She unswervingly bows to the will of her tyrannical husband “Hippolita needed little persuasions to bend her to his pleasure (pg 89)." 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.
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. In Cat’s Cradle, Vonnegut described Mona Aamons Monzano as a beautiful woman alive who made sexual desire appeared.
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.
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.’ Her female potency gives rise to anxiety, and in turn, makes the once-phlegmatic Angelo hot-blooded and thus, effeminate — destroying his masculine persona and dishonoring
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. This is particularly apt when considering Carter’s use of gustatory imagery ironically depicting the Marquis as a ‘connoisseur’ and ‘gourmand’ which adds to his sadistic lifestyle and so symbolises control through stripping her with ease like ‘stripping leaves off an artichoke’ and resembling the pornographic image of ‘Rops…Reproof of Curiosity’ sexualising the image of women.
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.” (2.1.1307) Nora must play the role of dutiful wife and loving mother when with Torvald. Through secretly flirting with Dr. Rank, Nora deviates from those roles and expresses another side of her
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.