When a girl leaves home and comes to live new ways, different rules, she has to be a prophet, learn somehow the art of dealing smoothly with her bedmate”( ). Both of these stories show how restricting it was to be a woman during this time, however, both Medea and Antigone break away from those
Then they act and do things accordingly.” This indicates that women continue seeking what they wish for, even if they don’t get it. Their dreams influence what they do, until there is no difference between reality and dream. In Their Eyes were Watching God, Janie wishes to find real love, as noted from her pear tree ideal. The continuation of her dream, after it is met with failure, is directly visible from her relationships. Under her first two relationships, she lived a oppressed life.
In an excerpt from Little Women, the March sisters craved attention from their mother and had to make the difficult of helping others. Influence is the prime factor in the way choices are made. Things like past experiences, self relevance, and cognitive biases build up the influence in decisions. In “Abuela Invents the Zero” by Judith Ortiz-Cofer, Constancia makes a number of decisions that are influenced by cognitive biases, self-relevance, and past experiences. The text specifies this by saying, "I 'm so embarrassed that even though the woman next to me is shooting daggers at me with her eyes, I just can 't move to go get her" (Ortiz-Cofer para 14).
These intensely unpleasant and relatable images help to reinforce the narrator 's sense of oppression within her life and through society 's expectations, as they all are haunting smells and colors that seem to linger all around, unable to broken from the pattern. This paper becomes increasingly more menacing as the narrator decreases in mental instability, its pattern becoming ghostly, only seen in certain lighting, then coming to resemble bars. The narrator begins to becomes obsessive over the "paper", believing it to be some kind of text only she can and must interpret. As her obsession grows, the paper begins to resemble the shape of a desperate woman, "stooping down and creeping about" (Pg.166) and the yellow pattern becomes reminiscent of bars on a cage, which is seen confining many women as they strangle themselves attempting to escape through the bars/ pattern. In this, Gilman masterfully creates the entrapping wallpaper as a mirror to society and its entrapment of women into an "acceptable" role.
She suggest that silence “does not protect” anyone and mute chokes us more than death itself. Besides “transforming language into silence, Black women have on one hand always been highly visible, and so, on the other hand, have been rendered invisible through the depersonalization of racism” (42). Julia de Burgos style is prominent to this article when she transforms this poem form silence into language. She reveals history, her identity, and self through a ballad style. While doing so Julia de Burgos’ “sorrow voice that is paradoxically released through the wound…In the complex relation between knowing and not knowing intersect that the language of literature and the psychoanalytic theory or traumatic experience precisely meet” (3) that enables her to retract her conscience from political-historical views to her emotions of justice and liberation.
(431) With this poem, the author shows that violence, unreal idealized expectations of the woman and prejudice towards the lesbians are related. From the lines “she was always— / no one would have though— / always a quiet girl” (Dorcey 1121) “one infers . . . the indictment of those ideologies that propound the image of the woman as docile, quiet and asexual by making it responsible for violence against women” (González, “Contemporary Women’s Poetry in Galicia and in Ireland: An Introduction”
However, this determination sometimes appears to be obsessive to the point of running her daughter’s life for her. Regardless, she is only trying to help, as she encourages Jing Mei by asserting “‘You can be best anything.’” (1). Because of this, it suggests that although she is very harsh on her daughter at times, it is only to make sure that Jing Mei can use her full potential and not end up losing everything like her
Finally, Steinbeck dehumanizes Curley by the negative criticism that always pursues her and her loss of identity when accompanying someone or something. This is why she is always commonly known as “Curley’s Wife”, proving that she is an unimportant and insignificant character in this book. Plus, everybody in the book says that Curley’s wife causes trouble for everyone; as George says, “She’s a jail bait all set on the trigger,” (Steinbeck, 49) and is constantly getting blame for all that goes wrong in Soledad; as Candy says, You God damn tramp. You done it, di’n’t you? I s’pose you’re glad.
Alice Walker, in fact, uses the imagery of the quilt to suggest what womanism is all about. Dee approaches culture by decontextualising it, while Maggie and Mama relate to it with a kind of ‘organic criticality’. The former stance is mere rhetoric and the later one is womanist. In one of her interviews, Alice Walker identifies three cycles of Black Woman she would explore in her woman’s writing: 1. First are those “who were cruelly exploited, spirits and bodies mutilated, relegated to the narrowest and confining lives, sometimes driven to madness”.
This directly corroborates society’s viewing of her as the description only includes her sexual physical assets. Duffy writes this because she is trying to convey the sufferings of women in society as they are consistently objectified, devaluing their nature as a human being, and she invokes people to make a change. This theme of valuing women in a restrictive way as one only notices the physical elements of a female is continued throughout the poem, for example when the artist “is concerned with volume, space”, or “You’re getting thin, Madame, this is not good”. This directly references the corporeal elements of a body. The purpose of this quotation is consistent with the aforementioned one.