During the romantic period, society judges women on their beauty, something that they have no control over. This idea of beauty was pushed on young girls and this made them feel as if beauty was the only thing that’s important, but the romantic period literature was going to change that. Beauty, shown as the single most important thing for women in Northanger Abbey and A Vindication of the Rights of Women, which is wrong because it’s degrading for women to be judged on something that they can’t control, this then affects how women are depicted in literature, changing the work’s tone to be satirical, making fun of this idea, or rebellious, in going away from these beauty standards. Instead of degrading women based on their beauty, women should instead get compliments on their beauty. But most women had no way to change these standards, the only thing they could do was make them into a joke, which is exactly what Austen did in Northanger Abbey.
Although she admired Pope she argued, “nor education a practical solution: wisdom makes women envious and men resentful” She argued that education of women was not the main problem with the way men think of women and why women had to use their “virtues” to gain security. She writes, “Till mighty Hymen lifts his sceptred rod, and sinks her glories with a fatal nod, dissolves her triumph, sweeps her charms away, and turns the goddess to her native clay.” She notes that women can only rely on beauty and charm for so long; once they are gone,
She took all his shame away and turned it into something useful.” Here we see Hulga planning to use what she thinks is her position of power to manipulate Manley, whom she believes to be vulnerable. It's sort of funny Like, she thinks she's so worldly she calls herself a "true genius" that she's in a position to teach him a thing or two… but, of course, she isn't worldly at all, and he's the one who winds up giving her what might be called "a deeper understanding of life." We can see her weak heart and lost leg as symbols for her vulnerability. Yes, her physical heart is weak, but so it her metaphorical one she is not wise to the ways of the world and the ways in which people work. So while she stands steadily in the company she keeps at home, she's actually on shaky footing when she encounters someone from beyond the safety of her home.
McCormick uses these women to make the story more real rather than relatable to the audience. I use the world “real” in the sense that it could be true. The idea of a girl with the same story of this main character seems to be plausible. When the novel introduces the proprietor of the brothel - also known as the “Happiness House - Mumtaz, the intention does not aim to spark a connection or build rapport with the reader. Made to give shock and horror, Mumtaz creates one of many true roles in this terrible world: “The fat woman asks angry questions in the city language.
Power is defined as “The ability to do something or act in a particular way, especially as as a faculty or quality.” Throughout history, women have significantly lacked not only power but the ability to be recognized as equal to their male counterparts. In Arthur Miller’s The Crucible, women are somewhat able to successfully gain power from society due to the fact that they use manipulation, deceit and their sexual desire (especially the character of Abigail) to acquire positions of power in their largely patriarchal society. Women are able to attain this power through using their intellect to express manipulation, and lying in order to receive attention that translates into power. Abigail Williams, the main antagonist of the play, uses her sharp wit and manipulative personality in order to gain power through causing hysteria and chaos in a restrictive 17th century Salem environment. The attention Abigail draws to herself through the accusations made in the witch trials generate a great source of power for her, when Abigail and John Proctor, of whom previously had an affair have a conversation regarding the witch trials she says, “I have a sense for heat, John, and yours has drawn me to my window, and I have seen you looking up, burning in your loneliness.
Stereotypical women in the Dark Ages was controversial because they were treated with idolatry and reverence, but were not respected as capable members of the human race. Much of the chivalric code that knights prided themselves on was based on the assumption that women could not achieve much for themselves, and therefore, men had to accomplish it for them. However, Sir Gawain and the Green Knight demonstrates that women possessed the ability to achieve their demands and utilize their influence however they desired. Morgan le Fay, Guinevere, and Lady Bercilak reveal that the accurate power of women is accomplishing their goals by any means necessary, including deceiving men, even in Camelot, a society ruled by men.
Unlike Adeline, both Mrs Mowbray and Glenmurray are aware that Adeline’s controversial views would be misinterpreted by society as a cover for her moral “frailty” (AM 170). The libertine rake, first presented by Sir Patrick and then a series of gentlemen who proposition Adeline in the text, consider her to be of easy virtue because she lives with Glenmurray without the protection of “an idle ceremony” (AM 462). What is progressive about Opie’s treatment of marriage is that even with Adeline’s change of heart towards the end of the novel, the primary positive aspect of marriage is its protection against social ostracism and insult. Marriage is not treated as a romantic union of souls because firstly that honour is given to Glenmurray and Adeline’s socially unsanctioned union and secondly, many bad marriages are shown in this novel, which is again a recurring theme in Jacobin novels. However, what Opie does endorse is the utility of marriage because it functions as a protection for female reputation, as a space within which both sexes are given more sexual liberty in the contemporary period (For example, Mr. Berrendale’s bigamy and the promiscuous married cousins of Glenmurray (AM 789, 510 )) and most importantly, it provides protection for children who are saved from the caprices of their parents’ affections, assured social status as well as a proper education.
It tends to upset the traditional power balance between the sexes and construct women as powerful and men as weak and threatened. The femme fatale was; a woman who seduces, exploits, and destroys her partners. O’Shaughnessy was deceitful and homicidal but also smart and ambitious. Their independence and power can be seen as a positive step in the representation of women. These women did not conform to the traditional role of the wife and mother.
I only pin it as inconclusive based on the ideological nature that Willeford derives her character from. Susan is dynamic; Willeford presents her in this way to combat the predictability that follows any character that is easily categorized. She may not be easily pinned as a strong character considering her unwillingness to stand up to Junior or her job as a prostitute, but she is able to act as an uncategorizable figure that has faced gender oppression and numerous challenges. All in all, I think Willeford uses Susan as a tribute to the idea that there are different, sometimes less conspicuous, ways to be strong, but the assessment of strength is still based on one’s personal perception and
Although she is eventually unsuccessful in undoing Sundiata’s conquering of the empire she is able to stifle the growth of his power through her own authority. Sassouma’s influence is so great that the word of Sundiata’s exile spreads to other kingdoms and they are refused admittance to towns and other kingdoms. This is so because the dominance and control of Sassouma is so great that other kingdoms comply with her will out of fear of her wrath. Sassouma provides a great example of a strong and influential woman because she is able to get what she wants from others regardless of rigid patriarchal structures set by years of cultural standards of male domination. For the time being she is stronger than other male rulers, Sundiata, and even the Buffalo Woman,