Women had no political rights, nor did they have a voice in their personal lives and decisions. In Pygmalion, Shaw has borrowed from Ovid’s Metamorphosis, Ibsen’s A Doll’s House and Goethe’s Faust to accentuate the position of women in the Edwardian era. The most obvious reference is the link to one of Ovid’s works, Metamorphoses. Not only does the one of the characters
Thus another feminist critic, Lee Dewards(1920) concludes that it is impossible to reconstruct Ophelia’s biography from the text: “We can imagine Hamlet’s story without Ophelia, but Ophelia literally has no story without Hamlet.” If we turn from American to French feminist theory, Ophelia might confirm the i impossibility of representing the feminine in patriarchal discourse as other than madness, incoherence, fluidity, or silence. In French theoretical patriarchal language and symbolism, it remains on the side of negativity, absence, and lack. In comparison to Hamlet, Ophelia is certainly a creature of lack. “I think nothing, my lord,” she tells him in the Mousetrap scene, and he cruelly twists her
In my paper, I would like to argue the importance of Miranda in The Tempest as an only female character that is seen through the play. Miranda is not an important character just for her father Prospero, but also for the other characters. For Caliban to show his hidden brave, for Ferdinand being the rescuer and wonder; but is Miranda really important in this play? Would it be a different life for the characters or has she no sufficient effect on them? First of all, all the women characters in the play should be analyzed but it is known that there is only one woman character is seen.
In addition, Austen uses a variety of ironies to express her own view on characters, both in her book and in her society. Austen successfully puts the wit into her books in three main ways described in the following paragraphs. First of all, with the distinguishing personality, it clearly shows the thoughts and feelings of the characters. For example, Mrs. Bennet is superficial and foolish that she only cares about her daughters’ marriages without any concern about their future lives. It’s also her pitiful part because she doesn’t receive an education.
It’s A Hard-knock Life To begin, A Doll’s House is an influential and eye-opening play by Henrik Johan Ibsen. With that being said, the play sheds light on what it is like to be a woman during the nineteenth century. In general, women struggled for equality and individuality during the nineteenth century due to society standards. For example, women could not vote, could not sue or be sued, and could not testify in court. As a result, most women remained at home—caring for their children/husband and running the household.
The Malabar tharawad had even been described as pennarasunad, meaning “the realm in which women ruled”. But one should be aware of the fact that “the system which existed was not matriarchal but matrilineal (Renjini 12). There is no clear historical evidence to prove that women exercised their rights over their property. Likewise the tali rite ceremony conducted for women at the age of eleven forced women to concentrate on domestic tasks, forcing them to give up their education. Thus matrilineal system was never favourable for female education as it confined women to the family.
Nonetheless, the makeover films lessen the conflict of social class and women’s inequality in the original theatre version and stress magnificent scenes and costumes to attract audiences, which make Eliza lose herself and become a kind of Cinderella. First of all, Pygmalion and My Fair Lady (1964), and Cinderella’s have similar plots because Eliza and Cinderella have similar life experience. They have poor life situations and stay in the lower class in the society. Eliza is a street flower seller and a working-class. Eliza’s mother is dead and her father does not care about her.
Cinderella was very mistreated at the time but would never disrespect her step family. Soon after deciding to be mean to her, “they took her beautiful clothes away from her, dressed her in an old gray smock, and gave her wooden shoes. They would scatter lentils in for her to pick up out of the ashes. Cinderella would do exactly what her evil step mother and step sisters told her to do. Cinderella’s was very inhumane to her they basically treated her like an washed up old doormat.
Addie remarks, “Then I would lay with Anse again- I did not lie to him: I just refused” (175). By refusing to struggle in an unhealthy relationship and instead find her own happiness, Addie becomes independent of her confining role in society. Addie certainly rejected female standards of the 20th century by criticizing the expected role of women and maintaining her own desires, which makes her a remarkable feminist
“Madwomen” Live under the Patriarchy’s Places Virginia Woolf said that a woman must have a room of her own and enough money. However, in The Yellow Wallpaper and A Rose for Emily, the two female protagonists have single rooms but these rooms not completely belong to them. They still live the rooms under the control of patriarchy for a long time, which make them lose themselves and twist their mentality. They have no choice to use an anomalous or extreme way to revenge male unequal behavior and they finally become “madwomen” in other people’s eyes. “Madwomen” lacks care and equal treatment so they not only need a concrete room, but also need a spiritual single room.