A Feminist Reading of Galatea 2.2
There is one common thread linking all novels written by males; their female characters are always depicted as the stereotypical female: weak, indecisive and emotionally unstable. The feminist approach to analyzing literature provides an explanation for this phenomenon. In this patriarchal society, women are viewed as the weaker sex, inferior. This can be the result of socialization or some negative interactions with women in the past. Richard Powers employs this standard for female characters in his novel, Galatea 2.2, made evident through the application of the feminist approach and the dialogical method; however, its semi-autobiographical nature blurs the reasoning behind Powers' conformity.
One of the central female characters in Galatea 2.2 is C., a former student of Powers with whom he develops a long-term relationship. Obviously his depiction of C. is swayed by the resentment he feels towards her for ending their relationship and also by the typical qualifications for a female character in a novel. Traditionally, the female gender is viewed as submissive, inferior intellectually and physically, and emotionally unsound. Powers' portrayal of C. is consistent with this model. Throughout the novel, she is referred to as being uncontrollable emotionally, possessing almost erratic behavior, and not having any definitive grasp on her wants and needs. For example, Powers writes, " C. read Buddenbrooks and Anna Karenina. She reread Little Women. Everything made her weep. Everything." (96). He also places C. into another characteristic of the stereotypical role of the female, a woman who is completely dependent on a male. He depicts C. as a woman who needs him in order to thrive and feel comfort...
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... Clearly, she is the rational male and Powers has become the hurt female.
By applying the feminist approach it is apparent that Powers himself is not a unique male author. He, like most of his colleagues, has been given by a male dominant society a mental image of a typical female, weak, indecisive, emotionally uncontrollable, in desperate need of a male to help her live her own life. This subconscious opinion of women is reflected in his portrayal of his female characters in Galatea 2.2. This opinion may be influenced by his placement into the female role in his relationship with A., which would cause him, in retrospect, to paint a negative picture of his female companions. Whatever his reasoning, it is evident through the feminist approach and enhanced by the dialogical method, that Powers, himself is a stereotypical male author writing for a patriarchal society.
Margaret Atwood’s speech ‘Spotty-Handed Villainesses’ is an epideictic text, which explores the significance of having a multi-faceted depiction of female characters within literature as a means of achieving gender equity, centring on the fictional presentation of women as either virtuous or villainess. The title of the speech
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Due to traditional stereotypes of women, literature around the world is heavily male-dominant, with few female characters outside of cliché tropes. Whenever a female character is introduced, however, the assumption is that she will be a strong lead that challenges the patriarchal values. The authors of The Thousand and One Nights and Medea use their female centered stories to prove their contrasting beliefs on the role of women not only in literature, but also in society. A story with a female main character can be seen as empowering, but this is not always the case, as seen when comparing and contrasting Medea and The Thousand and One Nights.
The films message to viewers about gender and power is that women are meant to take care of the home and play the supportive role, while men go out to their jobs and provide. Men are strong and burly and women are naïve and domesticated. Women need men and men always come to the rescue to save women and give them a happy ending. Power is portrayed in the film both visually and through the film’s script and dialogue. The common idea that women are inferior to men is placed subtly in this movie throughout the plot and how these charac...
“Gender is one of those big themes that is a little difficult to nail down, in part because it often informs a text without being explicitly addressed. Of course, there are instances in Sula in which we do get direct commentary on gender and gender roles, particularly as they relate to the limits placed on women. But more often than not, we have to dig a little deeper to understand the gender dynamics. And it 's not just men who are invested in upholding certain gender roles while dismantling others. Some women are just as invested in maintaining these societal roles, no matter how restrictive they seem.”
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However, as time has progressed literature has finally come to terms with the feminism theory within literature and its ideologies. In this specific story, we are able to identify the traits of feminism theory with ease; Hurston allowed the world to finally accept the new dominant roles of women, while also allowing the female character to simultaneously possess every innate feminine trait along with those usually associated with the male
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Hensel, C. R., Ezra, D., & Ilkiw, J. H. (1991). The Importance of the Asset Allocation Decision.
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