Daphne du Maurier’s Rebecca has captivated audiences since its initial release in 1938. Upon its initial publication, the novel did not receive the kind of critical acclaim one might expect from a novel with the commercial success at the time of its first publication and with such lasting influence. Sally Beauman writes in the afterword to the novel that while “some critics acknowledged the book’s haunting power and its vice-like narrative grip, but — perhaps misled by the book’s presentation, or prejudiced by the gender of the author — they delved no deeper” (Beauman 431). The novel was not merely overlooked, however. With the novel following the “the archetypal scenario for all those mildly thrilling romantic encounters between a scowling Byronic hero (who owns a gloomy mansion) and a trembling heroine (who can’t quite figure out the mansion’s floorplan)” (Gilbert and Gubar 337), it was and often continues to be seen as a rewriting of Jane Eyre into a more modern timeframe. While the similarities in both plot and structure are obvious, the criticism that du Maurier moved “progressive social agenda of the original novel backwards rather than forward with the substitution of the fiery, passionate Jane for the meek and mild unnamed heroine” (Williams 51) is problematic when considering the differences du Maurier made even when she chose certain aspects and settings of Brontë’s work to incorporate in her own.
The era of 1920s is known for flapper dresses, extravagant lifestyles, and reformation of women. Before this time, women were treated as property and did not have their own voices in politics and their personal lives. With the start of the 20th century, women yearned for a change. They wore shorter dresses, became more reckless, and took control of their lives. F. Scott Fitzgerald was a renowned author during the 1920s who provided commentary about the changes of women. In his works The Great Gatsby, “Winter Dreams”, and “Bernice Bobs Her Hair”, Fitzgerald shows how women 's attempts to gain independence during the 20th century initially fail due to society 's construction.
This extract of Flora Macdonald Mayors ' novel, 'The rectors daughter ', develops the theme of hedonism being extingished by the misfortune of unrequited love, through the perspective of a middle aged woman of the 1920 's. Mary Jocelyn, the stories narrator, aims to persue the man of her desires, however his absence of affection is prominant in this extract when we discover his devotion to another woman. This extract is significant to the era, as newly upcoming 'flapper girls ' encouraged a future of female independence and open sexuality, but this segment leaves connotations that not all women took this lifestyle by storm, and still remained unsatisfied as a woman when unaccompanied by a husband, as shown through Mary 's characterisation in the text. Throughout the excerpt, the consequences faced by the separation of lovers is evident to leave a negative effect on the person on the receaving end.
By all appearances, Miss Strangeworth is a sweet, old lady, living in a perfect, shiny, happy town. But appearances are not everything, especially in the case of Miss Adela Strangeworth of Pleasant Street. Miss Adela Strangeworth, a character in the short story “The Possibility of Evil” by Shirley Jackson, is a 71-year-old spinster living in a small town in the 1940’s. At the beginning, she seems like any normal old lady, but it is quickly realized that this is not the case and that she has a dark side. Of the many traits that Miss Strangeworth possesses, the most prominent are her deceptiveness, perfectionism, and the god complex that has developed.
We will analyse, in this essay, the differences as well as the similarities which exist between Jane Eyre and Incidents in the life of a slave girl written by herself. We will see that they differ in terms of genre, the period of history in which they find themselves, the way the characters are presented and so forth. However, they share some of the main values concerning womanhood, race and some other aspects of life which they both treat in different ways and yet they do so in a specific aim.
The end of the eighteenth - beginning of the nineteenth century England was characterized by the downfall of the revolutionary “Jacobin” movement which advocated for freedom and equality, and symbolizes a return to, as well as an empowerment of the conservative British patriarchal system. This was the context in which Amelia Anderson Opie wrote “her most political novel”(King and Pierce, viii) Adeline Mowbray, a tale which provides a case study about, as Roxane Eberle notes, “progressive ideas that heterosexual relationships can and should exist outside of marriage”(1994: 127). As a result the clash between these innovational type of relationships and the English legal and social norms collide in their representation of models of proper conduct
Whether it’s positive or negative, parents and teachers impact everyone’s lives in some way. “The Metaphor” by Budge Wilson is a short story told from the point of view of a gifted young girl named Charlotte. In the seventh grade Charlotte had an English teacher named Miss Hancock. While Charlotte’s mother disapproved of Miss Hancock, Charlotte loved her. Perhaps the reason Charlotte’s mother disliked Miss Hancock so much is because they are so different. Every morning Miss Hancock is happy and excited to see her students, while Charlotte's mother acts rather indifferently towards her own daughter. Charlotte’s mother feels very little sympathy for others, but Miss Hancock cares about each and every one of her students. Miss Hancock encourages
Within the past year, the treatment and perceptions of women have been challenged due to the various marches and movements. Nathaniel Hawthorne’s romance, The Scarlet Letter, presents how women were viewed in a Puritan society, falling into a rigid dichotomy of either being the “saint” or “sinner.” This is otherwise known as the “Madonna/Whore complex,” which is explored through the life of the novel’s protagonist, Hyster Prynne. Her struggles and experiences through this dichotomy ultimately affect her both physically and emotionally as it represses her femininity.
Rebecca is a film that transmits the feeling that something is not right. It is unclear the reason for this feeling but the characters´ behaviors as well as the events confirm it. At the beginning is given to the audience a small clue that the story would probably is not going to have a happy ending or it would start with a tragic event. In this film results bizarre that one of the main characters lacks a name, second Mrs. De winter adopts her identity from her job first she is Mrs. Van Hopper´s paid company later she is Mr. De Winter´s wife. It is transmitted to the audience that this woman is so naïve and foolish that is only valuable to be recognized when she takes someone else´s identity. This fact could illustrate the view of the society
In Victorian society, women had the choice between two roles: the pure woman or the fallen woman. Bram Stoker plays with these anxieties revolving around female sexuality – he follows the gothic tradition of innocent damsel in distress against looming evil. The narrative structure Stoker imploys to the text through intertextuality reveals multiple point of view distinguishing a duality in Lucy - her true self and 'thing'. In order to cope with Lucy’s worsening condition, the male authoritative figures of the text assign a duality present in Lucy to make sense of her shifting from “pure woman” to “fallen woman”. Stoker exhibits in the structure of the multi-faceted narrative how certain characters are unable to cope with the duality present
In the award winning article, “Passages in Mary Shelly's Frankenstein: Towards a Feminist Figure of Humanity?” Cynthia Pon addresses masculinity and feminism in terms of conventions, ideals, and practices (Pon, 33). She focused on whether Mary Shelly's work as a writer opened the way to a feminist figure of humanity like Donna Haraway argued. The article has a pre-notion that the audience has read Frankenstein and Haraway's article. Pon has a slight bias, due to her passion as a feminist writer. It may skew her thinking and at times be subjective. The intended audience is someone who is studying literature and interested in how women are portrayed in novels in the 19th century. The organization of the article allows anyone to be capable of reading it.
Charlotte Perkins Gilman’s “The Yellow Wallpaper” critiques Victorian womanhood in several ways throughout the text. Victorian women were expected to be pure, dainty, and perfectly angelic. They were also expected to be perfect mothers, wives, and hostesses at all times. If a woman were to express too much emotion, she would be called hysterical. Hysteria was considered a medical condition which rendered a woman incapable of reason or generally thinking like an adult. However, because of societal standards at this time, women were already typically treated like children. In the “Yellow Wallpaper”, Charlotte Perkin Gilman criticizes infantilism of women in Victorian society through Jane’s childlike actions, John’s interactions with her, and the symbolism of her staying in the nursery.
Louise Mallard is described to us as “firm” and “fair. She exists in a time when women are classified as objects of beauty and property, and her heart trouble suggests that she is fragile. Louise’s initial reaction to the news of her husband’s death suggests that she is deeply saddened and grief stricken when she escapes to her bedroom. However, the reader is caught off-guard with Louise’s secret reaction to the news of her husband’s death because she contradicts the gender norm of the 19th century woman. Her contradiction to the stereotype / gender norm is displayed when she slowly reveals her inward
Margret Atwood’s short story “Lusus Naturae” is known as a work of fiction in which a monster uncommonly plays the role of the protagonist. Discussing character dynamics, it is interesting to examine the symbolic meaning behind the girl as a monster in this story. Is this text simply a fantasy created with the goal to serve solely as a horror story with a typical ending, or does this tale have a deeper meaning encompassing the treatment of women and their sexuality throughout history. Through close reading of “Lusus Naturae,” I plan to use evidence from the text to illustrate symbolic parallels between the unusual protagonist and the known historical role women held in society.