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The portrayal of women in literature
Depiction of women in literature
Depiction of women in literature
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Merce Rodoreda in the Time of the Doves reveals the female submission prevalent in the 1930s Spanish culture through Natalia’s and Quimet’s relationship; Quimet’s possessive attitude, his verbal abuse and Natalia’s naiveté shows the man’s dominance and the woman’s lack of choice. The treatment that Natalia receives from Quimet is parallel to the treatment of the Spanish women in the 1930s. Throughout the novel the reader can see the dominance that Quimet has over Natalia and how normal it is in the Spanish culture for the women to have no choice or say in any matter.
Quimet’s attitude towards Natalia throughout their relationship enhances the man’s dominance in the Spanish culture. In the novel, Quimet, “delivered a long sermon about men and
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And as a woman in general, Quimet’s mindset as well as men of the time, “You’ve got to like it, because that means it’s something you don’t understand” (22). This statement that he gives to Natalia is Quimet basically telling him that as a woman you must obey and like the same things as your husband because you are unable to understand something on your own. This quote helps to imply that women were unable to think for themselves and needed a man to do it for them. Quimet represents the mindset of the Spanish men in that era and how close minded they were to the idea that women were to be dependent on men. The jealously that Quimet has in this novel helps show the possessive attitude that most men of the era had. For example, Quimet doesn’t, “want [Natalia] working anymore for that boss. [Quimet knows] he’s after all the girls in the shop.” [Natalia] started trembling and told him not to …show more content…
In many of the instances in the novel where Natalia seems alone and not knowing what to do when Quimet is not around, helps in showing the dependence and dominance of her husband. For example, Quimet, “said goodbye and [Natalia] was alone again [Natalia] looked at the sky and it was all black. And [Natalia didn’t] know… all together it was very mysterious…” (24). Natalia has grown dependent on Quimet mainly due to his dominance that he has on Natalia and on their relationship in general. In their entire relationship, Natalia has no say in almost everything in their relationship she has grown used to the fact that Natalia needs Quimet’s guidance or else she will be lost and not knowing what to do. This “thought” that Natalia has of believing that she will be lost without the guidance/dominance of her husband is the basic thought that most Spanish men of this era believed was true as well as a thought that most Spanish women had as well for the same reasons Natalia did. Throughout Natalia’s childhood she has to grow up without a mother figure and is left with only her father to care for her. Natalia throughout most of the novel is seen with a man, which is mainly her husband, which helps in portraying how strong the male dominance and female submission were in that era. Natalia
When Marie tries to ask the protagonist to take a walk, this action shows that she is trying to achieve Pauline’s dream by getting her outside of the house. Therefore, she could finally feel the true meaning of freedom. Nevertheless, Pauline’s mother’s response demonstrates that she wants her daughter’s safety more than anything. The mother tries to keep Pauline away from the danger, so the protagonist can at last have a healthier life. However, Agathe’s reply shows that her mother is willing to sacrifice Pauline’s dream to keep her secure. Therefore, the author uses contrasting characters to mention that safety is more valuable. Furthermore, the protagonist starts to describe Tante Marie and reveals that she always has her hair “around her shoulder” (85). When Pauline describes Marie, Pauline shows how her Tante is open-minded. In fact, Marie helps Pauline to let go of her limitations and to get a taste of her dream. Therefore, Marie always wants Pauline to go outside and play hockey or even to take a walk. These actions that Pauline’s Tante takes show how she is determinate to make Pauline’s dream come true. Thus, the author
In relation to the text as a whole, it is a perfect explanation of what Montaigne declared earlier in the chapter as the cannibals’ motto: “ la vaillance contre les ennemis et l’amitié à leurs femmes”. The latter part may be contested from a feminist perspective, but both parts of the passage help the reader achieve a greater understanding of the text and of 16th century Brazilian culture, in regards to the ways in which they treat their enemies, and their
Symbolically, Azuela kills off Camila almost immediately upon her rise to power and drops her from the novel’s plot. This shows the insignificant impact that women had on the battles, and how easily they were forgotten after death. Women still struggle today with gaining equal rights and treatment within the Mexican culture. It has taken nearly 70 years for women to gain equality with men in the workforce, gaining rights such as voting, and having a shared family responsibility with the male figure (Global). Unfortunately, many women within the working-class household still suffer from the traditional norms and values regarding the roles of men and women.
As, she relies on men completely and requires someone to come or attempt to save her. She lives by the stereotype and obeys whoever she belongs to at the time. She accepts her position in society better than Candide. She knows that she is a woman in the 18th century and has few options if she wants to survive. She does not ask any questions or make any philosophies, as the men in the story do. Her acceptance of her sexual slavery shows her beliefs and understandings of the few options she has. In the 1800’s women essentially had two options for a “good” life; marry a wealthy man; become a mistress of a powerful man and sometimes both. Cunegonde gets the option to differ from the stereotype, but she chooses not to. She had to decide between being faithful to her love; Candide, or a life with the governor. The Governor guaranteed her a “comfortable” life, but she will be sexually exploited and will have to follow his orders. To add on to this the old woman, her companion. Another woman accustomed to the stereotype, said: “You have it in your power to be the wife of the greatest nobleman in South America, who has a splendid mustache. Are you in the position in which you can flaunt the luxury of unflinching loyalty? You were raped by the Bulgars; a Jew and an Inquisitor have enjoyed your favors. Misfortunes bestow certain rights. I confess that were I in your
Rather, it criticizes this culture through its portrayal of women. The narrative is focused on a male and is told by a male, which reflects the male-centered society it is set in. However, when we compare how the narrator views these women to who they really are, the discrepancies act as a critique on the Dominican culture. Yunior, who represents the typical Dominican male, sees women as objects, conquests, when in fact their actions show their resistance to be categorized as such. Beli, whose childhood was filled with male domination by Trujillo and the family she worked for, attempts to gain power through sexuality, the avenue the culture pushes women toward. This backfires, creating a critique of the limited opportunities available for women. La Inca portrays a different side to this, working quietly but in ways that are not socially acceptable through self-employment. Society attempts to cage these women, but they continue to fight against it. Diaz, in an interview, quoted James Baldwin, stating, “Not everything that is faced can be changed, but nothing can be changed until it is faced" (Fassler). He exhibits the misogyny in the system but does not support it, rather critiques it through strong female characters. By drawing attention to the problem, the novel advocates for change. Diaz writes, at the end of part 1, “Nothing more exhilarating… than saving yourself by the simple act of waking”
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
At the beginning of the story, the protagonist, Cleofilas, had an illusion that all romances are like the ones she has seen on television. However, she soon realizes that her relationship with Juan Pedro was nothing like what she had dreamed it would be. Cisneros wants to emphasize the idea that when men bring home the primary source of income in the family, they feel they have power over their wives. Cisneros uses Juan Pedro in the story to portray this idea. For instance, Cleofilas often tells herself that if she had any brains in her, she would realize that Juan Pedro wakes up before the rooster to earn his living to pay for the food in her belly and a roof over her head (Cisneros, 1991, p.249). Cisneros wants to make a point that when men feel that they have power over their wives, women begin to feel a sense of low self-worth.
In Federico García Lorca’s La Casa de Bernarda Alba, a tyrant woman rules over her five daughters and household with absolute authority. She prevents her daughters from having suitors and gives them little to no freedom, especially with regard to their sexualities and desires. They must conform to the traditional social expectations for women through sewing, cleaning, as well as staying pure and chaste. While, as John Corbin states in The Modern Language Review, “It was entirely proper for a respectable woman in [Bernarda’s] position to manage her household strictly and insist that the servants keep it clean, to defend its reputation, ensure the sexual purity of her daughters, and promote advantageous marriages for them,” Bernarda inordinately
In the age of industrialization when rural life gradually was destroyed, the author as a girl who spent most of her life in countryside could not help writing about it and what she focuses on in her story - femininity and masculinity, which themselves contain the symbolic meanings - come as no surprise.
Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these components played an important role in each civilization read, and even over 1,000 years later it continues to be a social topic as well as a large part of the culture. The only difference a reader or scholar could make for this particular piece of literature is its authenticity and how it was based on a true event. Regardless, new views on power and how one obtain it become apparent through the dialogue between characters like Laurencia and the Commander.
Misogyny in this text is represented through many factors showing how women can only prove their dominance by removing the men’s sexuality and freedom of independence. It is also represented in the fact that Nurse Ratched is seen as perfect except for her breasts, her outward mark of being a woman. “A mistake was made somehow in manufacturing, putting those big, womanly breasts on what would of otherwise been a perfect work, and you can see how bitter she is about it.” (6) The fear of women is usually stemmed from ...
Kumaraswami (2007) identifies that the females presented are stereotypical in their nature; this is to say that they either exist in the domestic atmosphere or that they have lost their purity due to being forced into the revolution. Although Camila and Pintada are complete opposites, the similarity lays in the fact that they both fit different parts of society at that time: “En combinación, forman una síntesis de dos extremos irreconciliables que se le presentan a la mujer mexicana y entre los cuales tiene que escoger” (Clark, 1980). In this sense, the mexican women were in two different situations, those who wished to remain traditionalistic and those who sought self-advancement through the likes of previously considered male characteristics. One can see the traditional character through Camila, Azuela has ensured that initially Camila would fit the traditional role of the female, caring, weak, and doting to the men’s needs. Thus Camila seems to be a flat stereotypical character that is expected to appear in novels of this era if women were to appear at all. Nevertheless, the character of Camila becomes more dynamic as Los de Abajo develops, thus she becomes more of an indication as to how women involved in the revolution did not remain ‘sana y buena’. On the contrary, the almost paradoxical characteristics of Pintada seem to confuse Azuela. Pintada is an emasculated character but only in the sense of
Federico García Lorca’s poem “La casada infiel” depicts the story of a gypsy who makes love to a married woman on the shore of a river. When looking deeper into the poem, Lorca appears to provide a critical observation on the values of the conservative society at the time in which he lived. The woman, at her most basic reading, is treated as an object, elaborating on the sexist values in society at the time. Lorca addresses issues of sexism as well as issues of sexuality within society mainly through the poem’s sexist narrative voice, objectification of the female character and overriding sense of a lack of desire throughout the poem. His achievement to do so will be analysed throughout this commentary with particular attention to Lorca’s use of poetic techniques such as diction, personification and imagery.
The prostitutes Quixote meets inside transform into ladies. Cervantes describes the girls as shocked to be referred to as anything other than prostitutes. He writes, “The girls looked at him, endeavoring to scan his face, which was half hidden by his ill-made visor. Never having heard women of their profession called damsels before, they were unable to restrain th...
When women are kept in their classical role of mother and caretaker, all is well and their lives are simple. Children relate positively to their mothers in this typical setting; while Dantés was in prison, during a time of distress, he remembered something his mother had done for him. For example, Dumas writes, “He remembered the prayers his mother had taught him and found meanings in them which he had formerly been unaware.” (41). Mothers teach their children to the best of their ability, evidenced in Dantés, as well as when Caderousse says Mercédès is instructing her son, Albert. It is in these moments that a mother’s love, compassion, and necessity are revealed. Lives are calm and enriched as long as women are in their niche. This includes non-maternal nurturing roles, for example, Mercédès attentiveness to Dantés father and Valentine’s special ability to care for Nortier. This loyalty is valued and shown as essential for the stability of life. Though The Count of Monte Cristo depicted women as best suited to the home, they intermittently stepped further out of that r...