Yet where said danger is directed changes due to context. During the Castle of Otranto the women of the book are constantly under threat at the hands of the malevolent Manfred. The women are constantly targeted and this is seen through Manfred’s desire for Isabella - his late son’s betrothed and his disregard for his wife - Hippolita. Hippolita, especially is characterized as weak, feeble and hysterical. She unswervingly bows to the will of her tyrannical husband “Hippolita needed little persuasions to bend her to his pleasure (pg 89)."
To try to prove his masculinity to Katherina, he berates and abuses his servants as to make him look manly. He wants to bend Katharina to his will and is willing to be cruel to her, to prove he is able to tame his wife and be virile. This, in turn, causes Curtis to state “By this reckoning he is more shrew than she” (act four, scene one), but Curtis has known Petruchio before this event and has not seen this shrewish side to him before. This suggests Petruchio is only putting on an act and is only presenting himself like that to Katherina, and his true nature is not so shrewish. Petruchio is also described as a shrew on his wedding
“Gaslighting” is a term to describe the gradual manipulation and abuse used to make another person feel as though they are going crazy. While it is inherently manipulative, it still can often go unnoticed to both parties, and the vicious cycle causes the victim to actually go crazy. The term originally applied this to a husband and wife relationship, which is the main relationship seen within “The Yellow Wallpaper.” The narrator in this is seen to be going crazy throughout the story, and the husband is seen as another victim trying his best to help her. Gilman uses their relationship and dialogue throughout the plot to showcase the consequences of gaslighting, and warn women of this “hidden” form of abuse. Gaslighting literally describes a movie in which the husband slowly dims the gaslight more and more, and convinces the wife that it is all in her imagination when she starts to notice.
After analyzing the pattern for awhile, the narrator witnesses a woman trapped behind bars. Eventually, we realize that the woman in the wallpaper is the narrator. Throughout the story, the narrator 's mental state continues to deteriorate. Being both the narrator 's husband and physician, John assumes that he knows what’s best for his wife. However, in this essay, I will argue that Gilman portrays John as an antagonist or “villain” in her story because, through his actions, he is the main reason for his wife 's descent into insanity which proves that he didn’t know what was best for his wife after all.
Furthermore, Feminist Criticism provides a better view of literature because it shows that women can be powerful. When Emilia finds out that her husband has been plotting an evil plan she says,” Tis proper I obey him, but not now”(Othello V.2.195). Emilia refuses to help her husband after she finds the cruel intentions he has despite the expectation of women always being submissive to their husbands. Women also have a voice and feelings, they are capable of defying their husbands commands when they know what he expects is simply wrong. In a literary article,The Role of Women in Othello: A Feminist Reading states that,” Society weighs heavily on the shoulders of women; they feel that they must support the men and defer to them, even if the actions of the men are questionable” (Literary Articles).
Characters in Shakespeare 's play Romeo and Juliet are coerced to obtain certain roles depending on social class, gender, and age solely because of the severances caused between the Montagues and the Capulets families. One’s identity in Verona is defined by belonging to either one of the two quarrelling families, the Montagues or the Capulets; this leads to discrepancies between Romeo and Juliet’s relationship. Love powers the two forbidden lovers to go against their identities, and through much struggle and many hardships, Romeo and Juliet finally create their own identities, only to be rewarded with their own deaths. Although the two families play a major role of the identity of an individual in Verona, there are several other factors as well.
In fact, Isabella ironically draws upon patriarchal social expectations to slight their respective assaults on her sexuality, such as when she tells Claudio that their “father’s grave / Did utter forth a voice” — which expressed that he “must die: / Thou art too noble to conserve a life / In base appliances” (3). Moreover, instead of undermining female autonomy, the Duke shows signs of reinforcing it as he aids Isabella in her struggle to maintain her sexual freedom. He orchestrates a scenario in which Isabella partakes in a bed trick, thus preserving her sexual independence while also subverting Angelo’s autonomy. Here, both male and female characters demonstrate the ability to influence another’s honor; even the Duke, a male character, impedes upon Angelo’s honor, rather than remaining unified as would be typical of the patriarchy. Thus, the female is not merely an endangered object to men, for she is also endangers patriarchal control.
This lack of women could be caused by requirements to actors – men played both types of roles, and it could be difficult to find enough amount of travesty. The period of time also affected women’s behavior in the play. Both Ophelia and Gertrude were quite obedient and passive. These traits led to their death. This applies especially to Ophelia who did not demonstrate the presence of own opinion and easily became deranged because of Hamlet’s behavior and father’s death.
Being an Absurdist, Albee believed that illusions often generate a false content for a person’s life and hence, should be abandoned ("Edward Albee: Who 's Afraid of Virginia Woolf?"). The reference to Woolf is probably aimed at evoking the darkness and chaos, hidden behind seemingly stable relationships as depicted by Woolf in her novels and Albee also wants to convey that there are always different versions of reality. Albee’s jingle is significant in each character’s life and portrays the deep fear that each of them has in confronting the harsh realities in their lives. Honey, the seemingly devoted wife of Nick, is one such character that is terrified of
In my opinion Hamlet is a peculiar subject from a psychoanalytical standpoint, especially in the event of attempting to pinpoint his oedipal tendencies, mainly from the fact that throughout the play it becomes evident that Hamlet has a number of three paternal figures, King Hamlet, Claudius and Yorick, the first two of which compete with him in two different oedipal triangles. • King Hamlet Starting from the hypothesis that Hamlet feels strong sexual attraction towards his mother, Gertrude, it becomes easy to deduce that his father constitutes one of the obstacles that prevents him from consummating his urges, the other being the awareness of the immoral aspect of having intercourse with his mother, especially considering his family’s regal position. Hamlet acknowledges his father’s superiority and the fact that he is the one that is in possession of Hamlet’s cathexis, and gradually develops feelings of hate towards him and wishes he would be removed. The immoral feelings towards his mother and his hateful feelings towards his father are repressed, and take a latent aspect. His outward behavior is manifested through admiration of his father.