Morrison multiple uses of names, as Stein puts, “In her use of women’s names, Morrison questions the concepts of womanhood and motherhood which obtain in our society” (qtd. in Stein 62).
By naming the female characters, the “New Fathers” of Ruby have not succeeded in degrading the women’s value. However, they give them the opportunity to show up as complete individuals in their journey. Indeed, the act of naming continues in Morrison’s novel as it becomes the women’s tool of empowerment. As the head of the Convent, Connie who is later on known as Consolata, chooses to provide the females with new names. This act of naming stands in dialogic opposition to the demonizing names given by the men of Ruby. Starting by Gigi, she is the uncontrolled one who exceeds limits and norms according to men’s views. At the Convent she is no longer Gigi, her name is altered to a peaceful one that is associated with God’s mercy and compassion. Gigi becomes “Grace,” the name that Connie selects for her as a promising one that might bring with it salvation, “Mercy and simple good fortune took to their heels and fled, grace alone might have to do” (Morrison
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It focuses on female images of power and helps deconstruct patriarchal images in the scripture” (130). In Morrison’s novel, the women create their own religion in worshipping pagan goddesses, in contrast to Ruby’s Biblical religion. During the women’s presence in the shelter, Ruby’s men have been exposed to unfamiliar things found in the women rooms. Morrison’s narrative voice indicates, “Graven idols were worshipped here. Tiny men and women in white dresses and capes of blue and gold stand on little shelves…in the wall”
To Satisfy the Desires of Women: The Great Arizona Orphan Abduction by Linda Gordon Linda Gordon uses her book The Great Arizona Orphan Abduction to show racial, gender, class, and religious issues in Arizona during the early 1900s. This novel, at first, seems to be about the orphan train that ran from New York City to Arizona. However, the title is misleading, as it suggests to the reader that the novel is focusing on the orphans. Rather, Gordon uses the orphans as a lens through which one can view the inequalities between the people in Arizona.
In "She Unnames Them", Eve is the clear protagonist and her motive is to shed the light on how names control and categorize each person ultimately taking
This narrative inclusion, so different from the male, Jewish perspective in Potok’s earlier novels, is congruent with the protagonist’s feminist perspective: it is collaborative and communal learning. The writing of fiction holds no real values in the strictly orthodox community of which Davita becomes a part. This fact is coupled with the fact that women themselves also seem to lack significant roles in religious reading and ritual outside of the home, where their Sabbath role is enormously important, as they light the candles, recite the prayers, and becomes the “Sabbath Queens.” Through the creation of a female protagonist, Potok discloses the weaknesses of exclusion, and in Davita’s Harp, he makes a convincing case for rethinking and restructuring the place of women within the orthodox Jewish tradition.
“The emotional, sexual, and psychological stereotyping of females begins when the doctor says ‘it’s a girl’.” - Shirley Chisholm, a late 1970’s educator, author and the first black woman elected to the United States Congress. Chisholm and other women for generations have been victims of male projected and specified stereotypes. Due to the impact of the male opinion on women in society, the female characters in both novels suffer from emotional, physical and psychological stereotypes. Steven Galloway, a critically acclaimed male author, is responsible for the literary work titled “The Cellist Of Sarajevo”.
The Breakdown that she has connects to Shoshana Felman 's What Does a Woman Want? and Franny 's actions connect to Judith Butler 's Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Salinger 's Franny is a story that
Instead of fighting and betraying her values, which is essential for survival, she lays down her arms and faces her death with dignity. When the men who are sent to hunt her break through her door, “she says, her voice strong and quiet, ‘My name is Alisa’” (258). By this point, she feels as though she has honoured her former self to the extent that she can use her real name. She can do this because she no longer exchanges bullets for lives.
The novel is divided into five chapters, each one has its own story and narrative. The first one is titled “No Name Women”. This chapter of the novel discusses the story of the forgotten aunt, the one that shall not be named .Kingston’s mother tells her this story in order to warn her about the consequences of doing something that might bring shame to herself and her family. The aunt was a married woman whose husband has left long time ago and left her behind.
The New Women turns out to be helpless and incapable all by herself. Only trough the help of benevolent men representing benevolent patriarchal systems Ellie is able to follow her dreams and fulfill her desires. Capra’s film presents the New Woman of the 1920s as a simply wrong concept which naively thinks of women as completely independent when in reality women are more than just dependent on men. Ellie’s crying out that she cannot be without Peter is more than just a phrase said when being in love. Ellie could have actually not been on this trip for so long if it was not for Peter.
Throughout history, women have often been subjected to prejudice and an inferior status to men. Due to sexist ideologies of men believing that women are not capable of controlling their own lives, women have often been reduced to the status of property. This concept is prominent in many pieces of literature to demonstrate the struggles women have to go through in a predominantly, male structured world. In the novel, The Handmaid’s Tale, by Margaret Atwood, the author illustrates a woman’s battle in an extreme society ruled by men to express the misogyny occurring in the time period when it was written, 1894. Benet’s Reader’s Encyclopedia summarizes Atwood’s story as one that “depicts one woman’s chilling struggle to survive in a society ruled by misogynistic fascism, by which women are reduced to the condition of property.”
Historians agree that feminism’s fate broke through in the 1920’s, yet this reformation of social justice was not been embraced by a majority of Americans. In this decade, women were finally allowed to vote, they cut their hair short, and rebelled against the norms of society; however, misogyny remained mentally within the community through media, politics, and even in literature. In 1925, five years after the flappers movement was initiated in America, F. Scott Fitzgerald published his most reputable novel: The Great Gatsby, where the misportrayal of women is apparent within the distinctive natures of his characters. Fitzgerald’s novel focuses on the complexities of American society and the struggles to attain dreams, all while enduring the
Parenting has been a long practice that desires and demands unconditional sacrifices. Sacrifice is something that makes motherhood worthwhile. The mother-child relationship can be a standout amongst the most convoluted, and fulfilling, of all connections. Women are fuel by self-sacrifice and guilt - but everyone is the better for it. Their youngsters, who feel adored; whatever is left of us, who are saved disagreeable experiences with adolescents raised without affection or warmth; and mothers most importantly.
The first man in the family that was named Dead ended up being murdered. Guitar repeated uses the joke, “You can’t kill someone that is already dead. The names have a greater meaning and Toni Morrison wants her readers to get a similar understanding, or any understanding out of them at
Names have always held power in literature; whether it is the defeated giant Polyphemus cursing Odysseus due to him pridefully announcing his name or how the true name of the Hebrew god was considered so potent that the word was forbidden. In fact, names were given power in tales dating all the way back to the 24th century B.C.E. when the goddess Isis became as strong as the sun god Ra after tricking him into revealing his true name. And in Toni Morrison’s Beloved, names have a much stronger cultural significance; and in the case of the character known as “Beloved”, her name is essentially her whole existence. Morrison shows the true power a name holds in African American literature through the character known as “Beloved”, as her role in the story becomes defined by the name she is given and changes in the final moments of the chapter.
She was influenced by the ideologies of women’s liberation movements and she speaks as a Black woman in a world that still undervalues the voice of the Black woman. Her novels especially lend themselves to feminist readings because of the ways in which they challenge the cultural norms of gender, slavery, race, and class. In addition to that, Morrison novels discuss the experiences of the oppressed black minorities in isolated communities. The dominant white culture disables the development of healthy African-American women self image and also she pictures the harsh conditions of black women, without separating them from the oppressed situation of the whole minority. In fact, slavery is an ancient and heinous institution which had adverse effects on the sufferers at both the physical as well as psychological levels.
A constant comparison and contrast between Maggie and Dee is prominent structural feature of the narrative. This structural strategy helps in conceptualizing the plurality of female experience within the same milieu. This strategy encapsulates another dimension of womanism, viz. , womanism refuses to treat black woman as a homogeneous monolith. Unlike feminist position, womanism is sensitive to change with time.