Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Gender stereotypes and popular culture
Gender stereotypes and popular culture
Gender stereotypes in western societies
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Gender stereotypes and popular culture
Blackrock written by Australian playwright Nick Enright is a dramatic play created to challenge a dominant social belief of twentieth century Australian youth. Blackrock, being inspired by the real-life rape and murder of schoolgirl Leigh Leigh (in Stockton, near Newcastle, Australia on 3 November 1989), provides powerful criticism of a society of dominant Australian male youth culture, and highlights how outwardly harmless attitudes and ideologies can lead to the death of a young women. Many aspects of Australian cultural identity are seen in this drama play, including emphasis on physical achievement opposed to mental, the concept of mateship, and the role of violence, each encourage the reader to question the overall moral justice, logic and wisdom of Australian society. Enright uses Blackrock as a representation of Australian society, and through his creation of such realistic characters enables the teenage audience the ease to identify with the themes and ideas. Enright suggest the flawed value of marginalisation of women, which in my opinion is the biggest issue in the play.
In Blackrock the idea of marginalisation is clear. The young women in the play, in particular Tracey and Tiffany, are seen as nothing more than mere sexual objects for a male’s desire, for example the horrific rape of Tracey. How can it be that just because of a woman’s attire, provocative or not, can justify three males (Toby, Scott and Davo) to use and abuse her? I don’t understand! Furthermore I don’t understand how Ricko, can justify murdering a young girl, just because she won’t have sexual intercourse with him. Ricko is an interesting character in Blackrock; he is a dominant male, who can be charming when he needs something, and horrifically aggr...
... middle of paper ...
...ct, detrimental attitudes towards women is still seen in Australian society. They are portrayed as nothing more than mere sexual objects of the male’s desire. Enright wrote this play to reveal to the reader how Australian culture is unrefined, must evolve to keep up with change, and has flaws that are detrimental to the lives of youth and the wellbeing of society. How can be that it’s ok to horrifically rape, a fifteen-year-old young woman, and a community thinks nothing of it? How can it be that a male can murder, a fifteen year-old young women, just because she won’t have sexual intercourse with him? I don’t understand this disgusting mindset of this male youth culture. What I do know is this, if this idea of women as nothing more than mere sexual objects is continued in male culture, than acts such as the gang rape and murder of Tracey will be endorsed.
One striking characteristic of the 20th century was the women's movement, which brought women to the forefront in a variety of societal arenas. As women won the right to vote, achieved reproductive freedom through birth control and legalized abortion, and gained access to education and employment, Western culture began to examine its long-held views about women. However, before the women’s movement of the 20th century, women’s roles were primarily of a domestic nature. Trifles by Susan Glaspell indicates that a man’s perspective is entirely different from a woman’s. The one-act play, Trifles, is a murder mystery which examines the lives of rural, middle-aged, married, women characters through gender relationships, power between the sexes, and
Hannie Rayson’s play ‘Hotel Sorrento’ explores the changing nature of Australian cultural identity. Rayson successfully perpetuates and challenges common Australian stereotypes in order to establish how the Australian National Identity has changed over time. She presents these stereotypes through the characters expectations of gender roles, attitudes towards Australian culture and the theme of ownership.
2. Billy Elliot is set in north-eastern England during the 1984-1985 coal miners' strike, this is very important to acknowledge because it has a great impact on Billy & his circumstances. It is seen that Billy & his family live in the lower income sectors or England where there are no trees or grass & everything looks very dull & grey, also all the houses are very close together, in the neighborhood & time that Billy lives, the people do not seem very friendly or open minded as they are very angry with whole aspect of the mining strike. We know that these people are not open minded because they attack & ridicule the people who are going back to the mines & call them "scabs". This shows that the people are narrow minded & judgmental. This all adds to Billy's struggle as it would be very difficult for him to openly be a male ballet dancer when everyone expects him to fulfill the expectations of doing "boxing or wrestling or football" like his father openly says. It is very evident that because of these people's narrow mindedness, they are very stereotypical of male ballet dancers in thinking that they are homosexual, where as this is not at all the case with Billy & it is a struggle for him to prove that it is possible for a male to do ballet & not be homosexual in any way. Also there is a lot going on around him as his family is very involved with the mining strikes, as both his brother & his father are miners, this...
...ugh the experience of making love with her he discovers that she is ‘too selfish’ (p.80) and that he really loves Rosie, who is an outsider, like Paul once was. Paul discovers that with her he doesn’t have to be alone and that it’s okay to be different. Their lasting relationship shows that he has not made a mistake in choosing her (his own desires) over Megan (society’s collective desire). This theme of conformity presented in Maestro was a growing trend in Australian society in the 1960s/1970s and is still influential in modern Australian society today. This continuing thematic relevance helps more Australians identify with this literary work and aids in recognising ourselves as Australians – though we value the traits of the larrikin it is more likely that we will be drawn to following the crowd, making Goldsworthy’s novel more relevant in recognising ourselves.
Paula Vogel’s play, How I Learned to Drive, artistically tackles the disturbing issue of incestual pedophilia. The play’s protagonist Li’l Bit narrates the action as she goes through her memory of specific events. Much like stream of consciousness, her narration does not lead chronologically to scenes in her past. Rather it jumps back and forth between the present and different points in her life. She tells of her memories of youth and her sexual and emotional relationship with her Uncle Peck. Rather than simply telling about her experiences, though, Li’l Bit shares her memories through vignettes which show the audience her role in the affair within the context of learning to drive (Greene 425).
“The Trusty” is a work of fiction, written by Ron Rash, that tells the story of a man and a woman who try to escape their lives. In this short story, Sinkler is depicted as a scandalous but also as a distressed character. Many painted events lead to the illustration of a peculiar setting in which Sinkler is experiencing some abnormal instances. Sinkler is not dead, and his characterization has lead the audience to believe his flawed mental state is the reason why.
He uses the downfall of Eva Smith and a chain of events to demonstrate this. This leads to a very convincing and well-devised play, which puts across JB Priestley’s views clearly and precisely. In Edwardian Britain there was a great difference in the roles of men and women in society and the outlook of what and was not accepted differed substantially. A prime example of this in the play is when Mr Birling says ‘Nothing to do with you, Sheila.
The play Sisters, by Wendy Lill, is set in 20th century Nova Scotia at an Indian Residential School. The play focuses on a hopeful 17-year-old farm girl named Mary who was dating Louis at the time. Along with the present Mary who is currently in interrogation with, the duty counsel, Stein. She has been accused of torching down the Residential School, the place where she worked for fifteen years. There are various factors contributing to the impulsive reasoning behind Sister Mary’s act of burning down the Residential School such as, the actual truth to why she committed the sin, the contrast relationships with others that reflected upon her actions, and the overall punishment she should receive.
... 1960’s were against intellect and to discourage, they resorted to physical abuse or bullying. The aforementioned builds empathy and positions the reader to challenge the views of the 1960’s. Similarly when the Shire President who should be a good guy, is in reality a heavy alcoholic and someone who sexually abuses his own children. Henceforth this displays moral duality, a major theme, and correspondingly includes the 1960’s Australian context of alcoholism. Moral duality is also presented through Ruth Bucktin, the Sargent, Mrs Wishart, the town folk and even Eliza Wishart. A big issue of the 1960’s was the racism that was present. Likewise, Corrigan exhibits racism especially on the Vietnamese, Lu family. It is the time of the Vietnam War, national service, recruiting men to fight in Vietnam, and the fear of communism was very much present throughout Australia.
In Act 1, “ Voices can be heard,” Winn shows how these girls express themselves through theatre and can act out different kinds of stories about their lives and the lives they aspire to have. She also proposes that the youth need to be heard in order to find their way in life. Winn explains “ this act will explore theories of play in order to understand its critical role in the lives of incarcerated and formerly incarcerated girls” (P.17). With this in mind, it is clear from the play that each one of these women's performances reflects their deepest desires for life out of jail. Also, it demonstrates how aware they are of why they ended up there, including the social issues and cultural influences that led them to their
Blackrock was first performed in 1995. The play explores the causes of violence by individuals as well as ideas surrounding mateship and gender. The representations of mateship, masculinity and violence portray Australian culture in Blackrock as dangerous, homophobic and one that is accustomed to gender inequality. Dramatic conventions are employed by Nicholas Enright to challenge the reader or viewer’s view towards mateship, reinforce the idea of masculinity and challenge the idea that Australian culture is safe.
As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
Throughout various mediums, queer and gender portrayals are not shown in the best light. Majority of media show clear negative connotations of homosexuals and queens while constantly being a target of discrimination and ridicule. Though as time went on many writers decided to speak up and gain awareness for queer and gender biases by incorporating messages of societal discrimination in their plays. Much of their ideals were that of how sexual/gender identity portrayal, lifestyle stigma, and preconceived notions of the homosexual community. These ideals were combined in what is called gender studies and queer literary theory. Some of these concepts and ideas of queer and gender theory can be seen throughout the play
The old and new attitudes toward sexuality and the proper behavior of women is very apparent in the play called A Doll House. The play shows how each woman has sacrificed who they were for the men and the other people in their lives. The play also shows how men see women in general. Several characters give up who they thought they were meant to be, because of the social aspect in their lives. Society has always placed a burden on women as who they are supposed to be as wives, mothers, and as adult women. Women were seen as the inferior sex in the past and in the present. Things have changed over the years as women earn more and more freedom and rights that men have had for a very long time. The sacrifices that are made in this play speak to how things work for women in society. Women give up their right to happiness because they feel obligated to change who they are to help someone else.
Finally, throughout the play, gender inequality and the battle of sexes are explored to the degree that these were the responsible factors for Miss Julie’s naturalistic fate, even though the battle of classes is a recurring theme throughout the play. Leading up to Miss Julie’s downfall, Strindberg successfully manages to avoid the topic of suicide ‘it’s terrible, but there’s no other way. Go’ but instead subtly suggests it through Jeans subliminal messages. Miss Julie was first entitled ‘The First Naturalistic Tragedy’ providing evidence that Miss Julie’s fate was a direct result of the environment around her: a typical anti-feminist zone full of gender inequality. Miss Julie goes well beyond the naturalistic struggle between the sexes that Strindberg wanted to portray.