There exists a very real relationship between the Female Gothic novel of the late eighteenth and early nineteenth-century and the social context of women at that time. This new class of fiction is essentially treated by women as it addresses women’s experiences offered an opportunity to address “the hidden, unspeakable reality of women’s lives: not just their lives in the private inner world of the psyche, but also their social and economic lives in a real world of patriarchal institutions” (DeLamotte 165). Notwithstanding the success of male Gothicists, Gothic fiction is perceived as a female-dominated genre as Leonard Wolf writes: Despite the triumphs of Lewis and Maturin, the Gothic novel was something of a cottage industry of middle-class
Her work falls into the category of early feminist literature and the story categorically illustrates this notion of hostility towards women in the nineteenth-century. Male authors considered themselves in control, they were signs of masculinity, and they wrote genuine, authentic literature. Female authors posed a threat to them, turning the men soft, and damaging their ‘authentic’ writing within the bourgeois society; “the masses knocking at the gate were also women, knocking at the gate of a male-dominated culture” (Huyssen 47). During this time, the nineteenth and early twentieth centuries, mass culture and the
Evidence of modernism is redolent throughout Conrad’s novella. Specifically, in relation to gender readers can see the difference as oppose to indifference that some women in the novella were characterized to have. Firstly, Marlow’s aunt, she is the first woman introduced in the novella. Through her introduction, readers see much of the gender roles. The way that the narrator introduces her, it makes it clear that women are tangential to the real world.
Radcliffe writings opened floodgates for her female successors to write within that tradition. David Stevens in The Gothic Tradition writes that “[s]everal of the writers associated with the development of the gothic novel were women […] and the very existence of the gothic novel may be seen as dependent on female readers and authors” (23). The “feminization of reading [and writing] practices” of gothic literature contributed
The differentiation of the “Old Gay” and “New Gay”lesbian identities. Though these factors are important, she consistently neglects specific fragments of various movements that play their parts as well. For starters, Stein’s writing style is a perfect example of the scenery that displays the pandemonium consuming the mystery of the lesbian movement at the time. She precisely and methodically reconstructs the scenes by dancing around the pages and re-accounting different stories that always tie back to the original themes. An example of this is the second chapter of the book when Stein retells the stories of three different women and their experiences involving the Lesbian movement.
Gender debate has its origin from the period unknown. The consequences of this debate are umpteen in number and interplay of dualities in women is one among them. Women in Salman Rushdie’s novels vividly display multiple dual elements inbuilt in them, and this paper deconstructs the mystery behind the split-personality of Aurora Zogoiby of Salman Rushdie’s The Moor’s Last Sigh. Just identifying the dual elements in her would be meaningless if the causes and origins of these dual elements are left unexplored. The views expressed by psychoanalysts, Simone de Beauvoir, Ajay Skaria, Nicole Weikgenannt, Chandra Mohanty, Trinh T. Minh-Ha, Aloka Patel, Catherine Cundy, and Justyna Deszcz have been skimmed and scanned to throw light on these areas in this paper.
Both texts ‘The Handmaids Tale’ and ‘The Bloody Chamber’ were written during the second wave of feminism which centralised the issue of ownership over women’s sexuality and reproductive rights and as a result, the oral contraceptive was created. As powerfully stated by Ariel Levy, ‘If we are really going to be sexually liberated, we need to make room for a range of options as wide as the variety of human desire.’ Margaret Atwood and Angela Carter both celebrate female sexuality as empowering to challenge the constraints of social pressure on attitudes of women. Both writers aim to expose the impact of patriarchy as it represses female sexual desire and aim to control it thus challenge contemporary perspectives of women by revealing the oppression
The novel is Atwood’s imaginative response cast as comic social satire in vividly metaphorical language. The story line of the novel, The Edible Woman is simple but by using paradox Atwood has made it complex. It is a story of a woman’s identity crisis of 1960’s. The novel re- visions the traditional comedy in order to underscore and satirically expose women’s continuing conditions of entrapment within their own bodies and within social myths. In Conversations Atwood speaks The body as a concept has always been a concern of mine.
First the conventional view of women in the Victorian Era is highlighted and subsequently how Ibsen’s play attacks the ideology of women as the ‘serving’ sex within the set-up of a marriage. Then the universally acknowledged conflict between women’s gendered identity and their individual autonomy is presented. This will then lead on to assert that the Victorian society was not ready for the ‘new woman’. Next is the analysis of the fact that female sexuality is controlled by patriarchal discourse, through the Foucauldian and Belseyian concepts of patriarchal power and female sexuality. Then in the end, the paper concludes that the assertion of power or those in power control the sexual discourse in the society.
The novel gains its feminist stance from Indu's persistent exploration of herself as an individual. An extra-marital affair helps her to break free from the emotional bondage of matrimony and makes her aware of herself, and realise that it is possible to exercise autonomy within the parameters of marriage. Roots and Shadows also offers us scope to observe meaningless rituals and customs all of which help to perpetuate the myth of male superiority. Seen through the novelist's eye, insignificant everyday details take on a new dimension and highlight the gross inequalities present in