The Power of Eve Ensler's The Vagina Monologues
When Obie award-winning author and playwright, Eve Ensler, began collecting testimonials from women across the country regarding their experiences with sexuality, she had no idea what would eventually occur as a result of her innovative ideas. Ensler gathered 200 monologues from women, and wove them into a play that represents the strength and vitality of female sexuality. The Vagina Monologues were first performed in the basement of New York City’s Cornelia Street Café in 1996. Since that time, the play has become a symbol of awareness and advocacy about violence against women, and has been translated into 24 different languages, making it an international success (2005, randomhouse.com).
After their inception, the Vagina Monologues became an edgy, provocative show that pushed the limits of what was then considered acceptable when speaking publicly about female sexuality. Some of the testimonials included in the production were humorous; others graceful and classy, and a few were brutally honest and deeply emotional. The...
Glycation is a natural chemical reaction in the body that involves combining sugar molecules to protein molecules without the help of enzymes. In contrast to similar a chemical reaction that involves enzyme-directed processes called glycosylation, glycation disrupts normal metabolic pathways. This results in the production of advanced glycation end products (AGEs), which are assocated with oxidative damage that leads to pathological changes in various organ systems.
Susan Glaspell, from Davenport, Iowa is only the second woman to win a Pulitzer Prize [1]. Much of her writing is strongly feminist, mostly dealing with how society viewed women and the prevalence of male dominance. Possibly, the idea behind the play “Trifles” was based on a woman named Margaret Hosack from Iowa, who is thought to have killed her husband due to his abusive behavior. Susan Glaspell was influenced by this story when writing ‘Trifles’ because she worked at the Des Moines Newspaper at the time of the event and in
Virginia Woolf once said,“For most of history, Anonymous was a woman.” These insightful words, of English modernist and feminist writer, seem a perfect summation of the enduring oppression and silencing of women in society. A paramount theme and notion present in fellow feminist playwright, Susan Glaspell’s Trifles. Glaspell’s 1916 one act play explores notions of gender, justice, and freedom; through her command of the English language and rhetoric.
Hu X, Cheng Y. Possible participation of receptor for advanced glycation end products (RAGE) in the origin of cancer stem cells in diabetic patients with colon cancer. Med Hypotheses. 2013 May;80(5):620-3.
Women and men are not equal. Never have been, and it is hard to believe that they ever will be. Sexism permeates the lives of women from the day they are born. Women are either trying to fit into the “Act Like a Lady” box, they are actively resisting the same box, or sometimes both. The experience of fitting in the box and resisting the box can be observed in two plays: Lorraine Hansberry’s “A Raisin in the Sun” and Henrick Ibsen’s “A Doll House”. In Hansberry’s play, initially, Beneatha seems uncontrolled and independent, but by the end she is controlled and dependent; whereas, in Ibsen’s play Nora seems controlled and dependent at the beginning of the play, but by the end she is independent and free.
It is predicted that humans will come a long way throughout the 2st century, hopefully eliminating the possibility for amputees to have a disadvantaged life. 3D printing is set out to be one of the most revolutionary technologies of this decade and will continue to impress on the biological front. Thanks to the use of 3D printing, new limbs can be printed with exceptionally accuracy for a infinitesimal cost. Even in the year 2017, new limbs can be printed for less than $100 USD per person making it a cheap alternative to more “advanced” prosthetic
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
Showalter, Elaine. "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism." William Shakespeare: Hamlet. Ed. Susanne L. Wofford. Case Studies in Contemporary Criticism. Boston: St. Martin's, 1994. 220-240.
Susan Glaspell uses literary elements that show the readers the feminist theme in the play. The use of characters in this play really shows the feminist theme the most. Men in this play clearly demonstrates how men wer...
...alled witches. Wiccans follow the Wiccan Rede in the same way that Christians follow the Bible. Wiccans believe that each person’s path is valid and no one path is better than any one else’s path. Although some refuse to acknowledge that Wicca is a religion, it is one because it meets what we generally accept to be the major characteristics of a religion. There are groups of people who believe it is a religion, there are those who do not.
Henrik Ibsen’s A Doll’s House has stood the test of time as a piece of feminist literature. This is not only because of the controversial subject matter of a Norwegian woman leaving her family in the 1870s, but also because, Nora the seemingly mild mannered mother and housewife actually has a strong sense of self, and pride when it comes to being able to help her family. However, as time passed Nora has been picked apart by critics and scholars when it comes to every facet of her character. This includes how Nora acts as a wife, a mother, and it even includes what she has eaten during the play. However, even though many scholars and critics agree, there is one thing that often goes unnoticed, and that is the other women that are present in
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
The sexualization of women in the 21st century has led many to wonder whether or not the feminist movement actually resulted in more harm than good. Although the progress and reform that came out of the feminist movement is indisputable, things such as equal rights under the law, equal status and equal pay, the reality is that the subjugation of female roles in society still exist, and the most surprising part about this is that now women are just as much as at fault for this as men are. Ariel Levy defines female chauvinist pigs as “women who make sex objects of other women and of ourselves” (Levy 11). This raunch culture is mistakenly assumed to be empowering and even liberating to women when it is in fact degrading and corrupting to the modern feminist movement and makes it more difficult for women to be taken seriously in society. The shift in the nature of the feminist movement is in Levy’s opinion attributed to by the massive industry now profiting off of the sexualization of women, the reverse mindset now adopted by post-feminists and women in power roles in our society, and ultimately the women who further their own objectification as sex objects and thus, so by association, deem themselves lesser than man.
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Being a women artist, displaying such an installation was not possible years back. Contrary to the opinions of many students new to the study of feminist literary Criticism, many feminists like men, think that women should be able to stay at home and raise children if they want to do so, and wear bras. Bringing such an art piece, reflection of her inner experiences or having sex in bed after having bad relationship could not be possible before. The main female characters are stereotyped as either “good girls” or “bad girls”. These classifications suggest that if a woman does not admit her male-controlled gender role, then the only role left her is that of a monster. Yet Emin’s confessional art- with its confidences of pregnancy, being raped, destructiveness of guilt, emotional stress- has become much common nowadays with feminist consciousness while in early generation, sharing such experiences lead to the destruction of women’s life. Her unmade bed, surrounded by such bric-bracs tells a story of a depressed, emotionally stressed women artist who asks for a sympathetic shoulder from the viewers by being a transparent soul. “For her British critics it [My Bed] expressed Emin’s sluttish personality and exemplified the detritus of a life quintessentially her own; it was, above all, confessional”, Cherry observes. Emin has limited the word ‘feminist; art practices have been the concerned of an early generation. This point seems to be confirmed by Emin herself, who declares to the discerning nature of her work in which she says that she decides to show either this or that part of the truth, which isn't unavoidably the whole story but it's just what she decides to gives us. As a self-motivated set of influences, feminism no longer titles a unitary or merging project infact it is now being the transformation just as feminist biases are perpetually subject to change. Whereas, looking at Tracey’s other work, Tent “Everyone I Have Ever