First is the idea of merit, that bad things happen to bad people (1, 1985). The main example for this is sexual assault of a woman wearing a provocative outfit. This notion is full of oughts. Women ought not to wear provocative outfits, because, as we know from porn, a provocative outfit is a communication to men about openness to sex. The raped woman’s gender performance was wrong, it sent the wrong signals.
She states that sexism comes from how women have been perceived sexually throughout history and that this heavily influences pornography. McClintock sets up this argument by saying “Women’s desire, by contrast, has been crimped and confined to history’s sad museum of corsets, chastity belts, the virginity cult and genital mutilation” (113). She is saying that women were never given the chance to define their sexual wants and sexual desires because they have always been decided for them. Her main argument is based on her belief that men and women have formed the way that women’s sexuality is portrayed, even before the porn industry existed. McClintock disputes that society wrongly accused women of not wanting to participate as sexual beings and therefore that assumption is why pornography is focused on satisfying the needs of men over the needs of
The traditional view of a king was to rule a kingdom and sort out the injustice that the people wanted justice for. Not only did a king control the laws, politics and economics of their kingdom, the king was seen as strong enough to help lead their country into battles and come back with a victory. Henry was under pressure to make the Tudor family a successful line of Kings to help carry on a legacy, daughters were not part of his plan.
The characters behave according to the injustice norms and laws that maintain the male in the position of power. For example, in A Thousand Splendid Suns by Hosseini, Laila and Mariam are the wives of Rasheed who exercises violence on both of them considering himself the superior in the household. The essay will help explaining the reasons behind women silence and subordination, and Rasheed’s aggressive reactions toward women. Repression, Resistance, and Women in Afghanstan is a book written by Hafizullah Emadi. The book deals with the multiple factors that reinforce women 's oppression both at home and in society.
Commoners & nobles and men & women were treated differently. For example, crimes against royalty resulted in more severe punishments, while crimes committed by royalty were often swept under the rug. If a case was deemed embarrassing or inconvenient to the prince, then the culprit could be murdered in their cell or exiled without a trail. Women who were raped had to have proof that she cried out, tried to fight the attacker away, and had to report the rape within a limited amount of time after it occurred. Religious authorities also chose when to interfere, and when they’d rather not to; they would often charge a woman with improper behavior and send her to institutions for prostitutes and “fallen women,” which were established by churches and the city.
In both novels the double standards in society are notable, as women always take the blame and were punished for the same actions that men partook in regularly. Both authors cleverly expose the hypocrisy and double standards in society through the portrayal of their female protagonists. In Hardy’s novel, the double standards of society greatly affect Tess’s life experience. Tess was expected to work, marry, and support her family as she was the eldest daughter. When she was a young virgin girl, she is seen as desirable by men and society.
Women had one role in society to please their husband, take care of the children and handle the financial assets of the home and to think otherwise was ridiculous. Not only are women looked down upon they are treated horribly. We see this though the character Calonice in Lysistrata when she says "Suppose they grab us, drag us into bed" (159) Calonice was scared to stand up to her husband fearing he would rape her. Women we were seen as sex objects and we obliged to do whatever is told to them. In Lysistrata, the roles of women are reversed.
In fact, Isabella ironically draws upon patriarchal social expectations to slight their respective assaults on her sexuality, such as when she tells Claudio that their “father’s grave / Did utter forth a voice” — which expressed that he “must die: / Thou art too noble to conserve a life / In base appliances” (3). Moreover, instead of undermining female autonomy, the Duke shows signs of reinforcing it as he aids Isabella in her struggle to maintain her sexual freedom. He orchestrates a scenario in which Isabella partakes in a bed trick, thus preserving her sexual independence while also subverting Angelo’s autonomy. Here, both male and female characters demonstrate the ability to influence another’s honor; even the Duke, a male character, impedes upon Angelo’s honor, rather than remaining unified as would be typical of the patriarchy. Thus, the female is not merely an endangered object to men, for she is also endangers patriarchal control.
This made men fearful that their women would be unfaithful; women were at this time considered property, after all, little more than chattle whores. Marriage in ancient Greece was seen as a form of prostitution or sexual slavery, where wives were expected to provide sexual favours to their husbands in return for being taken care of. Wives were often kept away from other men as a result, and eventually this led to women rooming together, in cloistered fashion, when men were gone. Through the Victorian age, female sexuality became completely repressed, and the common view was that women 's sexual appetite was smaller than that of men. The picture of the cold and frigid, virginal and pure woman became the norm.
Female characters are dehumanized because they are used as of men’s desire, men’s world and men’s Dream. The Great Gatsby, therefore depicts “the new social and sexual freedom” enjoyed by women through the lives of Daisy Buchanan, Jordan Baker and Myrtle Wilson who are “the focus [of both] romanticism and the moral indignation. They are symbols and are seen as objects which speak to the still unstable role of women in the society” (Fetterley