Women who express their sexuality are often seen as sinful or given into evil. In Daphnis and Chloe Lycaenion is not shamed for her actions, but she is written as a helping hand. She teaches Daphnis how to love “properly” and this is portrayed as furthering his connection to Chloe. This entire scene is showing sexual maturity to grow Daphnis and Chloe’s relationship. Another sexual scene is the attempted rape of Daphnis, which does two things.
Kat is known as being anti-social, and utilises every chance she has to alienate those who show interest in her. She has been nicknamed extremely rude things such as ‘heinous bitch’. When someone sets her up so that an infamous ‘bad-boy’, Patrick Verona, is to take her out on a date, being bribed with money of course. He becomes the first person to try to get through to her, and is the only one who kept trying even after her attempts to push him away. There are similarities in the theme of bribery to get the ego boost that will come from breaking ‘the shrew’ that are seen in comparison to Shakespeare’s play.
Again, suggesting sexual assault. At this point, Arnold could be described as an obsessed stalker “who wanted to find out everything about his potential victim” (Mary). Arnold can obviously be described as a disgusting creep, but Connie is some small part of the reason why Arnold had such an easy grasp on her. Connie’s naiveness is why she didn’t realize her fate. She was “too caught up in her own erotic, romantic world” (Mary).
The transgressive depictions of the two female protagonists as willing prostitutes is especially noteworthy, seeing as they challenge socially-established moral codes that place great value on female chastity. Moreover, the two female protagonists’ control over their sexuality seems to grant them a unique form of ‘power’ in relationships with men who are sexually attracted to them. It is hence obvious that there is a direct relationship between female sexuality and power that is portrayed in the two
Sexual Objectification as the Wonderful Part of Sexual Life Sexual objectification is oftentimes – and mistakenly - used to portray women as being dehumanized sexually, often reduced to objects, things and commodities. Nussbaum argues that careful evaluation demonstrates some objectification can be compatible with consent and equality, and even be a wonderful part of sexual life. Sexual objectification, I argue, does have positive implications for women, since it can sometimes be humanizing, enhance mutual respect and social equality, as well as promote and respect autonomy. Sexual objectification, a complex concept and often ambiguously defined, has been argued by feminists to describe the treatment women as mere things to be controlled
Many feminist critics would agree that Ophelia’s madness is directly related to her femininity and sexuality, suggesting that the female figure is inherently deranged. Showalter examines these ideas, posing the question, “[…] does she represent the textual archetype of woman as madness or madness as woman?” (Showalter 283). Showalter acknowledges a few different renditions on this topic, most of which center around the belief that Ophelia and Hamlet were sexually involved with each other and Ophelia’s psychosis was ultimately the “predictable outcome of erotomania” (Showalter 287). She later states that “Late Augustan stereotypes of female love-melancholy were sentimentalized versions which minimized the force of female sexuality, and made female insanity a pretty stimulant to male sensibility,” (Showalter 288). This idea further emphasizes the belief that Ophelia’s madness was purely the result of “female love-melancholy” originating from her sexual indiscretions with
Recognizing Salinger’s record with attraction to young or innocent girls and women, this could be seen as problematic. In Anne Marple’s essay, “Salinger’s Oasis of Innocence,” she describes how many of Salinger’s female characters appear to almost be asexual. When women in his works are sexual beings, this is often seen as a negative, almost “witchy.” Marple quotes William Wiegand who said, “Where object of delight is found in women, these women are often little girls or nuns, and what is admired is sexless in essence” (Marple). Salinger even addresses the issues of sex when he has one of the protagonists of “A Perfect Day for Bananafish,” a dissatisfied, newly wed woman, Muriel, reading an article titled, “Sex is Fun--or Hell” in the opening scene. In Gary Lane’s essay, “Seymour 's Suicide Again: A New Reading of J. D. Salinger 's 'A Perfect Day for Bananafish,” he states that, '“Muriel is basically simple--and basically corrupt” (Lane).
The word coquette is a feminization of the word coquet, which simply means wanton, and is a diminutive of coq, which means cock. To be a coquette is to display a feminized form of masculinity through flirting. Wharton is seen as a flirt who wants to make her own choices and wants those choices to result in her being happy, which is far too masculine for her to do. Being widely called a coquette rather than a flirt demonstrates the underlying reasoning behind the disapproval of those around her. Her masculine actions of making her decisions herself and focusing on herself when she makes those decisions makes her peers uncomfortable, and they twist that discomfort against her to shun her from
The Scarlett Letter is based on false pretense and a woman giving her sex to someone that she is not married to. A practice common amongst men however when woman have sex for pleasure and pleasure only they are labeled as whores amongst other names to elaborate Hawthorne goes on to say, “Throughout them all, giving up her individuality, she would become the general symbol at which the preacher and moralist might point, and in which they might vivify and embody their images of woman's frailty and sinful passion. Thus the young and pure would be taught to look at her, with the scarlet letter flaming on her breast,—at her, the child of honorable parents,—at her, the mother of a babe, that would hereafter be a woman, —at her, who had once been innocent, —as the figure, the body, the reality of sin. And over her grave, the infamy that she must carry thither would be her only monument.”(Hawthorne 118). This is a form of demeaning women and setting them beneath men by simply saying that they cannot do what men commonly do thus further enforcing
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.