In contrast to past gender stereotypes, they argue that girls should be strong, independent, and intelligent. Orenstein takes a second wave feminism approach, meaning females are just as capable as males. She references how she commonly writes about feminism and warning parents of a “preoccupation of body and beauty” in order to pull for a change in society (327). The beauty standards give women an impossible set of goals deterring their confidence. In addition to unrealistic standards, Orenstein is alarmed by the growing popularity of princesses because she views them as “retrograde role models” (329).
In both Confetti Girl and Tortilla Sun, both narrators clearly have points of views different from their parents. In both, the narrators oppose their parents for being selfish, choosing their professional careers over their children. They put work above family, neglecting the desires and needs of their daughters. Both daughters are desperately yearning to be close to their parents. In Confetti Girl, the narrator wants her dad to listen to her, while he would rather focus on his teaching profession.
Lorraine Hansberry’s A Raisin in the Sun presents the rise of feminism in America in the 1960s. Beneatha Younger, Lena Younger (Mama) and Ruth Younger are the three primary characters displaying evidences of feminism in the play. Moreover, Hansberry creates male characters who demonstrate oppressive attitudes towards women yet enhance the feministic ideology in the play. A Raisin in the Sun is feminist because, with the feminist notions displayed in the play, women can fulfil their individual dreams that are not in sync with traditional conventions of that time. A Raisin in the Sun is feminist because, the play encourages women to develop an identity for themselves, particularly through education and career.
Since she spoke up to the men, she said, “I was not yet Frondos’ wife, so you cannot say my husband should have defended me; this was my father’s duty as long the wedding had not been consummated…you permit other men abuse your women... (87).” The downfall of Laucrencia is she believes she should settle down with someone, who does not respect her because she believes no man would want her. She sees herself as a woman, who is not pure anymore. In She Stoops to Conquer, Kate Hardcastle is the hero of the play because she has no evil bone in her body. She is raised to know her worth, but she knows when she needed to hide her strong side from the men. Since Mr. Hardcastle taught her about the ways of men, she knows a man supposed to respect and cherish her, and she said, “…I must not tell my age.
In contrast, George and Hazel in the short story cannot even identify the obstacle that they are facing with their lives. This is evident when Hazel suggests George take his bad down, he refuses by saying that when “[people] get away with it, and pretty soon [they’d be right back to the dark ages again,” and Hazel agreed. Sadly, they are so passionate about “equality”, that they are blind about that fact that they are suffering. In conclusion, both “”Warren Pryor” and “Harrison Bergeron” illustrate the danger of overly controlling humanity. Both texts discuss the barrier of stifling humanity, however, in the poem the narrator decides to suffer under his parents’ expectation, where in the short story the speakers are blind about the barrier that they are
Baby, don’t nothing happen for you in this world ’less you pay somebody off!” (Act 1, Scene 1). Through the quote, it suggests that women should be ignorant about the world, and calling “baby” instead of her name shows the inferiority of the women to men. In addition, Walter is expected to be the head of the family; Mama says, “It ain’t much, but it’s all I got in the world and I’m putting it in your hands. I’m telling you to be the head of this family from now on like you supposed to be” (Act 2, Scene 2). Although Walter does not deserve the power, the manhood of Walter Lee enables him to “control” the family.
Alvarez uses Minerva’s demand that her father earn her respect to show how she created her own inner strength and power in order to challenge her gender role. The discovery that Minerva’s father has another family and has kept it a secret leads Minerva to feel betrayed. In response to his excuses she says, “’I don’t owe you a thing,’ I said. My voice was as sure and commanding as his. ‘You’ve lost my respect’” (Alvarez 89).
A professor that is a woman is indeed professional about her job so students need to understand that being a professor is the only thing they are to them. In this article Hay expresses her feelings about the problem with students assuming that their female professors will either want to sleep with them or will treat to their every need like their mother would. The way Hay addresses this problem wanted to hopefully aware people that this is happening and that other people will help her end professor misconception. Hay tries to pinpoint down that only women have the troubles of being thought of as a sexual conquest. She emphasizes her side of the argument by saying,
The women all want to fight for their rights to have the same rights as men. Feminism in A Thousand splendid suns - While reading the novel I could see at the beginning of the novel that this novel can be examined with a feminist lens. The first thing that I saw in the novel is that the main character of the novel is played by a young girl (Mariam) as well as a girl who is growing up in a less fortunate condition. While reading the novel it was obvious that in “A Thousand Splendid Suns” men have authority over women, domesticity, which states that women belong at home, and the representation of elderly women as bitter, and
It is imperative that one should not be controlled because of a desire to impress others. Apparent in the beginning stages of the short story, Connie despises her sister, June, for the glory she receives for being the reliable child. She hates her mother for liking her sister more than her,