My Dearest Intersectional Sisters, I address this to you for selfish reasons. In each one of you I envision myself, and by recognizing your existence, I am legitimizing my own. Something I was in desperate need of over this course, as I am sure you will be too. This is not an easy burden to admit, nor is it one that is easily dealt with. Don 't be fooled by the scatters of Audre Lorde and the seemingly intersectional works you notice in the beginning, as I made the mistake of doing. If this course was a means by which to empower us, I would not be able to count the number of individuals who share our history, our culture and our beautifully melanated exteriors on a single hand. So it is with a heavily lifted heart that I write this too you. …show more content…
Our womanhood is a trait that cannot be hidden, but I urge you to consider this; Why should we apologize for it? Is it because accepting being a woman-identified-woman means accepting those innermost desires and urges that our male counterparts mistake for weakness? I speak, of course, of Audre Lorde’s definition of the erotic. The erotic should not be confused with the pornographic. It is not an exploitation of women 's bodies, it is a celebration of the power inside us. An empowering release and “Within the celebration of the erotic in all our endeavors, [our] work becomes a conscious decision - a longed-for bed which [we] enter gratefully and from which [we] rise up empowered” (340). The erotic is going beyond the physicalities of our being women. It is the sensual touch of hands, it is taking back our sexuality. It is an empowering, orgasmic energy that radiates off of each of us when we accept its …show more content…
We also must let go of the idea of wanting a heterosexual lifestyle. Throughout LGBTQ history, equal rights somehow got equated to marriage equality. In this capitalist society we are currently living in, marriage and procreation are shown as the ultimate goal to strive towards, and so we, as societies scapegoats, put all of our efforts into making it so we could have these heterosexual practices. Oh yes, we are society 's scapegoats. As John D’Emilio put it, “...while capitalism has knocked the material foundation away from family life, lesbians, gay men, and heterosexual feminists have become the scapegoats for the social instability of the system.” (473). We are being used to reinforce heterosexuality by being offered as a darker, alternative lifestyle with no prospects and no chance of being “normal”. Heterosexuals look to us as a low-class working citizen looks to a homeless man; “Well it could be worse. I could be that poor
Stephanie Hanes’s article “Little Girl or Little Women?” , is more of an emotional piece of writing that controversially adds in the Disney Princess effect that the young girls unknowingly participate in. The author then proceeds to the concern of sexualization while nearly failing
Anne McClintock wrote her essay “Gonad the Barbarian and the Venus Flytrap: Portraying the female and male orgasm” to examine pornography and how it has changed throughout history and its effects on how women perform as sexual beings. McClintock focuses on the various roles of pornography such as its emphasis on voyeurism, pleasure, and the male ego. She wants her readers to know that women are still not represented in pornography to satisfy their own desires, but they are there to cater to men and their subconscious. I will analyze how McClintock argues that due to the history of sexism towards women, the roles that men and women have in pornography are inherently different because of the societal belief that women are only seen as objects of sexual desire and are solely there to satisfy the male audience.
Divisions within feminism through differences are demobilizing the necessary movement required to create change. In Audre Lorde’s piece, “The Master’s Tools Will Never Dismantle the Master’s House”, Lorde uses her experience at NYU’s Humanities conference to address how racism and homophobia are present in feminism. Furthermore, she believes not all women of a particular identity share the same experiences, so to change the patriarchy, feminists must work together and use their differences as a uniting factor rather than something to categorize and separate women. Through the reference to metaphor- the master house and the master’s tools- and the use of pathos, Lorde ensures to stress that differences between people need to be used as empowerment
More specifically, Lorde was a woman. Being a woman, Lorde’s perspective of life in the United States was vastly different from her male counterparts. In Lorde’s work she discusses her first observations of how woman were treated in America. She states “since my parents shared all making of policy and decision, in my child’s eye my mother must have been other than woman” (Lorde, 16). At a young age Lorde was able to recognize that woman were often left out of the conversations and having a voice made people view you differently.
Although the text, Women: Images and Realities a Multicultural Anthology, has done a wonderful job of showcasing the diversity of women’s experience; however, the most striking article we have read so far has been Lori Tharps “In Search of the Elusive Orgasm”. In the essay, Tharps traces her journey to finding an orgasms and begins by describing her love of Harlequin novels as a teenager. In which Tharps discusses how twisted these sex fueled novels are, in which she states “I basically gathered that true love and good sex were synonymous. The only other options were rape and chastity.” (158).
“Poetry Is Not a Luxury” (1982) intertwines feminism and poetry together. Author Audre Lorde says that for women, “poetry is not a luxury, but a necessity of our existence” (Lorde, 1982, pg. 281). In today’s society, women’s opinions aren’t really expressed, because it’s not widely accepted in this man-built world. Lorde’s quote “poetry is not a luxury, but a necessity of our existence” means that women should use their voices and channel their energy into poetry. Since poetry is accepted, women aren’t being deviant.
We appreciate your support. As Albert Einstein once stated “Never regard your study as a duty, but as the enviable opportunity to learn to know the liberating influence of beauty in the realm of the spirit for your personal joy and the profit of the community to which your later work
As with all theories, this feminist approach to Louise Halfe’s “Body Politics” does not come without its flaws. While it can be argued that this poem criticizes the performativity of feminine gender roles in a patriarchal society, this cannot be proven definitively without knowing the author’s original intentions. Furthermore, the poem does not give its readers enough information to conclude that the society the women live in is in fact a patriarchal society. This becomes evident, as there is no reference to any masculine figure – so any assumptions about the masculine-dominant culture are purely speculative. It is possible that Halfe wrote this poem in an attempt to challenge the gender binary, however one stands to question how successfully she is in doing so.
Many of Lorde’s writings address the ‘theory of difference’, which is the idea that gender is not binary. That the way we see the opposition between men and women is overly simplistic. Audre believed that it is not our differences that divide us but the inability to
Eliza Haywood writes the cautionary tale Fantomina in order to instruct women against pursuing their sexual desires. The protagonist, an unnamed “Lady of distinguished Birth” (41), secretly pursued her desires for Beauplaisir under the guise of four different personas, ultimately leading to the ruin of her reputation and being sent to live in a monastery. I will refer to the main character when she is not disguised as the protagonist to avoid confusion. I will be discussing female sexuality, where I will be focussing on certain aspects including sexual identity, sexual behaviour, and how social and religious aspects affect this sexuality. I will argue that Haywood uses the cautionary tale in order to represent female sexuality as distinguishable
The feminist theory is based on finding and exposing negative attitudes toward women in literature. Their goal is to reveal the reality of how women get portrayed in literature due to the fact that most literature presents an inaccurate view of women and are most of the time minimized. In the Catcher in the Rye there is a few female characters such as Sunny, the girls at the club, and Sally who are put in situations that show nothing but stereotypes and puts them in a bad spot throughout the novel. J.D Salinger decides to put some of the female characters in situations that can cause those who read this novel to think bad or leave readers with a bad image of women. This bad image on women is due to the fact that he decided to portray some of
The author explains in this reading, his memories about the awakening to his sexuality and the many different ways that women sexy image had an impact in his mind and desires. He talks about the changes through the years and the loss of the innocence to the curiosity and attraction to the female sex appeal planted in magazines and pictures. “Platonic ideals of the female form, divorce from time and fluster living, excused from the perplexities of mind. No actual woman could rival their insipid perfection” is a Scott Russell Sander’s statement in his written, “Looking at woman” (180), that sounds very actual with this modern times. According with this author, the exposure of the women as an object of desire, trying to get the attention of men,
A gay relationship does not physically affect any heterosexuals in any form so there is no reason The solution for this social problem would just to being accepting to any gay activity. Status quo has many arguments against gay relationships
In the further support of this argument, it is said by River Redwood that “the pornography is about acting and performing only”. The pornographic media is an ‘idealized sexual fiction’ and it is not the best place to learn about the sexual behavior and human communication in the real world. It is more fiction than reality (Meulen, 2013). Moreover, Susan in 1989 said that men’s sexuality in pornography is represented in the form of rapist and female sexuality is depicted as the rape victim. Further, she explores the idea that in the pornographic world, men exploit the women by abusing, hurting and dominating whereas, women is depicted as the person who enjoy the sexual submission and exploitation (Cole, 1989).
This novel is also autobiographical. Throughout history, women have been locked in a struggle to free themselves from the borderline that separates and differentiate themselves from men. In many circles, it is agreed that the battleground for this struggle and fight exists in literature. In a