Anne McClintock wrote her essay “Gonad the Barbarian and the Venus Flytrap: Portraying the female and male orgasm” to examine pornography and how it has changed throughout history and its effects on how women perform as sexual beings. McClintock focuses on the various roles of pornography such as its emphasis on voyeurism, pleasure, and the male ego. She wants her readers to know that women are still not represented in pornography to satisfy their own desires, but they are there to cater to men and their subconscious. I will analyze how McClintock argues that due to the history of sexism towards women, the roles that men and women have in pornography are inherently different because of the societal belief that women are only seen as objects of sexual desire and are solely there to satisfy the male audience.
Women being depicted as passive sexual objects is nothing new in the media or in the patriarchal society we live in but what is, is the shift over the years from women being as passive objects of the male gaze to now sexually agentic in their sexualisation (Halliwell et al., 2011). With the help of the feminist movement, sexism and sexual objectification of women was brought to attention and thus traditional advertisements were heavily critiqued for their sexist and objectifying images of women. Although we still have sexist advertisements that objectify women, most contemporary or post-feminist advertisements now depict women as not only independent and powerful but also encourage women to partake in their own sexualisation in the name of
She proves it by showing the character’s thoughts, by telling the story using the third person limited ()and also by making it appealing to our senses. To begin, the author uses characterization in her short story in order to show just how difficult it can be to start a meaningful relationship when both partners are still quite unfamiliar with one and other. Firstly, when Robert and Margot were about to engage in coitus, Robert says; “I always wanted to fuck a girl with nice tits”. The fact that the author chooses to use the words “nice tits” shows that the only thing that interests Robert in this relationship would be Margot’s body. It reveals just how meaningless the relationship between these two, which can almost be called strangers, truly was.
Objectification of Women in Comics Objectification refers to the act of treating a person as an object without any regard to their individuality or personality. It means to treat people as a commodity and not as an equal human being. Objectification of women has been culturally rooted and it needs to be thwarted. The most common is the sexual objectification of women, when women are thought of as only as sex objects and an inferior entity to get pleasure from. The infamous Marvel and DC comics that engulf the imagination of majority of the young people in the United States are overflowing with degrading and deplorable imagery of women.
Similar to Phebe’s situation, he also experiences different sexualities through Rosalind’s changing gender performances. At first the young girl, then the pretty youth enamour Orlando both under the name of Rosalind. It again can be seen as a suggestion of homoerotic love, however, considering Butler’s “gender is performative” theory, it does not go beyond appearance. No matter how man-like she looks, she still acts feminine at the core, since at this point she is a female, acting like a male, acting like a female. Even though out of her “Rosalind” love game she assumes the role of Ganymede with Orlando, in their game, she is still Rosalind, a female.
This directly corroborates society’s viewing of her as the description only includes her sexual physical assets. Duffy writes this because she is trying to convey the sufferings of women in society as they are consistently objectified, devaluing their nature as a human being, and she invokes people to make a change. This theme of valuing women in a restrictive way as one only notices the physical elements of a female is continued throughout the poem, for example when the artist “is concerned with volume, space”, or “You’re getting thin, Madame, this is not good”. This directly references the corporeal elements of a body. The purpose of this quotation is consistent with the aforementioned one.
3.1. Introduction As it was stated earlier, one of the key terms in the present thesis is female grotesque. The researcher tends to see how the plays, Cleansed, Phaedra and Blasted, can be read in this respect. The point is that the narratives within these plays try to penetrate gender and sexual identities through the violence. This violence is not related to any gendered or sexual identity, whether male or female, it seems that Kane wants to put an end to these norms.
Sherman sought to force the public to question the seductive and often oppressive influence of mass-media over our individual and collective identities. Sexual desire and domination, the fashioning of self-identity as mass deception, these are among the unsettling subjects lying behind Sherman's extensive series of self-portraiture in various guises. Despite not aligning herself directly with feminism Sherman does conclude her work is, in fact, feminist. The work is what it is and hopefully, it's seen as feminist work or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff. The portrayal of women is a central theme throughout Sherman's career and can still be seen in her more recent works.
Siemon has noted the trend to tone down the violence of Desdemona's physical struggle with Othello. Neill suggests that interview mother wit of unease leap from their screen sharing of Iago's and order 's horror at the interracial sexual encounter viewed as innately "adulterated" and
Although figure (2) can be seen as the woman holding power over the men, the media thinks that figure (2) does not display a scene of female seduction, but rather objectification ("Dolce and Gabbana Pulls [...]”). They say it is offensive for woman to be left exposed and as an object to be looked at, meaning Dolce & Gabbana was displaying objectification. As opposed to the media, Dolce & Gabbana argues that the intentions were artistic which definitely characterize the brand. As mentioned in the introduction, the brand creates and develops their own advertisements, which gives them the freedom to express their unique creativity through different yet artistic adverts. Believing this, figure (1) was meant to depict a scene without any sexual violence; rather, it was created to be understood as a sexual game.
For example, in the Kappa Sigma email discussed earlier, the author wrote, “*Don 't fuck middle-eastern targets. […] You want your cock smelling like falafel? Filth” (Hartmann, “Frat Email Explains Women Are "Targets," Not "Actual People"). It is clear that the author saw Middle Eastern women as sex objects who, due to racist ideology, are not worthy of even that distinction. Earlier in the email, the author explained, “I will refer to females as "targets".
The argument of the essay is trying to persuade the audience to realize how inappropriate it is for a man, transgender or not, to define women. The style of argument is similar to that of a persuasive writing.The author tries to appeal to the more logical side of her audience by stating the facts regarding a woman’s physical anatomy that men will never be able to experience, let alone understand. However, the author relies more on pathos and ethos to persuade her audience rather than with facts. The author’s message primarily regards what women are thought of as being. Since the argument is primarily backed with pathos and ethos, her persuasion does not have a lasting effect on many people who are less easily persuaded simply by addressing their emotions.
She even makes an allusion to Virginia Woolfe’s A Room of One’s Own, in which she discredits the homogeneity with which the mainstream feminists try to tackle women’s issues by saying “A room of one’s own may be necessity for writing prose, but so are reams of paper, a typewriter, and plenty of time” (116). Not even established authors can escape the blunt reality with which Lorde writes. She blatantly declares that her female readers will never understand each other’s struggles: “Some problems we share as women, some we do not” (119). Some might ask then how can we work together if we do not share the same issues? It seems as if Lorde’s attempt to shed light on social inequalities has only allowed the oppressors to fall further into indifference.
It shows that she very want to prove that comedy could represent feminist power and meanly feminist could be funny. However, Cohen proved them wrong by making comics using humor and feminism. Taylor also talks about Cohen is also writing about what women are facing like sexual assault in her comic. Cohen’s art shows feminist power with the use of comedy. Taylor is using Cohen as a feminist symbol; by showing use that we could do anything men could do through the example of Cohen.
The book, Bad Feminist, written by Roxane Gay, is a collection of essays that argues about many topics of feminism and typical problems in today’s society. “What We Hunger For," is one of her personal essays. Gay reveals to her reader the difficult journey she had to endure as a teen, while also taking her reader through the cultural experiences that many girls endure but never talk about. She later explores The Hunger Games trilogy and its heroine Katniss Everdeen to emphasize the cathartic and sobering stories in young adult literature. Gay claims that through the use of young adult literature and movies that speak of true experiences and accomplishments, the dark past young adult endure can be unlock and resolved.