Aunts also show women’s complicity. They reeducated the handmaids by brainwashing them and punishing them. For instance, Aunt Lydia makes excuse to the men by saying that men by nature are aggressive and cannot control their sexual desire. “Men are sex machines, said Aunt Lydia… It is nature’s way. It’s God’s device.
Manipulating Macbeth and driving his first few steps towards the throne, Lady Macbeth is distinct in her desire for power and willingness to pursue it. This was, of course, especially significant for the time period where women were generally expected to operate in the shadows, adding to her scandalous nature. While plotting her path to the top, Lady Macbeth worries aloud that Macbeth “is too full o ' th ' milk of human kindness / To catch the nearest way. Thou wouldst be great, / Art not without ambition, but without / The illness should attend it” (I.v.17-20). When presented with the chance to claim the crown, Lady Macbeth’s mind immediately turns to murder, her only concern being the morality of her counterpart, characterizing her as a dominant and manipulating woman.
Beckman states that she often alternates between active and passive (26). They use their sexuality to control and manipulate the man into doing her bidding, often these tasks are immoral acts that will benefit her, however, it would bring eventual destruction for the man. The femme fatales is often brought to justice and punished by the protagonist, ultimately she gets destroyed. Beckman adds that “the dangerous woman is almost always punished for her threat to masculinity and male power. The strong, independent, and sexually provocative femme fatale is typically subdued toward the end of the film noir, through her death, her abandonment, or her "rescue" from moral decline by a man.
According to Laura Mulvey’s theory, “women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness” (837,). This is proven right in the film “Shanghai Express” 1932. The film highly focuses on the sexuality of two women, Shanghai Lily (Marlene Dietrich) and Hui Fui (Anna May wong). The two women are prostitutes who are looked down upon but at the same time are “displayed” for “strong visual and erotic impact” by developing Scopophilia. The character and status of a woman that uses her sexuality as a form of income rather than in a committed relationship are represented as shameful and unhealthy.
In the beginning Shakespeare’s Macbeth, Lady Macbeth was a ruthless and masculine woman. She showed the audience that, mentally and emotionally, she was stronger than Macbeth. Although as the story started to continue the audience began to see that she was becoming mentally insane. Throughout the story there was also evidence of shakespeare showing the more masculinity you had the more cuel you became. Through Lady Macbeth’s change from ruthless and masculin to insane, Shakespeare illustrates the impact of murder.
To a certain degree, they reminded me of all those gullible women tricked and seduced by Don Juan in The Trickster of Seville and the Stone Guest. However, in this novel, it is not just Yasuko the one who plays with them but also Mieko, the master puppeteer behind Yasuko’s actions. This contradicts the traditional gender roles, as women are usually the ones seen as weak, naïve and easily manipulated and men are the ones in control, with a strong character and with the power to manipulate other people. Therefore, I think that gender roles are reversed in this novel. Starting with the Noh Theatre reference, where men also take female roles, we can see throughout the novel how there's not a defined male or female behaviour, as women seem to have attitudes traditionally related to men and men seem to act like a woman is traditionally expected to.
In The Canterbury Tales, by Geoffrey Chaucer, women are treated as objects and sexual entertainment. Women are defined by their beauty, social standings, and upbringing. What women want is control over men and to be defined by their wisdom and intelligence. Several female characters, two in particular, Alice and Alisoun support the strength of women and reject that fact that they are looked at as less than men. The women have little control over the men and they slowly gain their power by manipulating men and using their sexual desires to entice them, thus giving women more control over men which is very rare.
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.
Pocahontas become an embodiment, not of FNMI society, but American society and American desire. The stereotype of FNMI women as easy targets have real world consequences. American FNMI women have reported to have experienced high rates of sexual assault. Often, these cases showed that FNMI women were usually assaulted by non FNMI men. To summarize, this movie does display a convincing portrayal of stereotyping and its negative effects.
This constant cycle of creating and destroying life In Sir Gawain and the Green Knight, the reader is presented with Lady Bertilak as a pinnacle of assertive female sexuality. Lady Bertilak’s most powerful scenes are during her attempted seduction of Sir Gawain, where her mental prowess is fully evidenced through her manipulation of the traditional codes of courtly love to get what she wants; in this situation, Sir Gawain. “The co-occurrence of three seduction scenes with three hunting scenes” is often referenced by critics, who suggest there has to be some correlation between the two. Whilst J. D. Burnley goes on to note that the result of