D.H. Lawrence in his famous novel Lady Chatterley’s Lover, establishes a connection between the sexual awareness that people possess, and the profound changes this awareness has on the society. Kate Millett also constitutes an analogous link between the two, discussing ‘the celebration of sexual passion for which the book is so renowned’ (335). They both highlight the shift in change of the attitudes towards sex that is occurring in society. It is no longer based solely for reproduction purposes, but also for the libido and desires that people feel. Sexuality now plays an important role in the transformation of the norms of society.
While Márquez does allow the women to feel sexual gratification, it is still coupled with a need for male approval. Women openly experience sexual fantasies; however, they are first questioned for their desires and only accepted when men experience them too. The author uses their attraction to describe the man saying, “Not only was he the tallest, strongest, most virile, and best built man they had ever seen, but even though they were looking at him there was no room for him in their imagination.” (248). This imagined sexual pleasure is shamed by the men: “the men thought the fuss was only womanish frivolity” (251). The men viewed sexual pleasure in a selfish manner as something only they should experience, while it was considered “womanish frivolity” for women.
Sex is also used as a way for women to manipulate their husbands, and benefit. Again, Lucius and Fotis are a perfect example when after a sexual encounter, Lucius is exhausted yet Fotis tempts him into a new act. This temptation was her form own manipulation which in the end was for her benefit. After finishing the book with the prominent theme of sex, and the control women utilize through, it comes to question if the act of sex falls into the real of men or
The definition of Sexual Objectification is given as “A person is sexually objectified when her sexual parts or sexual functions are separated out from the rest of her personality and reduced to the status of mere instruments or else regarded as if they were capable of representing her.” (Bartky 1990). As explained by Tracy Moore, in her book The Sexual Objectification Scale: Continued Development and Psychometric. Objectification takes women 's sexuality away from her and makes it the viewer’s property. Moore also concludes that “it is predominantly women who are reduced from subject to object.” Le Moncheck’s definition is argued to be the “most comprehensive characterisation of sexual objectification” where Le Moncheck elaborates on the idea of sexual objectification and concludes that objectification can not only take place in terms of men objectifying women or even women objectifying, but even in terms of women objectifying women as well as women objectifying themselves. The book does however state that it is “predominantly women who are reduced from subject to object and men are primarily agents in this process.” (:1).
In “Manet’s Olympia: The Figuration of Scandal,” author Charles Bernheimer argues for a Freudian perspective in which sex is the most important factor influencing public opinion. Manet’s Olympia defied traditional art conventions in depicting the female body. The salon displayed traditional nudes for the pleasure of the, primarily male, viewer. Under the male gaze, the woman’s bare body became an erotic object—an object from which he may craft an erotic fantasy, characterized by male domination. Since the artist painted the traditional nude to visually please the viewer, he positions the body in a primarily frontal view so as to offer the best view.
The transgressive depictions of the two female protagonists as willing prostitutes is especially noteworthy, seeing as they challenge socially-established moral codes that place great value on female chastity. Moreover, the two female protagonists’ control over their sexuality seems to grant them a unique form of ‘power’ in relationships with men who are sexually attracted to them. It is hence obvious that there is a direct relationship between female sexuality and power that is portrayed in the two
While reading D.H Lawrence’s Lady Chatterly’s Lover I could retrace the imagery and the compelling thoughts and emotions of the characters in the novel with the idea of transcendental sexuality and spiritual sex mentioned in the ancient texts of numerous civilizations and holy texts such as kaballah., The Zohar and The mystic Song of Songs. According to Kabballah pleasure is what defines a human being. Nothing more do I find more apt This world ‘s creation also arose from the desire of pleasure in Eve to rebel leading to the act of eating of the forbidden fruit of knowledge . The process of lovemaking has infinite potential and cannot be rendered useful in the presence of shame . One must be aware and conscious about one ‘s body ,thoughts and emotions thus it is considered to be the intersection of head , heart and soul.
People are embarrassed to talk about what is used to engage our attention, attract our money, and advertise our insecurities. However, for me, sex is an everyday topic of discussion. I love sex. I love talking about sex. But most importantly, I love educating others about sex.
It is important to gain knowledge of sexual experience related to women, from actual women, as opposed to the male view. When altering vantage points from men to women, it is clear that men dominate over women, which affects the view of ‘normal’ gender identification, gender dichotomies, sexualities, and patriarchal social organizations. When discussing all social organizations, we must make them ‘problematic’ so that their specific social relations can become explored and transformed. For example, homosexual social organizations should be understood by society through experiences shared and divulged by homosexual individuals about heterosexual hegemony and oppressive sexual regulation, rather than by the assumptions of unrelated identities. By taking on this approach, ruling practices can be investigated and changed appropriately.
She attempts to establish the “New Woman”, who would wield her power and autonomy inside the patriarchal set up, and rebel against the “heteronormative relationships” The zenana becomes the space where radical desires for sexual liberation are vocalized. The story distanced her from the Progressive Writers. The more conservative of these to quote M Asaduddin “felt dissatisfied with her for her obsession with the sexual aspect of life. Their hostility became apparent after the publication of her short story ‘Lihaaf’. But Ismat Chugtai was too much of a free spirit to be hemmed in by ideological considerations.