This is the reasoning for Antigone not denying that she buried Polynices; she was taking the consequences for what she believed was right and knew it would make her brother and the gods proud (459-540). Therefore, he has taken away and limited her rights. Thus, making this is the main reason for the family rivalry between Antigone and
From women being portrayed as property to enabling women to take a stance on their freedoms. “The Story of an Hour” by Kate Chopin conveys the message of how the married 19th-century woman felt. Chopin provided an insight of how the females were powerless when it came to their independence, how women were joyful about the death of a husband since it was the only way out of a controlling marriage, and the amount of dread that the women endure during a marriage. Mrs. Mallard could signify most of the married women of the 19th century. Chopin’s story displays that women are human just as much as men and that they should not be treated as belongings, but rather as a human, especially in
John Steinbeck’s short story, “Chrysanthemums”, was written in 1938. The story tells of a woman’s struggle to find self respect and worth from her male counterpart within a very patriarchal society. Throughout the story symbols are constantly used and Steinbeck specifically chooses symbolism in order to express the inequality of women during that time. The use of chrysanthemums in Steinbeck’s story is to symbolize Elisa and her self worth.
Scott Fitzgerald reinforces the oppression of women through his menial depiction of women. Fitzgerald uses his character, Daisy Buchanan, to represent the selfish and shallow perspectives on upper-class women during his era. He contrasts this image of wealthy society by using Myrtle Wilson, a needy mistress, to manifest the greed existent within the women at the bottom of the social hierarchy. Jordan Baker embodies a highly modernized and independent female during the time, yet she is constantly treated unequal to men. Fitzgerald creates females that are subjected to constant inferiority in his novel, rather than giving them more original characteristics.
He roams throughout the country, posing the question to every woman he meets. To the knight’s dismay, nearly every one of them answers differently. Some claim that women love money best, some honor, some jolliness, some looks, some sex, some remarriage, some flattery, and some say that women most want to be free to do as they wish. Finally, says the Wife, some say that women most want to be considered discreet and secretive, although she argues that such an answer is clearly untrue, since no woman can keep a secret. As proof, she retells Ovid’s story of Midas.
As Elisa speaks to the tinker, Steinbeck shows how the tinker feels about women: “It must be nice,” she said. “It must be very nice. I wish women could do such things.” “It ain’t the right kind of a life for a woman” (455). The word choices Steinbeck made emphasize how the tinker thinks women should stick to house work.
The protagonist, Hester Prynne, displays characteristics that make her a feminist hero. Hester is able to resist her punishment’s constraints and challenge the prejudiced court officials in the process. While her sin is plastered across her chest as a constant reminder of her past, she attempts to find feasible ways to live a normal life, defying the Puritan society’s standards. She surpasses all limitations that are put on her as a woman who has committed adultery. Her confidence and determination allow her to rise above patriarchal confinements and live her life independently.
She is an independent young woman and throughout the novel Nick stresses that she is very modern emancipated woman. She has sportive life, and she mostly wears sports clothes. Because of her masculine style, it is implied that she has lost her femininity. Daisy Buchanan almost embodies values of new woman, too. She is very irresponsible and impartial.
How can a character who chooses to stay in an abusive relationship be considered feminist? I argue that it is through her painful first and second marriages that she grows more complex, and her identity is progressively shaped to reflect a maturing, empowered woman. Logan and Jody echo patriarchal 20th century notions of gender, relating to the virtues of domesticity and labor: women as the embodiment of the “angels in the house”, as well as subservient creatures pandering to their husband’s desires and needs. When Jodie declares, “Ah never married her for nothin’ like dat [speech-making]. She’s uh woman and her place is in de home” (43), Hurston is faithfully reflecting the times during which the novel is set, and the mindsets Janie must constantly struggle against.
Would it not grieve a woman to be overmastered with a piece of valiant dust? To make an account of her life to a clod of wayward marl? No, uncle, I’ll none. Adam’s sons are my brethren, and truly I hold it a sin to match in my kindred.” (Shakespeare, “Much Ado” Act 2, Scene 1).
In her short story “Marigolds”, Eugenia Collier, tells the story of a young woman named Lizabeth growing up in rural Maryland during the Depression. Lizabeth is on the verge of becoming an adult, but one moment suddenly makes her feel more woman than child and has an impact on the rest of her life. Through her use of diction, point of view, and symbolism, Eugenia Collier develops the theme that people can create beauty in their lives even in the poorest of situations. Through her use of the stylistic device diction, Eugenia Collier is able to describe to the reader the beauty of the marigolds compared to the drab and dusty town the story is set in.
The most appropriate literary critical theory for John Steinbeck’s, The Chrysanthemums, is the psychological approach because Elisa’s conscious and unconscious imbalance, usage of defense mechanisms, and unsatisfiable lifestyle wholly possess the features of the psychoanalytical critical theory. To begin, Elisa’s id seldom overrides her conscience, which presents the depths of her motives. This is apparent when Elise, “... touched the under edge of her man's hat, searching for fugitive hairs... Kneeling there, her hand went out toward his legs in the greasy black trousers. Her hesitant fingers almost touched the cloth” (Steinbeck 5).