The Bloody Chamber and The Collector are both influenced by variations of the French folktale Bluebeard, Angela Carter’s The Bloody Chamber based on Charles Perrault’s Barbe bleue (Bluebeard), and John Fowles The Collector influenced by the opera Bluebeard 's Castle by Béla Bartók. Both The Collector and The Bloody Chamber use captivity narratives to drive the plot with the clear influence of the Bluebeard tale. In this is essay I will analyse how in both of the texts the female protagonists become surveyors of themselves, and how the surveyor within herself is male. I will further apply my understanding of Laura Mulvey’s theory of the male gaze to critically analyse both texts, additionally demonstrating the techniques used within both and …show more content…
The descriptive sightings of Miranda and the dreams he has of a future together shows an unhealthy obsession. Miranda exists in Clegg 's mind she is an idealised projection, he looks upon her as he does his butterflies a specimen to be trapped and pinned down for his observation. Clegg goes beyond simply looking at her, he begins to imagine unlikely outcomes and whimsical futures in which he holds a place of power above Miranda, he even admits that ‘I let myself dream I hit her across the face’ (7), indicating that ‘To gaze implies more than to look at - it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze’ (J. E. Schroeder, Consuming representation: a visual approach to consumer research, 1998, 208). Mulvey’s theory indicates that the male gaze denies women human identity, relegating them to the status of objects to be admired for their physical appearance, since Clegg has no
Women are an essential part of many British works. Although women are typically given the role of minor and less significant characters in British literature, they serve a greater purpose than that of which is initially perceived by the reader. Grendel’s mother in Burton Raffel’s, Beowulf, and the female creature in Mary Wollstonecraft Shelley’s, Frankenstein, are two noteworthy characters that are overlooked, but the roles they play and their influence are important to the storyline. Although she is monstrous and is described as having masculine features and actions, Grendel’s mother is a peaceful and loving being at the core.
The majority of the characters in Mary Shelley’s Frankenstein and John Gardner’s Grendel comprises of men, often travelling or going on adventures while the women stay at home and wait for the men to return. The passive role of women is offset by the more aggressive nature of men in Frankenstein and Grendel, but the perceived submissiveness of the women does not necessarily detract from their strength and stability that they provide to society. In fact, both novels are full of the men’s oversight that consequently leads to devastation, revealing the idea that women make up the foundation of society. In both novels, women are the ones to soothe conflicts.
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 assignment will compare and contrast the methods used by both authors to define confinement, including structure, setting, narrative techniques and genre. Furthermore, it will discuss the various forms of transgressive sexuality within the novels and will deliberate how the portrayal of cross-gender attributed to the question of oppression and confinement. In comparison, Collins sensationalist novel The Woman in White is innovative, and combines melodrama, romance and elements of the gothic. First serialised in 1859-60 in Dickens ’ All the Year Round’ magazine, it proved highly popular and made Collins independently wealthy.
The notion of separate spheres seen throughout the Victorian period was set up to distinguish the roles of men and women in society. Women fulfilled the domestic sphere and were generally seen as emotionally sensitive and submissive individuals. Conversely, men were held to be intelligent, stable, and fulfill all of the work outside of the home. In Bram Stoker’s novel, Dracula, the Count seems to actually embody the fear of the breakdown of such separate spheres. However, Bram Stoker breaks down these separate spheres and the fear associated with their breakdown through the theme of the “New Woman” intertwined with the actions and behaviors of the characters in the novel.
This paper aims at analysing Emma Donoghue’s Slammerkin, written in 2000 and set in mid-eighteenth century England, projects a girl who in no time is pushed into the category of a ‘fallen woman’ for violating the prescribed patriarchal norms and roles for women. Here the girl, Mary, is represented as a universal subject who lives in the wretched condition of most women of her rank and background in the eighteenth century, at the same time, her singular personality interrogates the anti-women stance of the Enlightenment as she emerges into her own in the same inimical historical time and place to reach beyond it to the current readership. The scope of reclamation is dealt to facilitate lost selfhood in general and of women victims in particular.
Abstract Literature holds the power to reveal the same nuances throughout ages. Be it the 17th or the 20th century, domination, control, authority have arisen the interest and curiosity of both writers and readers. What makes these concepts exceptionally luring and mesmerizing? Power and more precisely, gender power, has gradually been invested with great significance. Providing their writings with various meanings of the noun “power” John Fowels’s “The Collector” and William Shakespeare’s “The Tempest” have fully succeeded in firmly establishing this notion.
Throughout the story of the Bloody Chamber, the idea of innocence is explored. At the start, the narrator innocently dreams of a romantic marriage with a loving husband and family. However, as the story progresses, the narrator slowly loses her innocence to her new husband. Once the narrator loses this matures, she is no longer attractive to her husband. Overall, Carter use of innocence is like a veil, it covers the eyes of the innocent from the world.
In comparing and contrast both drama A Doll House by (Henrik Ibsen), and Trifles by (Susan Glaspell). The authors shine a light on how a woman had no place in society in the nineteenth century .A woman place was in her home and her responsibility’s consist of taking care of her husband, her children and her home. Mrs. Wright was introduce to the reader as woman that was held for murdering her husband after a long time of abuse. Nora was introduce to the reader as woman that had everything in life.
In Henrik Ibsen’s A Doll’s House, the three-act play, set in 19th century Norway, explores the progress of Nora’s marriage as she attempts to hide her debt and forgery from her husband. Ibsen conveyed social commentary on gender roles and societal expectations, a topic still in controversy, through the use of symbolism, irony, and dramatic elements. In A Doll’s House, Ibsen presents the problems associated with the position of women in a man’s world of business as his central focus, even if other social or individual problems become more prominent as the play progresses.
What does it mean to be in complete control of your life, without fearing disapproval from your own husband? Nora Helmer sure would not know what that feels like. In the literary work credited to Henrik Ibsen, A Doll’s House, a clear distinction between the gender roles of Torvald and Nora Helmer was established through symbols. Through Ibsen’s use of symbols such as macaroons, pet names, and the Tarantella, such symbols help convey and compare the roles of men and women within the nineteenth century. Not only were the gender roles distincted through their character, but they exemplified the actual feminine and masculine roles of typical nineteenth century society.
French history contains what folklorists have identified as three distinguishing features of Bluebeard 's stories: a forbidden chamber, a banner that also reveals punishments and a character that violates the ban. "Bluebeard" is in conflict with virtually solitary marriage when talking about marriage as an institution that feared the threat of murder. The stories of "Blue Beard" show us that women are leaving their home and entering risky areas. In many of these stories the Bluebear’s wife must escape their homeland and reside in a place that is foreign and unknown to them. They must break through the barrier of going somewhere new but also scary.
In Carter’s tale of the bloody chamber, she connects her stories with the common themes of the vulnerability and the lack of strength of feminism. The woman protagonist characters engulfed by masculinity, and basically became that wide-eyed stray puppy in the back alley that we feel bad for. Carter made her female character almost useless in terms of having the understanding of being a human being. It was almost like someone needed to hold her hand or give her directions to follow or else she would somehow burn the whole castle to the ground. What is Carter’s purpose of using these themes in the bloody chamber?
Originating in France, ‘The Necklace’ is a short story written by French writer Guy de Maupassant in the late nineteenth century, the period where literary movements realism and naturalism dominated French fiction. Maupassant played an important role in both the realist movement and the naturalist movement through his depiction of the setting as well as the character’s decision. The short story reflects upon the rigid patriarchal society during the late nineteenth century, demonstrating how the wealth of a person can lead to their generosity and greed; thus affecting their lifestyles. Through ‘The Necklace’, Maupassant aims to depict the conflicts between the upper-class and the lower class, how their inner desires vary. This essay will analyze ‘The Necklace’ and how Maupassant uses the social context, characters and literary devices in the short story to illustrate his misogynistic viewpoints towards women.
Rosemarie Morgan thinks that continuous censure, criticism and frustration is precisely what increased his sympathy towards women who were coerced to conform to the men 's world (Morgan, 2006, p.15). This chapter of the paper makes an attempt to discuss the importance and the influence that the society with its prejudices had on the portrayal of women in the novel, with special focus on the protagonist Tess of the d 'Urbervilles. Social influences and prejudices include the oppression that Tess receives from her family, the church 's denial of a proper burial for her baby, and the society 's judgments on being a mother of an illegitimate child. The second one is gender restraints, illustrated through male