In both The Female Bell-Cricket and This Powder Box, Nakamoto Takako and Uno Chiyo explore the notion of female sexuality as power. By asserting their sexuality, the female protagonists in both texts deliberately defy socially-prescribed female virtues of chastity and obedience. This ownership of their sexuality grants them power in their romantic relationships with men and liberates them from the submissive position that women are traditionally expected to be in. It is crucial to note, however, that the depicted ‘strength’ of the two female protagonists is ultimately a constructed façade; they are still tied down by society’s prescriptive ideals of femininity, and have their behavior propelled or influenced by their relationships with men.
The short story tries to criticize the fact that men are given a lot of importance compared to women. Men are considered to be powerful than men. That’s why it is easy for them to just pay women just to have sex with them. On the other hand, ‘A present for a servant maid ', criticize the fact that the servant maids are always blamed for any problem that arises, regardless of the circumstances. This is the reason why the author, Eliza Haywood, provides a good advice that should be emulated by any servant maid on how to avoid being cornered.
Award winning author Mohsin Hamid talks in depth on this topic in his novel “Exit West.” The novel follows two characters, Saeed and Nadia, as they escape together around the world, teasing each other and learning more about the ideas surrounding sex and its associated pleasure along the way. Through his word choice and character descriptions, Hamid portrays women in his novel as being more sexually inclined than men, taking control of the pleasure they want. It becomes apparent very early on in the novel that Saeed is a very chaste man who wants to refrain from having sexual intercourse with Nadia until marriage. This is witnessed through Saeed’s “a bit excessive a delay” (55, Hamid) in initiating sexual intercourse while in bed with Nadia, and his response of “‘I don’t think we should have sex until we’re married’” (55, Hamid) to Nadia’s comment on whether he brought a condom. However, both characters still explore ways to find pleasure, establishing the idea that direct sexual intercourse is not the only source in which to obtain pleasure.
Women who express their sexuality are often seen as sinful or given into evil. In Daphnis and Chloe Lycaenion is not shamed for her actions, but she is written as a helping hand. She teaches Daphnis how to love “properly” and this is portrayed as furthering his connection to Chloe. This entire scene is showing sexual maturity to grow Daphnis and Chloe’s relationship. Another sexual scene is the attempted rape of Daphnis, which does two things.
However, in the film she uses her words and her femininity to corrupt Beowulf and in the process she merges with the other female characters. The decision to do this means she is humanised and sexualised in the interest of adding psychological depth to her character and also to emphasise her feminine power. This is seen to make her more believable to a modern audience and therefore makes the film more profitably commercial. Bill Schipper comments on this aspect by claiming 'nothing terrifies a male audience more than a physically and sexually powerful woman' which Zemeckis capitalises on by using Grendel’s mother. Her monstrosity is convincing despite this overt sexualisation as William Brown states by
In this section Kinsman writes on the issue of the negative social construction surrounding homosexuality. To begin his section of the text Kinsman criticizes and analyzes Marx and the previously mentioned Engles experience and perspectives, which influenced their stance on gender and sexuality. Kinsman explains that due to the time where they were born and how most of the founding fathers of Marxism perceived the world around them sexuality just wasn't as important to the whole of society. Marx' status as a white, straight, male put him right in the sweet spot of societal naturalism. This meant that problems of sexuality and sometimes race did not apply to his perspectives or theories.
Whether he wants it or no." (Huxley 186 ) . This proves that sexually, women have equal if not more power than men. As the reader evaluates Huxley’s Brave New World and issues that it poses as a reflection of Huxley’s time, the reader must look at his own world and evaluate if these issues have vanished. The issues of conditioning, social and economic class, and the role of women are pronounced in Brave New World .
For me, this meant confronting that though there are many facets to my identity they all concurrently exist and choosing to focus on one identity at a time functioned as another form of silencing. Intersectionality introduced to me to misogynoir -- what I now know fueled the earlier self hatred in my life.
For me, the one whom I loved, all the memories I had with that person is history, but I doubt other people will call it history. It is all about subjectivity. I do not think the author really wanted to say that a blankness of things has no history, but actually the opposite by asking, “what is history?” The fact that Kincaid’s ironic and somewhat self-mocking approach made me reflect on my own perception of history from the very start demonstrates that her method is indeed effective.After demonstrating a large number of barely justified assumptions about historical characters and her general investigative naiveté, the author goes a step further by providing some extremely simplistic descriptions of landscape. While re-imagining Columbus’ impressions of the newly discovered land, she describes it as: “A small lump of insignificance, green, green, green, and green again”. Kincaid continues to emphasize the alleged one-dimensionality of the landscape, commenting that even “painters” (whom she naively assumes to have the job of vivifying dull landscapes) would find it to be, at most, “a green that often verges on
In both The Female Bell-Cricket and This Powder Box, Nakamoto Takako and Uno Chiyo explore the notion of female sexuality as power. By asserting their sexuality, the female protagonists in both texts deliberately defy socially-prescribed female virtues of chastity and obedience. This ownership of their sexuality grants them power in their relationships with men and liberates them from the submissive position that women are traditionally expected to be in. It is crucial to note, however, that the depicted ‘strength’ of the two female protagonists is ultimately a constructed façade; they are still tied down by society’s prescriptive ideals of “femininity” and “love”, and have their behavior propelled by their relationships with men. The explicit depiction of female sexuality in both texts underscores the two protagonists’ seeming disregard for and