Mina is intellectually equal to the opposite sex, but physically and emotionally submissive. Mina is devoted to her husband Jonathan, she is the ideal woman Victorian woman. Once Mina has been bitten, her transformation slowly spreads, the thoughts that have been repressed for so long have surfaced. Dracula is represented as having an unquenchable thirst for blood and even power. Using his male dominance and superiority over women to fulfill his every desire, having little regard for the well-being of others.
She states that sexism comes from how women have been perceived sexually throughout history and that this heavily influences pornography. McClintock sets up this argument by saying “Women’s desire, by contrast, has been crimped and confined to history’s sad museum of corsets, chastity belts, the virginity cult and genital mutilation” (113). She is saying that women were never given the chance to define their sexual wants and sexual desires because they have always been decided for them. Her main argument is based on her belief that men and women have formed the way that women’s sexuality is portrayed, even before the porn industry existed. McClintock disputes that society wrongly accused women of not wanting to participate as sexual beings and therefore that assumption is why pornography is focused on satisfying the needs of men over the needs of
Power, domination, and gender have all been intertwined for years. Men historically have been in power in most civilizations while also dominating the women in order to keep this power. Women have often been viewed as the more delicate sex and were supposed to not worry their pretty little heads about men’s affairs such as politics, education, employment, estate upkeep, and generally everything that had to do with stepping a foot out the door of a house. In Tanizaki Jun’Ichiro’s piece “The Tattooer” he explores these stereotypes and women’s rise to power in society in a dark piece about a tattoo artist and a geisha, both going through a transformation that changes their very character by the end. By incorporating diction, symbolism, and foreshadowing; Tanizaki Jun’Ichiro paints a story portraying Japanese gender roles, domination, and power.
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
A gun is not always needed in order to be in control. In The Golden Ass, the act of sex gives women power over men in the form of coercion and domination. In the book, women are commonly the one initiating the act. A majority of the time they are even made to be the one taking multiple lovers while their husband remains in the dark. These actions are a way for the women to gain some control in their patriarchal society.
Janis when against gender roles to challenge the norms of society, and as a result her rebellion became significant to the public. In a way, she became famous by shocking and surprising people, and as a performer she captivated and moved her audience through being original. When it came to women’s roles in society, there were very specific expectations that women were meant to follow. During the women’s liberation movement Janet was seen as a kind of model in which women began to mimic. Sexual liberation was another movement that was taking place, in which sexuality became a large part of self-expression.
In the story Macbeth, act one, scene three, the witches represent the serpent from Genesis three. They were evil and would use their power to trick people into doing what they want. The witches appeal to Macbeth in a way that he can’t refuse. The witches approach MacBeth saying, “All hail, MacBeth! Hail to thee, Thane of Glamis!”, “All hail, MacBeth!
Imposed conformity to social norms suppresses individuality. Following the dictates of society’s sexual expectations stifles character. Sex is a subject often avoided by women. Talking about sex with or in front of a woman is frowned upon in most societies. In order to remain desirable, a woman is expected to keep up with the ridiculous expectations built up about their sexuality.
Throughout the novel, the women are depicted primarily as semi-feminists. They are neither fully feminist or fully anti-feminist because they all uphold as well as destroy typical misogynistic beliefs. However, given that any form of feminine power was unaccepted at this time, the women of these tales display an unprecedented level of self-pride. Though the feminist waves had a more resounding impact on women’s roles, Chaucer's characters can be seen as foundational. In addition, the archetypes associated with these women continue to exist even
In the text it says, “All hail, Macbeth, that shalt be king hereafter!” (Shakespeare I.i.50). This shows that because of the witches stating this prophecy of Macbeth becoming king, it drives Macbeth to murder King Duncan because of his curiosity, which ultimately becomes one of the biggest things Macbeth has done. Another instance in the text says, “Be bloody, bold and resolute. Laugh to scorn the power of man, for none of woman born shall harm Macbeth” (IV.i.79-80). This reveals that