Sophie Flack elaborates on these issues through each chapter in her book, Bunheads by using her choice of rhetorical devices and style to show readers just how difficult it is to be a ballerina. Throughout the book, Flack primarily uses ethos. She uses this to her advantage because she was a ballerina (“The Boston Globe.”). This makes it very easy to write a book about something that consumed a lot of her time. Her main character, Hannah, is based off of herself.
In Gothic fiction we find different kinds of women, which embody the views of society towards women in the late nineteenth-century in England and Ireland. Thus we find strong, innocent and pure women like in Stoker’s Dracula, but also dangerous and powerful ones as we can see in Le Fanu’s “Carmilla”. However, we also could talk about some novels in which the role of women has disappeared completely, as we can appreciate in Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde. The aim of this paper is to analyse the role of women in these texts, paying special attention to Stoker’s novel, and to draw an overview of how they were represented in the society of the nineteenth-century. Freeman claims in his essay “E.
The book “ I am Malala” is a book that speaks essentially of something everyone deserves, withal not everyone has. Education is an interesting topic in this book it speaks about is how Malala started from zero all the way up to the big leagues. The use of rhetorical devices in The Book “I am Malala” Is a captivating story of a young girl who fights for the education of women which in her ideals is considered a right. Rhetorical devices in the book are present throughout the entire book since Malala is a person who utilizes emotions and facts to back up her arguments and she uses these rhetorical devices in the face of danger. Malala is a strong young woman with the power to change the world through the use of her voice.
In contrast, The Dressmaker does contain strong lead roles, however majority of them being female rather than male. This modification present in The Dressmaker encourages the theme of women’s empowerment showcased in the story and overall engages a modern audience with its contemporary approach to a current issue. Another theme that is also addressed in The Dressmaker which is not viewed in Spaghetti Westerns is the theme of domestic violence. Both Molly and Marigold are understood as being victims of abuse under antagonist Evan Pettyman. Nevertheless, identical to most Spaghetti Western conclusions, it is the protagonist who triumphs and the antagonist who catches defeat.
Consequently, Esch looks to the heroines in the stories of Greek mythology to stand in and act as her female role models. She is particularly drawn to female characters who, at some point in their stories, triumph over a male figure, or the concept of masculinity more generally. Mythology becomes so significant to Esch that she begins to describe events in her life in mythological terms, most notably the hurricane the arrives at the end of the novel. Esch’s recurrent references to myths, particularly the female characters, serve to emphasize the connection between femininity and strength that prevails even in her male-dominated environment. Esch is surrounded by male characters, including her father, brothers, and friends, who do not believe in the power of womanhood that is exemplified in Greek mythology.
In paragraph 11, the text states, “She appointed officials and advisors; dealt with the priests; appeared in public ceremonies first behind, then beside, and eventually in front of her nephew.” This quote explains she was a good leader because she took all the responsibilities a pharaoh would take. Also in paragraph 12, the text states, “Egypt required a strong pharaoh to ensure maat. Hatshepsut could be that pharaoh—even if she did happen to be a woman.” This quote explains that Hatshepsut was a strong pharaoh because she was willing to take the responsibility a leader or pharaoh would do. In conclusion, Hatshepsut was a strong leader because she took the responsibility that any pharaoh would
As a result, this carved a path for future females pursuing positions of leadership. Throughout Hatshepsut’s lifetime, she commissioned the building of many different temples dedicated to powerful female goddesses (Cooney 225). These stunning works of architecture stood standing for years after Hatshepsut’s death, and they kept her ideas and hopes of equality for women alive, even after her death. These temples kept the image of female power relevant even after the destruction of Hatshepsut’s legacy and as a result, created a more accepting society. Additionally, a few of the stories concerning Hatshepsut’s divine legitimacy survived the destruction of her images and texts.
Both William Shakespeare with his play King Lear, and Jane Smiley with her modern adaption A Thousand Acres, create their own respective versions of a strong- willed woman who tries to survive the situations she is faced with in her life. Shakespeare created the malicious and scheming character of Goneril who was raised with power and status, while Smiley created the subdued and obliging character of Ginny who was raised to be a respectable woman with strict morals. Despite being placed in similar situations regarding their father 's actions against them, relationship with their sisters, and marriages, Goneril and Ginny reacted with contrasting mannerisms and attitudes towards their situations because of their different background and morals
In the Harry Potter world there is the usual male and female genders. Hermione being one of the main female roles. Harry and Ron are two of the main male characters in the novel. At first in the story when Hermione was introduced it portrayed her by saying “She had a bossy sort of voice, lots of bushy brown hair, and rather large front teeth” (Rowling 83). Gender stance in this quote are shown greatly due to how Hermione is portrayed as if she was some sort of intellect who looked down upon the males.
Throughout most of the play, she is portrayed as powerful and confident, and more daring than Macbeth himself, though this image changes when she shows signs of weakness, resulting in her death. In Lady Macbeth’s first appearance in the play, Act 1, Scene 7, she behaves in contentious ways that might lead the audience to question her morals. After reading the letter in which Macbeth shares the news, the first words in her soliloquy show her determination and ambition: “Glamis thou art, and Cawdor - and shalt be what thou art promised!” The fact that she states that he shall be what is promised and become king, shows that she is aware of her own strengths and influence over Macbeth. It reveals the possibility that she is the dominant character in their partnership. Aware of Macbteh’s weaknesses, Lady Macbeth knows that he is too gentle to carry out what she may have in mind, and that she will need to help him.