Xander's Role In Buffy The Vampire Slayer

Lady Macbeth says to Macbeth “Thou wouldst be great/ Art not without ambition.” Lady Macbeth basically was saying that if Macbeth doesn’t take control she will. Wuthering Heights also show a lot of unbalanceness in the relationships. It also shows some examples of women wanting sovereignty over men.

Asagai mentions that he cannot take women seriously; George thinks it's funny that a woman wants to be a doctor. The only reason George likes Beneatha is because of her beauty. While Beneatha is with George, she is not allowed to express her feelings to him without being made fun

Throughout the episode, there are various instances when words don’t accomplish what people want. When the witch is in the Gaia group she tries to persuade them to do more witch related things, but none of the others want to except one who wants to and doesn’t speak up. The other major instance is when Buffy wants to kiss a guy she likes, but she and him keeping talking too much when they are about to. When they can’t speak, their words don’t get in the way and they kiss. In this way, Whedon is saying he doesn’t need dialogue and neither does the audience when it comes to understanding something or

It’s no surprise, that Shakespeare’s Macbeth was clearly constructed as a rebellion against femininity roles of the time. During the Elizabethan era, women were raised to believe they were inferior to men since men obtained desired masculine qualities such as strength, and loyalty, whereas women were viewed as figures of hospitality (1; 6; 28-31). Obviously, not being tempted by the luxury of subservient women, William Shakespeare rebuked this twisted belief, applying that women deserve more respect than their kitchen tables.

Our society teaches us that men only want one thing from women, but this is untrue in the case of Angel and Buffy. They both wanted to be with one another sexually, but held off for as long as they felt they could. Sex often brings couples closer together, but in this case it did the opposite and tore them apart, because of the circumstances regarding Angel having a soul. By having Angel change into a soulless vampire the writers did follow the stereotype of having sex meaning more to women than men, but by doing it in a way that was not Angels fault it did not

Therefore, I think that gender roles are reversed in this novel. Starting with the Noh Theatre reference, where men also take female roles, we can see throughout the novel how there's not a defined male or female behaviour, as women seem to have attitudes traditionally related to men and men seem to act like a woman is traditionally expected to. In this novel, women are in control. However, this doesn’t apply to Harumé, as she is simply treated as another tool in Mieko’s revenge scheme. Mieko is the perfect example of the powerful woman archetype, feared by both men and women as she doesn’t fulfill the typical woman role expectations.

In Shakespeare’s play, Othello, the storyline demonstrates male-dominance over the female characters, therefore marginalizing the role of feminism in the play. There are three female characters who play an important role in the Othello, each of whom showed true love and affection towards their men and yet were rejected and became a symbol of suspicion in the tragedy. The story line of Othello contains many problematic complications, all leading towards the ending tragedy, but one of the main conceptions supported throughout the play revolves around the female characters who become victims in the men dominant society. Othello's tragedy in the play happens as a result of men's misunderstandings of women and women's inability to protect themselves

In consonance with Providentialism, there is no space for women, who are defined by male characters. However, this is problematized in both Gertrude’s and Ophelia’s definition. In the first one, as Rebecca Smith defends, “The traditional depiction of Gertrude is a false one, because what her words and actually create is a soft, obedient, dependent, unimaginative woman […]” (1992: 80). In the second one, she is treated as a possession by her father and brother. However, she uses madness in order to try to define herself.

She is the force that allows Macbeth to act without will. Consequently, her husband´s cruelty and her own guilt send her into a madness from which she never recovers. So, as Janet Adelman (2010) explains: “Maternal power in Macbeth is not embodied in the figure of a particular

If you dont you’ll be sorry for it after. If you do, she’ll be sorry for it after; but better her than you, because you’re a man, and she’s only a woman and don’t know how to be happy anyhow.” Doolittle is cunning and disregards Eliza as if she is some other woman besides his daughter. He does not care for her well being, but rather has this notion that all women are the same and that men are slaves to women and their needs. The unmistakable tension between Eliza and Doolittle is revealed when in Act 2 when Eliza says, “… You don’t know my father.

One obstacle is gender equality, the ranch is a “male-dominant” society where women are seen as untrustworthy. The fact that Curly’s wife is the bosses wife is the true cause of her alienation. However, the simple fact that she is a female separates her from interactions with others as seen when the men refer to her as having “the eye” (28). Here the men refer to everything they think women are – a distraction and temptation for men, instead of actual human beings. Candy is also oppressed in a social inequality as he is afraid that when he is too old to work, he will be thrown out of the “ash heap”, a victim of a society that discriminates against the disabled and has no value for age or experience.

The couple fails to admit to each other that they are not in love for fear of losing their power and status as individuals. Curley’s marriage is revealed to be a sham through his wife’s conversation with Lennie, “Well, I ain’t told this to nobody before. Maybe I oughtn 't to. I don’ like Curley.” (pg. 89 Steinbeck)

There are examples of Holden having strong desires to protect what’s left of his inner innocence such as thee significant moment when Maurice offers Holden a stripper. Once Sunny the hooker arrives, he starts getting really uncomfortable. In fact Holden mentions how, “she made [him] so nervous,” when she was sitting on his lap (Salinger 97) . Although a random girl sitting on someone’s lap would make anyone feel uncomfortable, it wasn’t just that, that made him feel uneasy, it was the fact that she was there to have sex with him. This is similar to his attempts to ordering alcoholic beverages and being denied, but in this event he’s the one denying the favor.

In chapter three of The Hypersexulaity of Race: Performing Asian/ American Women on Screen and Scene, Celine Parreñas Shimizu explains the historical and performative impacts of stereotypical oriental femininity in Hollywood. She presents her argument by analyzing the movie stars, Anna May Wong, Nancy Kwan, and Lucy Liu. Importantly, Shimizu goes beyond simply pointing out the issue of stereotypical representations and delves into analyzing the roles and responsibilities of the viewers and performers within representation. To begin, Shimizu directly addresses how hyper-sexuality has been tied to Asian/ American women with countless examples from the acting careers of Wong, Kwan, and Liu. An example is The World of Suzie Wong (1960).

Women in Social Media The documentary Miss Representation begins with short clips and photos of women in social media. The clips are taken from various movies, music videos, television shows, news clips, and news articles. The clips show inappropriate remarks directed to or about important women in our society, sexualization of women, and semi-nude women in the media.