Dracula’s Defacing of the Victorian Era Morales Dracula intentionally challenged the ideals of the Victorian era. The Victorian era was a time that was “[...]flooded with prints, books, and paintings, all of which circulated countless images of decorative, pious, and pretty girls who obediently served the needs of males” (Casteras, sec. “Demur Girls”). Women were also remembered as being demur or in other words reserved, modest and shy. As stated in Casteras’ article,“[...]endorsed gendered constructions of childhood, whether of demure girls or mischievous boys” (sec.
He also showed how women were sexualized, misbehaved, and evil through the behaviors of Dracula’s three daughters. The ideal woman can easily be turned to the dark side and become a threat to society which Stoker showed with the character Lucy Westenra, as she went from being idolized to a sexualized, evil,
The women who is suppose to love him not matter what critiques everything about him. Dale tries to cover up is momsexual feelings with Vera so he is putting up with her, but Dale stops everything when his wife critics him. Vera has the power to control Dale and she has gained it by insulting him over the
How are women presented in Macbeth & Of Mice & Men? Shakespeare and Steinbeck present their female characters in a misogynistic light. To compare the respective pieces we must consider several factors, which acted as a driving force towards the portrayal of the female characters in their respective texts. Shakespeare presents Lady Macbeth as a character who steers away from the stereotypical characteristics of women derived by the societal norms of an Elizabethan society. These three characteristics include: being a faithful and practicing Christian, being submissive to one’s husband, and a good caretaker.
This idea of female freedom, however, is not embraced by the male characters, who feel it threatens their masculinity: “It was they who were embarrassing us” (4). When Lengel, the “kingpin” of the A&P takes notice of the girls’ actions, he quickly steps up to protect his masculinity. In removing the girls from the A&P, he is attempting to put them back in their established place. As one critic noted, the male characters feel that “Either women were to stay in one place and allow themselves to be walked on as ‘houseslaves’ or mothers or they were to provide their sexual services when men so desired” (Douglass). The male characters expect
Mina and Lucy Bram Stoker’s gothic novel, Dracula, was written in the nineteenth century, where he uses the main two female characters to depict the varying role between man and woman. Dracula is set in the Victorian Era, where the man in the relationship has all the power. Stoker uses these female characters, Mina and Lucy, to offset these prejudices. Lucy, is your beautiful and innocent woman, who is defined by her sexuality and is left uninformed about the dangers of Dracula. Mina, who can be defined as pure and innocent, shows off her dedication to her husband by keeping up with his studies which ultimately saves her.
Several Arab stories illustrate the oppression of women under patriarchal societies through controlling female sexuality that results in broken identities. In the Women of Sand and Myrrh, after Suzanne evidently enjoyed their lovemaking, Maaz reminds her of the traditional gender roles of women, “God created you to bear children, and to give pleasure to a man, and that 's all.” By saying this, he indicates that Suzanne should never delight in sex as it represents a purely functional purpose for women. The idea of sex as a process serving men alone perplexes Suzanne who asks what Maaz means, and he answers, “God created women to make children, like a factory. That 's the exact word, Suzanne. She 's a factory.
A conservative analysis of Hester Prynne’s feminist ideals appear in writer’s critique of her independence, her rebellion, and her personal interactions. Hester displays her independence in her sexual expression, self-reliance, and parenting. To further assert her feminist ideals, Hester gains independence through her sexual expressions. Since Hester’s husband did not take care of her sexual needs, she provides for them through her adultery. Hester feels that her sin comes from the “original sexual incompatibility” between a husband and wife.
These flavours of irony are enhanced through characters’ names. “Alec D’Urberville” is a counterfeit D’Urberville whereas “Tess Durbeyfield” is a rightful “D’Urberville”, evoking male perfidy and nobility of the “fallen woman”. Similarly, through the play title “Hedda Gabler”, Ibsen’s refusal to subsume Hedda’s personality into her marital title “Tesman” foregrounds her unorthodox personality, portraying the encumbering marriage facing every Victorian women, in which the limitation of the feminine role is embedded in the very nomenclature of society. The writers endow Tess and Hedda with strength necessary to unleash revenge against the “seducer”, a polemic against masculine subduer of female innocence. Both writers subvert traditionally masculine symbols to convey the idea of retribution with Hardy
Domestic Imprisonment in The Yellow Wallpaper The Yellow Wallpaper is an epistolary short story written in 1892 using conventions of the psychological Gothic horror to critique the position of women in the domestic circle within a Victorian society by prominent American feminist and social reformer Charlotte Perkins Gilman who lived from 1860 to 1935. This work of fiction is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century towards women’s health, both physical and mental. In this essay, I will be discussing the portrayal of imprisonment within the domestic sphere in The Yellow Wallpaper with close commentary on space and setting primarily, as well as supporting references to other