Throughout the play, she avoids the brutal realism of direct light as it gives ‘light’ to her real self so she is obsessed about her physical appearance. To maintain this illusion “[she] cannot stand a naked light” , the diction of naked can relate to her promiscuity and herself which connote the astonishing and gobsmacking of her sexual endeavours. In the past after her awareness of her husband’s homosexual betrayal Blanche had been using her body and appeal to secure stability and comfort from men in difficult situations. Blanche had to turn herself into a tool used for sexual pleasure in order to be recognised and contorted by men. A double entendre, used to subtly and subconsciously hint to Mitch that she is overwhelmingly embarrassed about her risqué, and she cannot bare to stand herself in that light.
(The Yellow Wall-Paper is also the exemplification of the struggles women faced in regard to striving for freedom of thought. It was difficult for women to achieve freedom of thought because they were being trapped in the mental confinement of their husband of whom they are bound to because they are dependent on them.) From a feminist viewpoint, it is apparent in this story that John is a prime example of a typical man from the late 1800s who has total control over his wife. John treats his wife like his subordinate and makes her miserable to the point to where she believes that it is just a normal part of a woman’s life. She notes that “John laughs at me, of course, but one expects that in marriage.” This mindset the narrator upholds leads her to a point of where she feels so unhappy that the parallelism between the grotesque wallpaper and her feelings in the marriage becomes apparent.
John Updike’s “A&P” demonstrates through several methods the struggle that unwritten principle can place on women in their search for individuality and personal freedom from oppression. Sammy’s thoughts demonstrate this very concept, as well as Queenie’s actions as an independent woman, and the unfair and morally unjust establishment of a woman’s place by the oppressive male characters. With these ideas, Queenie is clearly represented as an innocent feminist who is ultimately shunned by her male oppressors. Sammy, the typical male totalitarian, is very much condescending towards the story’s female characters, automatically assuming ignorance on the part of them. His lack of understanding towards women exhibits itself on the very first page,
She desperately tries to get as far as she could from Minx but Minx tries all possible ways to develop a closer relationship with her by using implied threats in order to tighten her web around her. While Minx enjoys the sexual encounters, Amrita feels guilty and entrapped. Minx, who understands that the disclosure of her lesbian orientation has created a dramatic repercussion in Amrita, tries to win the sympathy of Amrita by narrating a fictitious story about her own abuse as a child from her father. Minx not only wins the sympathy of Amrita but also wins the favor of Amrita’s parents by promising to take good care of their
This also contributes to her life being labelled as a “terrible waste” because she probably did not have any outlandish aspirations as a small child and, consequently, could not form “regular” aspirations as a young adult. As they get older, Veronica is left to raise her siblings as the responsibility had “fallen on her”. Okeke does help as he “helped her fetch water from the stream and occasionally chopped firewood”, but there is only so much that he can do as his support is barred by his own “physical inadequacy”. Especially as Veronica is abused by her father “night after night”. Both Okeke and his father seem to both be responsible for this portion of Veronica’s life.
The lack of the woman power is quite evident from various full spectrum incidents within the story. This story tries to properly From Dolorita 's failure to postpone her wedding to Donis 's sister 's abuse at the hands of her brother to Miguel and Pedro 's rapes of villagers -- all of these incidents effectively convey the statement that women were immensely oppressed at that time. The only character to overcome and transcend the power structure is Susan. But she is trapped in the hallucination of fantasy and grief. Therefore, she has to sacrifice her own sanity in order to overcome every type of obstacle in the male dominated society.
Brett’s fluidity within her own identity and sexuality confuses the men in the book, who are in love with her and are unfamiliar with the concept of a free, independent woman. This then, as mentioned above, evokes different reactions from the men. Cohn’s huge reaction was, of course, beating up the other men he was competing against to
The male oriented society expects the married woman to unconditionally surrender her identity and be selfless submissive, meek and always dependent on men. The novelist through her work wants to give voice to such unfortunate women. She makes her women characters to question the social conventions and traditions and gives power and courage to over through the old myths and make them to carve an identity of their own. Key words: Arranged marriage, Patriarchal structure, Marriage bond, Victimization, Pativarta, Transformation, Empowerment and Emergence. They are women in virtue of their anatomy and physiology.
Catherine Earnshaw, who went through on a “shape-shifts”, when she made a decision and she rather chose Edgar Linton to her husband, than to be with a man from a lower social class. This movement of hers defined her personality and also let her be seen as a material girl. With her reactions she wakes up the readers’ antipathy for her in every way. Her relationship with Heathcliff to the "dynamics of the Gothic romance, in that the woman falls prey to the more or less demonic instincts of her lover, suffers from the violence of his feelings and at the end is entangled by his thwarted
Thomas Hardy constructs a twisted web involving four characters in six marriages in his last novel Jude the Obscure. The controversial actions and philosophies of his female characters in this novel created such an outcry among readers that Hardy gave up novel writing forever. Both Arabella Donn and Sue Bridehead shun traditional views of marriage as a lifelong commitment, but Arabella follows her physical desires and lust for excitement, while Sue is led by her conscience and social pressures. Arabella is Hardy’s stereotypical sexual adventurer, but she crudely masquerades as a woman attempting to appease society’s accepted view of women. She is driven by her sexual impulses and, like Eustacia Vye, frequently aligns herself with men for her own enjoyment and fulfillment.