Neocolonialism In Jessica Hagedorn's Dogeaters '

" This is a result of context because 18th Century England was a period of time where women were marginalized and considered to be subservient to men. Her subservient nature is hyperbolized to show that she easily swayed by the will of her husband. This paints her in a weak light and makes the reader feel as the danger is directed towards her because she is exposed to the volatile nature of her husband. Isabella too is in constant danger because of Manfred’s obsession to marry her. “I desired you once before,” said Manfred angrily, ...

Gertrude in this play was more than any other character, the antithesis of her son, Hamlet. In the other hand, we can see that male critics emphasis Gertrude’s sexuality and her responsibility for what happened to Hamlet. This belief made Gertrude became a lustful, predatory woman, motivated by desire and ignoring the harm caused to her son. Moreover, the workings of lust also appeared in Kurt Vonnegut’s book.

Therefore, they are victims of objectification because even Symkyn's wife and their daughter are introduced inversely compared to the three men. The nameless wife has been told right before the two scholars, suggesting that she introduced after Symkyn because he owns her, making him liable for her and them as a unity. As a result, she's an object of his needs and desires. She is “wel ynorissed and a mayde”, meaning that she is only valuable for her manners and her virginity, making her an object. (Chaucer, 3946).

Second, he is the subject, but she is the object. Women are using their sex appeal by luring young and older men seizing their fortunes and inheritance (TM 416). The public does not approve this type of behavior and will be judged. However, her family will support her. Last, a woman who is mysteries has numerous advantages.

He orchestrates a scenario in which Isabella partakes in a bed trick, thus preserving her sexual independence while also subverting Angelo’s autonomy. Here, both male and female characters demonstrate the ability to influence another’s honor; even the Duke, a male character, impedes upon Angelo’s honor, rather than remaining unified as would be typical of the patriarchy. Thus, the female is not merely an endangered object to men, for she is also endangers patriarchal control. The bed trick — or cuckoldry plot — empowers her, as her sexuality, which is powerful, attractive, and entirely under her control, is an imminent threat to her ‘lover.’

It tends to upset the traditional power balance between the sexes and construct women as powerful and men as weak and threatened. The femme fatale was; a woman who seduces, exploits, and destroys her partners. O’Shaughnessy was deceitful and homicidal but also smart and ambitious. Their independence and power can be seen as a positive step in the representation of women. These women did not conform to the traditional role of the wife and mother.

Steve Cutts’ Happiness delivers the idea of our consumerism-driven society being led to a constant and futile search for happiness through the suppressed depth of its fast-paced storyline, prioritising meaning over matter. Tadmor and Nattiv’s Strangers, through built-up tension between cultural groups, focuses on the detail in confrontational interactions following the overcoming of an embedded racial divide. Therefore both texts capture the versatile scope with which the short film medium, in its comparative brevity and succinct meaning, can deliver to society a greatly valuable perspective on pertinent

This is suggested by Helen Simpson who stated that Carter centralises ‘latent content of fairy-tale’ is that women are objects of male desire hence patriarchal discourse establishes male supremacy to which Carter does this to challenge contemporary perspectives on the place of women by revealing the oppression that society inflicted. The Marquis is an overt example of male ownership of female bodies. Similarly, where Atwood exposes the harsh realities of oppressive patriarchy through the female body, Carter utilises the construct of the Marquis in the eponymous story ‘The Bloody Chamber’ as a grotesque embodiment of patriarchal control. In her essay ‘Visual Pleasure and Narrative Cinema’ Laura Mulvey coined the feminist term ‘male gaze.’ She argues that men are the audience and women are to embody the male perspective of women as objects of satisfaction.

Nora’s flirtatious behaviors reveal a woman using her sexuality to get what she wants. In “A New World for Women” Stephanie Forward believes Nora’s behavior is “…flirtatious- even sexually manipulative. Perhaps, Nora has devised her own means of coping with her husband, and occasionally, she can circumvent his control.” (A New World for Women) In Act 2, Nora playfully hits Dr. Rank on the ear with her stockings and says “that’s for you...because you’ve been naughty.”

Desdemona is the perpetual dutiful wife to Othello, which fulfills feminist expectations of women as wives during this time period. Desdemona can be viewed as submissive and oppressed.n this quote, Othello is stating that his wife’s supposed infidelity has ruined his name and turned it “black” and dirty like his own face, showing that a woman’s fidelity was linked to a man’s honor. In this case, a woman’s promiscuity not only devalued her, but also her partner.

In a world of steel buildings and stone hearts, men and women have forgotten the sexual pleasures of the goddess. Trained in the skills of love and sex, the goddess charges Mirah, her priestess, with tickling libidos and awakening lost delights. Bitter and distrusting of women, Carl Kedves vows to resist any commitments, until Mirah enters his life. Addictively passionate lovemaking with Mirah jeopardizes his oath. Is Mirah’s love enough to mend his shattered heart and allow her into more than his

In the article "In Search of Identity in Cisneros 's The House on Mango Street” Maria Elena de Valdes describes Esperanza as “a young girl surrounded by examples of abused, defeated, worn-out women, but the woman she wants to be must be free’’ (de Valdes). Esperanza desires to be like the woman in the movies “with red red lips who is beautiful and cruel” (88). Esperanza witnesses the abuse of her female neighbors by their husbands and wants to become sexually independent, not subjugated by any man. Esperanza does not want to “grow up tame like the others who lay their necks on the threshold waiting for the ball and chain” (87). After dinner, Esperanza “leaves the table like a man, without putting back the chair or picking up the plate,” (89) revealing her aspiration to be strong and independent.

His plays are based on the combination of different kinds of humor and political and social satire. One of his most important plays is Lysistrata. In the lysistrata, it is about women withholding sex from their husbands to end the Peloponnesian war. Lysistrata persuades the women to not have sex with their husbands to basically have some peace, but it only caused problems between the sexes. This play shows how much mind control women have over men.

The Dominican Masculinity In the novel a typical Dominican male is portrayed as powerful, full of charm and physically attractive. Oscar, weighing over 300 pounds, and living an extremely nerdy life is a complete opposite of the Dominican stereotype. According to the book’s narration the most important part of DR masculinity is sex and this is again something that Oscar struggles to experience, but no matter what he does, he can’t. On the other hand, Junior is the exact representation of a Dominican male. He possesses all the properties that a DR man is supposed to have and even these are extraordinary potent.

Later when Janie marries Jody Starks, we see another example of a member of the “in-group” enforcing the negative stereotypes the dominant culture has imposed upon them. Jody remembers the “other men figuratively wallowing in” Janie’s hair (55). He has her cover it up because “she was there in the store for him to look at, not those others” (55). Janie’s hair is a symbol of her sexuality and womanhood. Janie remarks that when Jody forced her to start wearing the scarf, their sexual relationship suffered.