Lucie And Madame Defarge Gender Analysis

This is interesting for it reveals Madame Defarge’s motives have shifted from the aristocracy itself, to killing the entire bloodline of the Evermonde family. Madame Defarge makes it very clear when she confesses to Lucie that she is hungry for obtaining revenge for the unbearable crime committed. Madame Defarge is looking to justify and punish the responsible by taking matters into her own hands in her attempt to right the wrongs.

The novel Mrs. Bridge by Evan S. Connell presents a series of vignettes about a wife, mother, and socialite who finds herself trapped in a materialistic society. Via her ordinary encounters (less the robbery incident) readers understand how the meaningless cultural forces of materialism and class expectations can lead to people feeling trapped. This idea also presents itself through the character of Sapphira Colbert in Willa Cather’s Sapphira and the Slave Girl. However, when one ignores class focusing on kindness instead, happiness is truly attainable as seen in Shadows on the Rock.

The texts ‘Sonnets from the Portuguese’ (1845) by Elizabeth Barrett Browning and F. Scott Fitzgerald’s ‘The Great Gatsby’ (1926). Both explore the universal values of idealised love, limitation of time and hope of restoration. As such inherently reflected through their relevant contexts of the Victorian Era and 1920’s Jazz age value systems. Even though the text share similar themes their interpretation completely differ influenced by diverse historical context, personal experiences and human values.

In Betty Friedan’s novel, The Feminine Mystique, she addresses a problem deeply buried within women up until the beginning of the twenty-first century. A problem with no name, that makes women feel desolate and purposeless, forcing them to ask themselves “is this all?” Norma Jean toils with this very same question in Shiloh, a realistic fiction short story by Bobbie Ann Mason. The marriage of Norma Jean and her devoted, yet inactive husband Leroy falls to shambles when he is injured from work and has to remain home. They wander aimlessly around each other, much like ghosts, withholding their need to confide in one another, which inevitably leads to the end of their marriage. As Norma Jean redefines gender roles in her household, she feels

How do we establish virtue? For most of us, the answer is not so easily encountered, and nuance and ambiguity persistently muddy our paths to righteousness. In The Romance of the Forest, however, Ann Radcliffe explicitly crafts her characters’ morality, inventing a limited spectrum upon which most of her characters fall. On the side of uncomplicated wholesomeness exists Adeline and the La Luc family, whose introductions inform their goodness in plain terms. Conversely, the novel’s main antagonist, the Marquis de Montalt, inhabits the side of primarily uncomplicated evil (or at least, expressing a privation of righteousness). Although a convincing argument might be made that Radcliffe’s characters are all, at different moments, sympathetic and morally

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.

female freedom and how the community disdained Eliza, who wants to live her life differently

“A New England Nun” by Mary Wilkins Freeman addresses that women aren’t regarded as fully individuals within the community and how the main character, Louisa Ellis makes a journey to finding her own individuality through notions of feminism throughout the text. There are a few key points that I will address in this essay, the first being how Louisa is first presented with all of the stereotypes of what being a woman is. Then with how Louisa waits fourteen years to mary Joe Dagget, with the story continuing to Louisa finding out later that he is having an affair with his mother’s helper. Ultimately leading to Louisa’s choice of herself at the end of the story. All of these points tie together to show how Louisa is able to find herself with the

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

According to page 277, “The shadow attendant on Madame Defarge and her party seemed to fall so threatening and dark on the child, that her mother instinctively kneeled on the ground beside her, and held her to her breast. The shadow attendant on Madame Defarge and her party seemed then to fall, threatening and dark, on both the mother and the child.” This quote shows us insight on what Madame Defarge is like. Madame Defarge is a very cold and driven person. She goes against the social norms of women in the 18th century. She is the opposite of Lucie. This helps us foreshadow how Madame Defarge would be the kind of person to plan an attack against Lucie. Therefore this perfectly foreshadows the plan that the Defrages are planning against

Poverty has caused Elizabeth to make a change for herself because of the pain of ‘being a woman’ based on the standards of society. For instance, when she has to always stay in their house and do the household chores because she was unable to provide for herself as

In addition to Marie’s struggles with gender roles and the way she is forced to rewrite the body, she is constantly conscious of her sexage in terms of the appropriation of the products of her body. Her concerns with sexage are in terms of her tears themselves, rather than her actions within her gift of tears overall. Once her gift of tears first appears, Marie had not yet been ridiculed for her excessive tears. In turn, she allowed the tears to flow “so copiously from her eyes [and] on the floor of the church and plainly showed where she had been walking” (179). For a time, her tears, a product of her body were naturally running down her face, and onto the natural floor of the church, being appropriated by the patriarchal church itself. Conversely,

Félicité at first becomes enthralled by the bird because she loses her nephew,Victor. However, the parrot becomes an embodiment of an ideal romantic and agape relationship; as opposed to Félicité’s failed romantic and family relationships. She nourishes the parent like a mother would a growing child; which leads Félicité to become attached to Loulou because they had both been forsaken by people, leading her to worship Loulou.

The Victorian era is extremely well known for its way of defining genders, showing satire/fake news and, the Aesthetic Movement. The way that this is all explained in online articles makes the Victorian era sound intriguing in many different ways, of course some are good and some are bad like many other eras such as our own. Today one will see that men and women are treated or what they are capable of doing today, are completely different from the Victorian era. With almost no change for the men, the change for the women 's drastically different.

Even though Elizabeth Gaskell’s ‘North and South’ and Virginia Woolf’s ‘To the Lighthouse’ are over seventy years apart in publication, they both focus on a theme that was so prevalent, it veered on the edge of controversial; gender relations. As everyday relationships began to change, this issue became significant in literature. This essay will argue that these novels play on the rising feminist ideas of their times, and that they explore what women could do, rather than what men told them they could not do. It will discuss the failing idolisation of masculinity and male leadership. It will compare the two passages to show their similarities in representations of gender relations. Together, these will demonstrate both the traditional and the changing relationship between men and women in both the Victorian era and in the early twentieth century.