Her face was caked, and everything about her is red. Red shows the reader negativity and hatred and anger and a flirtatious as her personality. Her nails, lips, dress, and shoes were all red, symbolising this all. Also, her hair was “hung in little rolled clusters, like sausages,” portraying to the reader that she had ugly, sausage like hair, which makes the reader visualise her as a negative icon in the novella. The reader can then, therefore, foreshadow that the end of the book has something to do with Curley’s wife.
Mrs. Beast, a poem from the World’s Wife that is a collection of poems written by Carol Ann Duffy that often focuses on the female perspectives by using traditional stories that were focused on male character. Mrs. Beast is one of the last poems of the World 's Wife and it sums up the whole purpose of World 's Wife: to present a voice to women of history and literature and to explore aspects of their lives and personalities. As with all the poems in the World’s Wife, Duffy follows the form of a dramatic monologue and through the first stanza draws attention to the history of male domination and female suppression by listing famously victimized women and revealing in Mrs. Beast’s tone, bitter resentment.
Women facing sexism are denied jobs, paid less, sold off into marriage, told by men to “make me a sandwich”, “act like a lady”; and more often than not, being the “weaker” gender can become overwhelming. The feeling of being less than the male counterpart pushes some into depression, and women across the globe fall into the vicious cycle of prejudice and inequality, perhaps even unaware that this imbalance is existent. But for women frustrated with these mindless biases, poetry is a way to represent their issues, to channel their emotions and to make themselves heard. Fiona Lam is a Canadian poet, a feminist and well-known advocate for women’s rights. Her poems are inspired by her beliefs and are typically focused on women and the beauty of equality.
Patience Agbabi’s poem ‘Eat Me’ and Frances Leviston’s ‘I resolve to live chastely’ both explore ideas of pleasure, with particular regard to the experiences of women and the constrictions of masculine society on female pleasure, whether derived from sexual contact, eating, or interaction with the world. Both poets deal with the rigid roles their female speakers are forced to inhabit, implying that they are trapped by condemnation and constriction. Moreover, both poets use food as a mechanism to explore female pleasure, perhaps alluding to eating disorders and their disproportionate impact on women. Both poems deal with how women are forced into rigid roles and standards for societal and masculine pleasure. In ‘Eat Me’, the speaker is forced by her abusive male partner into a submissive role as he overfeeds her for ‘his pleasure’, rather than hers.
The feminist approach will give us insight on how women are being marginalised and objectified, whereas the queer context compares the sexual identity with the way women are represented. The linguistic view will explain how the language in ‘Howl’ is used as critique against society. The Poem ‘Howl’ was written in 1955 and first published as part of Allen Ginsberg’s collection of poetry under the title of ‘Howl and Other Poems’ in 1956. The poem was perceived as being raw, angry and sexually explicit. The mere definition of howl gives us a good insight of the mood of the poem: “to utter a loud, prolonged, mournful cry, as that of a dog or wolf […] a similar cry in distress, pain, rage […]”.
Here the writers not only call women animals but an “imperfect animal.” They claim that women who are midwives are especially evil and devour infants at birth. Then, they again claim that women are less than animals. They state that witches “against the nature of all beasts…are in the habit of devouring and eating infant children” (189). Women according to these authors are not even animals but are lower than animals. They go on to compare their voice to “the hissing of serpents” (188).
Atwood uses symbolism to express the thoughts of the speaker and the theme of female oppression. The first stanza shows the effect of time on an object; “the blurred lines and grey flecks” represent the demeaning characterization of women. The viewer of the photograph has to look past these
The women use logos again to demonstrate how backwards the gender system has been by using charming girlish attitudes, a stark contrast to the real meaning of the video. The message is dark and directly says that sexual harassment is not a new idea and that women have been suffering for years. The SNL cast approached the video with the intention of calling out men for not being supporters and yet also being surprised when the women complain. The women bring up a common question that men ask while discussing sexual harassment: “why didn’t you say something, babygirl?” and follow the question with examples of times in history that women spoke up about inequality and were still silenced. Their examples include “witches” from the Salem Witch Trials, and marchers for the women’s right to vote.
It shatters more careful virtues into debris, offering simply the vulnerability of its own candour. Her iconoclasm has led to her work being misread as sensationalist, just as it has lent itself to the cause of feminism. (253-4) This paper attempts to explore three poems—“An Introduction”, “The Old Playhouse” and “Luminol”— from the perspective of a woman’s search for selfhood in the face of patriarchal dominance and
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