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Aliens in science fiction have not only served as a topic of entertainment, but as beings of reflection for people. Questions of intelligence and civilization amongst aliens bring contest to the dominance and achievements of mankind. In the short stories, “A Martian Odyssey” by Stanley Weinbaum and “When I was Miss Dow” by Sonya Dorman, humanity is repeatedly contested through the aliens depicted. Weinbaum’s writing recounts the adventure of astronaut Dick Jarvis where his observations of the grotesque and diverse Martian lifeforms bring into question the limitations and the closedmindedness of humans. In “When I was Miss Dow”, the protagonist integrates into human society through the changing of its originally genderless form to a human woman. …show more content…
Where Dick Jarvis’s journey was one of external contact and conflict between human and alien, Martha’s path follows the internal conflict of human and alien. Martha realizes through her relations with Dr. Arnold Procter, the inequalities and personal struggles of the multi-gendered reality of humans. Her purpose as an assistant and also supposedly as one of the “joy babies” defines her subservience (Dorman 79). Her role is one where she is essentially being pimped out by the Warden and Uncle to fuel their sulfadiazole addiction (Dorman 79). This role contrasts with the one-gendered society of the Protean where Martha was originally a trained scholar whilst also revealing a similar mechanism of subjugation amongst the Protean. Martha accepts her role due to the dynamics of her society where she states “the Warden has the right to use me in whatever capacity serves us best” (Dorman 79). Despite this, her society is seen as one that lacks the tragedy of human, something Marth exemplifies as “being a poet in the body of a cockroach”. It can implied from this statement that the potential of a human female is wasted in the reality of gender dynamics, whilst her original existence was one of coming for the family bank, studying, becoming warden, and being dumped in the family bank (Dorman 81). In …show more content…
This is shown specifically through the examination of how gender roles and hierarchies not only define the lives of humans, but also limit them. Because Martha is sent be an assistant to Dr. Proctor and also by essentially a prostitute for the Warden and Uncle, she defines her human existence to that of a woman. Martha’s existence as a person and as a women gets increasingly based on her relationship to the doctor. At first Martha displays superficial self-consciousness through actions such as one when she describes while looking at her koota’s radiograph, “I don’t need to do a thing but stand up straight so the crease at my waist won’t distort my belly button at the center of it all” (Dorman 76). Dorman seems to critique the superficial and unrealistic expectations placed upon women in society by using the lens of Martha, who is experiencing these social pressures firsthand. Martha seems to struggle with the expectations put on her and how her life becomes defined by the doctor. This becomes apparent when she is ignored by the doctor whilst he makes wood carving and she begins suffer a pain between her lungs. Her emotional understanding of the situation is revealed in her statement, “If he doesn’t see me, than am I here?” (Dorman 78). The statement reveals the aspects of gender hierarchy, where
her is inferior to Rochester and others of high class. She is forced into this social
Home was a prevalent concept in Ancient Greece. Not only was there a goddess of the hearth and home, Hestia, but hospitality towards others was highly stressed. Home was regarded as a place to escape from chaos in the outside world. Homer and Euripides in The Odyssey and Medea, respectively, use the motif of home to show the difference in an individual’s public manner versus their personal, more natural manner. This difference is caused by the different levels of comfort individuals have in different settings. Specifically, the two works portray the difference through experience of the characters, mistrust developed towards others, and the maintenance of dual identities.
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
The character analysis of Mary Anne Bell in comparison and contrast to Martha and Elroy Berdahl implores the audience to consider the idea that gender is not inherent.
In conclusion, Jane has been through oppression and depression but she stands up for what she believes in. Jane gains her femininity, socialization, individuality and freedom. Her husband, who has been oppressing her for so many years, is no longer her prison guard. Jane defies her husband, creeps right over him and claims her life” so, that I had to creep over him every time” (Gilman 1609). Jane is now her own personal freedom through perseverance.
The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.
The contrast between how She sees herself and how the rest of the world sees Her can create extreme emotional strain; add on the fact that She hails from the early 1900s and it becomes evident that, though her mental construct is not necessarily prepared to understand the full breach against Her, She is still capable of some iota of realization. The discrimination encountered by a female during this time period is great and unceasing.
Margaret is an intelligent, articulate, and ambitious woman who desires to rise up in social status by marrying a man of higher social rank. She attends to those above her, in hopes of elevating her status as she becomes closer to the upper-class. As a minor character, she plays a small yet crucial role in advancing Don John’s plot to slander Hero and spoil her wedding. As a lower-class character, Margaret serves as a foil to the rich girls, particularly Hero, who embodies every attitude and mindset Margaret does not. But she also offers an alternative perspective on the upper-class characters in the play. Because Margaret is victimized because of her social ambitions, punished for wanting to rise above her ...
In Charlotte Perkins Gilman's, The Yellow Wallpaper we are introduced to characters that can be argued to be representational of society in the 19th century. The narrator, wife to a seemingly prominent doctor, gives us a vision into the alienation and loss of reality due to her lack of labor. I also contend however that this alienation can also be attributed to her infantilization by her husband, which she willingly accepts. "John laughs at me, of course, but one expects that in marriage" (1). The narrator here realizes her place among the order of society and even notes that it is to be expected. She is aware of her understanding that things between she and her husband are not equal not only because he is a doctor but because he is a man, and her husband.
In society, there has always been a gap between men and women. Women are generally expected to be homebodies, and seen as inferior to their husbands. The man is always correct, as he is more educated, and a woman must respect the man as they provide for the woman’s life. During the Victorian Era, women were very accommodating to fit the “house wife” stereotype. Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications.
Martha's realization of the love and the power George has over her, gives her opportunity to change her ways. No more will George and Martha exist in a land of fantasy and make-believe. Martha fears the amount of reality involved in her life. She is afraid, and her being afraid of reality in her life, makes her want control. After this night, where their masks have been removed, they are now living in their reality, and there is no longer a need for one person to have control.
Elizabeth uses the stereotypes of her gender and knowledge of both literature and when to manipulate her gender to explain why she needs
In conclusion the three themes of Freedom, Oppression and Repression are major factors in the two stories, all three of the themes appearing in distinct ways. By comparing the position of both Jane and Mrs. Mallard in the two stories both in their own particular way are oppressed or subjugated by other males, in this case their husbands, even though their husbands often want to do what they feel is best for them. This leaves both tales open to examination in terms of the issue of patriarchy and how often women are its victims. It is also sure to say that Freedom, Oppression and Repression were very much commonly seen in the 19th century since both stories were written in about that time and both share these
In Anatomy of Criticism, author Northrop Frye writes of the low mimetic tragic hero and the society in which this hero is a victim. He introduces the concept of pathos saying it “is the study of the isolated mind, the story of how someone recognizably like ourselves is broken by a conflict between the inner and outer world, between imaginative reality and the sort of reality that is established by a social consensus” (Frye 39). The hero of Hannah W. Foster’s novel, The Coquette undoubtedly suffers the fate of these afore mentioned opposing ideals. In her inability to confine her imagination to the acceptable definitions of early American female social behavior, Eliza Wharton falls victim to the ambiguity of her society’s sentiments of women’s roles. Because she attempts to claim the freedom her society superficially advocates, she is condemned as a coquette and suffers the consequences of exercising an independent mind. Yet, Eliza does not stand alone in her position as a pathetic figure. Her lover, Major Sanford -- who is often considered the villain of the novel -- also is constrained by societal expectations and definitions of American men and their ambition. Though Sanford conveys an honest desire to make Eliza his wife, society encourages marriage as a connection in order to advance socially and to secure a fortune. Sanford, in contrast to Eliza, suffers as a result of adhering to social expectations of a male’s role. While Eliza suffers because she lives her life outside of her social categorization and Sanford falls because he attempts to maneuver and manipulate the system in which he lives, both are victims of an imperfect, developing, American society.
Most women, especially in the seventeenth-century, are not given the right to choose their own destiny. Women are expected to serve for others, whether it is a husband, or owner, and not to have real fulfilling, genuine roles in the world. This restrain against women detains them from living the independent and free life that everyone deserves. In the novel, A Mercy, by Toni Morrison, the main female characters, Rebekka, Florens, Lina, and Sorrow, are victims of a controlled lifestyle, and are forced to live in a world that is shaped for them. Toni Morrison reveals the inferior, degraded, and vulnerable role of women during the late-seventeenth-century.