When she mentions how crude she was to her husband’s we can see the similarities between her and the old woman, for in her tale when the old woman is in bed with the knight she teases him by saying, “Does every knight behave thus with his wife as you do?” (The Wife of Bath’s Tale, Line 1088). The old woman begs the question of her husband that if he had the choice, “to have me ugly and old until I die, and to be to you a true, humble wife, and never displease you in all my life, or else you will have me young and fair, and take your chances of the crowd” she tells him to choose and he says to choose whichever shall be most pleasing to her (The Wife of Bath’s Tale
The 1964 science fiction sitcom TV show portrayed a woman as a robot that is programmed to do whatever she is told to do by a man that is trying to mold her into the “perfect woman.” However, all Rhoda’s caretaker ever wanted to do was help her have a smooth transition into human society without being exposed to the world for what she really is. According to Canote’s article; “ Today there are many who might see the premise of My Living Doll as sexist, but the show does not come across that way at all (especially considering it was made in 1964). First, the whole idea of Dr. McDonald teaching Rhoda to be the "perfect woman" seems to have been dropped after the very first episode. Instead, after the first episode, the show becomes much more about Dr. McDonald trying to get the extremely intelligent, but also very naive robot to adapt to human
Furthermore, the character whose name is Donnie says that he gets married to her cousin because she became a very sexy woman when she grew up. So this means that the most important side of a woman is her body not her thoughts, ideas and esteem. At this stage, Prof. Talip Küçükcan mentions the feminist film theory. According to this theory, in the products of popular culture, women are shown as only sex objects so they object to pornography. However, in The Wolf of Wall Street, there are many scenes which insult and humiliate the woman
As a child, the protagonist comes to the conclusion that most problems on earth derive from the loneliness of those who don’t have strong family ties, and that the creation of artificial families can fix this problem. This is evident in the meeting of Daffodils in Indianapolis, in which all members of the meeting are kind and straightforward to each other. At the meeting, “A young woman, quite beautiful but disorderly, and clearly crazed by altruism, said that she could take at least twenty [Daffodil] refugees into her home. Somebody else got up and said to her that she was an incompetent housekeeper and that her own children had gone to live with other relatives… this sounds as though the people at the meeting were being cruel. But they all called her ‘Cousin Grace’ or ‘Sister Grace’ as the case might be.
Fahrenheit 451 is a novel that discusses a utopian civilization were books are prohibited and the firefighter’s jobs are to burn books. Guy Montag our main character is our main character and he is married to Mildred Montag, a unique woman obsessed with her television soap operas, a clown that lets her cope with her depression, and gadgets that do everything for her. Mildred represents the stereotypes had in that society, such as conformity, propaganda and consumerist ideals. In the story Mildred is described as a small woman with pale white skin, eyes with kind cataract reddened pouting lips and a hair filled with chemicals and hair dye. Mildred’s scrawny physical traits symbolize all the diets and artificial beauty that women had to go through
Annabeth, for example, loves architecture, is very smart, and is a highly skilled fighter. Her intelligence and passion for architecture are underplayed in the movie, while her inheritance of battle strategy and fighting skills from her mom, Athena, are emphasized. Grover is a goofy, awkward, true friend to Percy in the book. Within the first chapter, he had taken pieces of the class bully’s (Nancy Bobofit’s) peanut butter and ketchup sandwich to the head for him. In the movie, he is dumbed down to a “girl-crazy ‘comic’ relief” (as stated by Wan, Book vs. Movie: The Lightning Thief).
She knew I’d develop huge, powerful muscles so I’d become ugly-looking!” (Bernstein, “Girl Atlas” 8). Despite gaining strength, which makes Lana at least physically equal to Superman, the association with masculinity takes away from her perceived femininity and thus eliminates her as a marriageable woman: “No longer appearing physically attractive to the man of her dreams is presented as the greatest calamity that can befall a woman” ( Williams 50). The truth in this statement becomes even more apparent when discussing another story from Superman’s Girl Friend: In the story “The Fattest Girl in Metropolis”, which was published in the fifth issue of the series in 1958, Lois is exposed to growth rays which make her twice as heavy as usual. Her first concern is how Superman would react to her new appearance, and she decides to avoid Superman at all cost, as she would “die of shame” (Bernstein, “Fattest Girl” 4) if he recognized her. In the following panels Lois is driven by her wish to lose weight in order to be “slim enough to face Superman
“Basement Magic” is unique twist on the evil stepmother/fairy god-mother story. The main character is a shy and bright little girl named Mary-Louise. Following the generic evil stepmother/fairy god-mother story, her mother died young and her father remarried, introducing Kitty, who is more interested in being a corporate wife than a mother. Despite, growing up surrounded by riches Mary-Louise grew up ignored by her father and step-mother. The story builds around the friendship of the cleaning lady Ruby and Mary-Louis built around magic and housework.
The strength of the women’s performances clarifies that the sisters rule their fading aristocratic home, but the end of their class privilege is signaled when Natásha instantly begins running the household after she marries their brother, Andréy (a soulful, befuddled, and finally furious Josh Hamilton). Chekhov invests in Natásha all the uncouth flailing of what he saw as the ascending middle-class. Her terrible French accent horrifies the sisters, who palpably dislike her, even before she begins reassigning their bedrooms so that her baby can have the house’s best air and light. She moves Ólga and Irína farther into the house’s lower regions, dismantling their power and their right to their own property. And, of course, one of Natásha’s last stated intentions is to cut down the trees that line the family estate which, as always in Chekhov, represent stability, history, and the privilege of nobility.
She explored the lives of bored housewives and their loveless rich husband and family. Her novels mirror the life styles of the elite and the middle classes of urban world. Shobha De’s Sister is a tale of shady urban culture where human relationship has lost its all values. Altogether, it is a tale about emotional union between two sisters, Mallika and Alisha. They are the daughters, one legitimate and the other illegitimate, of renowned business man Hiralal who dies at the beginning.