Her fiction contains a multi dimensional portrait of sexual reality. She emphasizes that it is an elemental gravitation, a compelling thrust that goads the opposite sex towards biological fulfilment of one another. It is highly fascinating and impulsive and slightest worried with human moral codes. Nasrin considers sex as an asset for a woman. In French Lover her heroine, Nila thinks that if she could not have great figure with which Benoir played she could have passed her life alone like Molina, her mother or could have ended her life like Mithu, her cousin.
To Danielle Corsetto, the author, Girls With Slingshots is her way of “talking about things [we’re] not supposed to talk about”. To her, it is untapped content she is responsible of humorously scrutinizing. In an interview with Corsetto, she explains her view on communicating about sex. She expounds on the relationship of the words “adult” and “sex,” and how even as woman, she feels discouraged from openly conferring about it (Registre,
Her mistake is not the fact that she begins a relation outside marriage, but that she advocates for women’s right to choose their partners and the possibility of a relationship based on equality and free love. Society’s response to such scandalous demands is to transform her into a prostitute, but as Roxanne Eberle so perfectly phrased it in her essay “it is Adeline’s rejection of society’s attempts to treat her as a ‘whore’ which makes the novel interesting”(1994: 133), while her unwillingness to compromise her beliefs shows not that she is unworthy, but that society is not prepared to change its social mores: “Alas! Cried Adeline, ’when can we hope to see society enlightened and improved.”(Opie, 1999:
the indictment of those ideologies that propound the image of the woman as docile, quiet and asexual by making it responsible for violence against women” (González, “Contemporary Women’s Poetry in Galicia and in Ireland: An Introduction” 118). The cultural and religious image of motherhood and the Virgin Mary “has ‘dissociated the maternal-role function from other aspects of a woman’s identity, in particular her sexual identity’” (Barr et al. 3). Therefore, the poets needed to show and point out the existence and the realness of the female sexuality. Both pubescent and homosexual, sexual desires contradict the religious model of femininity, and by presenting these issues, the poets neither reject, nor accept the image of the Virgin Mary, but alter it.
She would rather be able to identify with and relate more to a man from similar conditions than the supposed ‘sister’ from the polished society. One of the most prominent feminists, Simone de Beauvoir, faced similar problems in defining a woman. In her book, The Second Sex, she begins by asking the question “What is a woman?” (Beauvoir, 1949, p.13). She doesn’t agree with age old explanation of woman is a womb and thus realises that women have always been defined as the ‘other’
They mainly suggest the female experience in a masculine and male-driven world. The change in the focal point and perspective to female characters attempts to overthrow the traditional masculine definition and representation of femininity. Duffy’s rework highlights the search for a new female identity outside masculine definition and creates a huge contrast to the traditional idea on female subjectivity and stereotypes. The shift of emphasis onto women empowers women and provides them with ability to take control of their circumstances. A few themes that are shown in these poems include feminism and social standards of women, self-strengthening and transformation.
336). With the many similarities and allusions du Maurier makes to Brontë’s work, Rebecca lends itself particularly well for this feminist reading as well. As was explored above, the readers’ only way to gather more information about Rebecca, her deviant sexual proclivities, and madness is through the unreliable narration from residents of Manderley as well as the novel’s editorial protagonist. As was suggested by both Williams and Pons, the narrator uses her editorial position to further distance herself from the madness of her predecessor by highlighting her own naiveté and upholding the norms of patriarchy and passive femininity. To keep her position as both Maxim’s living wife and the narrator to the tale, the unnamed heroine had to adhere to these norms to avoid being marginalized in the way that Rebecca seemingly is.
However, according to Anne Koedt, from there came confusion between personal solution and political solution. She denounces that; there is a crucial difference between a lesbian personal engagement and a lesbian political engagement. That is the origin of the famous Slogan: “The personal is political!” There, Anne Koedt joins Kate Millett, an author with some different ideas, who wrote “Sexual Politics” in 1969. Like her, she denounces the women subordination to men. The society is sexist.
The film, "The Danish Girl" brings about the dilemma subjected to Lili in seeking to dismantle her true affiliations and ultimately disclose her sexual identity. In sociological perspectives, sexual identity is not inborn, in fact it is developed through social experiences and sexual psychology which directs a person 's sexual attractions and thus, Lilli has to undergo the trauma of exposing her sexual attractions and desires as a woman in a male body despite various societal challenges. The film outlines how gender follows sex only because sex acts as a determinant of cultural attributes in the contemporary society thus forcing Lili to conceal her feminity and 'act ' masculine in the face of the society for the sole reason that she is physically or sexually a male, together with the responsibilities of fulfilling a husband 's duties that a transgender woman is obliged to accomplish. The problem is however in the fact that Lili manages to push away Gerda so promptly and initiates a new relationship with a man without clearly and fully resolving her relationship. This leaves doubt and suspense as to how fast and equally selfish Lili has been in transitioning to a woman despite the harsh and immediate challenges before her and the psychological intricacies those around her must overcome.
Reflecting on Woolf’s A Room of One’s Own, Showalter faces the similar issue of women’s exclusion from the academy. Charting a long history of literary women, she drives attention to undervalued nineteenth-century writers such as Sarah Grand, George Egerton. Rather than defining a ‘universal’ woman’s text, Showalter preferred to identify a female ‘subculture’ which created those texts. She argues that, with the reemergence of a Women’s Liberation Movement in England and in America around 1960s and 1970s, scholarship generated by contemporary feminist movement has led to an increase in sensitivity to the problems of sexual bias or projection in literary history. And one of the most significant contributions has been the unearthing and reinterpretation of “lost” works by women writers, and the documentation of their lives and careers.