If the reader can understand the presentation of the author, then the interpretation will have a sense of flow with what is being read. Susan Minot uses a feminist aspect on how she portrays the character in “Lust.” In an article by Janet Chatez, “The term ‘feminist theory’ is used to refer to a myriad of kinds of works, pro- duced by movement activists and scholars in a variety of disciplines; these are not mutually exclusive and include: (a) normative discussions of how societies and relationships ought to be structured, their current inequities, and strategies to achieve equity; (b) critiques of androcentric classical theories, concepts, episte- mologies, and assumptions; (c) epistemological discussions of what constitute appropriate forms, subject matters, and techniques of theorizing from a feminist perspective; and (d ) explanatory theories of the relationship between gender and various social, cultural, economic, psychological, and political structures and processes” (Chaftez 97-98). She discusses the concept of gender roles over the past several decades, were women use the strong theory to stand behind what they are fighting or portraying in their everyday life. Although most women are not considered strong feminist, the theory holds true for how women want to be considered in
Brad Henry, a politician, once claimed that “Families are the compass that guide us. They are the inspiration to reach great heights, and our comfort when we occasionally falter.” Henry means to say that someone with a family will be motivated to take action to improve their own situation for the sake of themselves and their family. In Harriet Beecher Stowe’s novel, Uncle Tom’s Cabin, Stowe focuses on the idea of family, which was an evident theme in the aforementioned quote, and how the institution of slavery affects it. Stowe changes the point of view many times throughout her novel to show the reader under what circumstances she believes that one’s family can truly influence the actions of a character. In her novel, Stowe uses dialogue to maintain that family is only a motivator of action when there is a possibility of enslavement to criticize how slavery leads to the lost of family values.
Social construction was further criticized by other feminists and for Kate Millet, patriarchy is the root cause of subjugation of woman. “Patriarchy is seen as male-centered and controlled and is organised and conducted in such a way as to subordinate woman to man in all cultural domains; familial, religious, political, economic, social, legal and artistic” (Abrams 2007; p.89). This patriarchal ideology pervades those writings which have been traditionally considered great literatures and which until recently have been written by men. Feminist critics analyzed these works to show what strategies are employed by male writers to maintain their control over women. They presented women as emotional beings who know no
He subtly builds upon Shin’s animosity for his mother. From the very beginning of the novel, Shin never received love from his mother: “his existence as her son had been arranged by the guards” (Harden 17). Another incident within the novel occurs when Shin was forced to starve. Despite acknowledging Shin’s hunger, “His mother was cooking rice. For Shin, this was a slap in the face”(Harden 52).
Such a notion not only served it a greater social purpose as it gave more power to men who were seen as natural leaders, but at the same time formed gender identities while preserving the archetype of femininity and masculinity. According to Barbara Welter, a historian and author of The Cult of True Womanhood: 1820-1860 (1966), the nineteenth century American society was a reflection of gender stereotypes where roles assigned to sex held women in the cultural manacles of subordination and limits. The work illustrates the gender boundary between men and women, while focusing on the hailed pure image of a housewife, who suppressed her instincts aspirations, and accepted the chores dictated by the cultural division supporting the policy governed by social hierarchy resulting in misogyny. In this fundamental for this thesis discourse, Barbara Welter provides various exemplars of limiting women’s development and pointed the route regarding little room for intellectual maneuver what translated into docile behaviour. The author writes that “submission was perhaps the most feminine virtue expected of
No matter how much the father did, the son never noticed his efforts. Now the son 's neglectful attitude towards his father has returned to haunt him. The son finally sees the amount of work it takes to raise a family. He learns how hard life really is, and he understands why he should have respected and admired his father long ago. His father went about his everyday duties quietly, never asking for anything in return.
INTRODUCTION We have studied and evaluated Susan’s case study. We used her personality and traits to further explain and discuss theories of Freud, Bandura, Skinner, Horney and Maslow in order to better understand what Susan’s troubling problems are, why Susan reacts in ways that she does as stated and how the people around her accept or reject her behaviour and how she was influenced and all that was instilled in her from an early age in her life. 1. Exploring traits and characteristics of Susan’s personality type according to the theories of: FREUD PSYCHOSOCIAL CONFLICT: The person is caught up in a constant conflict between drives within the psyche and the demands of society (Meyer, et al. 2008).
But due to the selection of few elite representatives, women writers have been forced to rediscover the past a new, forging again and again the consciousness of their sex. This perpetual disruption has led to a sense of alienation among them and prevented them from a sense of collective identity. Furthermore, she emphasizes social and economic condition of women showing a certain discomfort with the idea of a ‘female imagination’, which, for her, reiterates the familiar stereotypes further suggesting permanence, a deep, basic and inevitable difference between male and female ways of perceiving the world. The female literary tradition instead, she argues, is result of the ‘still-evolving relationships between women writers and their society’. Based on this evolutionary assumptions, she divides the female literary tradition into three main phases, namely, Feminine from 1840s to 1880s, Feminist from 1880s to 1920s and finally female from 1920 onwards, though