Conservative 20th century London is an eventful place. But there has probably never been a tale like the story about Joss Moody – a trans man.
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
Society is shaped by a number of different forces and factors. Inevitably, these forces come together to construct the life of the individual. In this essay, C.W. Mills’ sociological imagination will be discussed. A personal problem,homosexuality, and a social issue, homosexuality, will be highlighted. In concluding the essay, a reflection on the usefulness of the sociological imagination will be offered.