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Essays on the portrayal of women in the 1950's
Media influence on sexuality
Essays on the portrayal of women in the 1950's
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The Broke Female
The 60’s was certainly a time of women’s curiosity and venture outside of the norm “homemaker” role. Women not only found pleasure in the world, but in themselves as a whole and as a woman. Sex and the Single Girl by Helen Gurley Brown played an important role here as her intent was to guide women - or more specifically the single woman - in her pursuit of independence and pleasure. Sex and the Single Girl most definitely lead the readers on to believe that it was to empower women; even to break away from the norm and advocate the unattached female. My response will focus on the contradictory nature the guidebook, and other literature like Cosmopolitan, create when advising a woman to do and be something on the one hand while having an underlying message on the other. Nothing has more of an effect to the controversial conversation of women’s liberation than literature. The subtle cues from Cosmopolitan emphasizing femininity: beauty, sensuality, appreciating the female body… Self-help guidebooks persisting the woman to let go and just be free for once. It is liberating for the woman to see such medias to act upon what they were thinking and to even go beyond that. Talks of
Have clean hair but no body hair, smile on cue, the right amount of gossip, tight but fitting clothing and lingerie, perfume, good health and enthusiasm...these are just to name a few! (pp. 79-80). It’s as if women need to literally hand over their souls and wallets to get a man to notice her. Brown’s guidebook defends its stances beforehand by stating “Obviously these accessories haven’t anything to do with our intrinsic worth as women” (p. 76) but also offhandedly affirms “You must spend time plotting how to make him happier” (p. 82). Sex and the Single Girl is seen as empowering to the woman, yet at the same time, it is degrading to the woman by setting a personal standard of beauty and expectations to land a
May begins by exploring the origins of this "domestic containment" in the 30's and 40's. During the Depression, she argues, two different views of the family competed -- one with two breadwinners who shared tasks and the other with spouses whose roles were sharply differentiated. Yet, despite the many single women glamorized in popular culture of the 1930's, families ultimately came to choose the latter option. Why? For one, according to May, for all its affirmation of the emancipation of women, Hollywood fell short of pointing the way toward a restructured family that would incorporate independent women. (May p.42) Rosalind Russell in His Girl Friday and Scarlett O'Hara in Gone with the Wind, for example, are both forced to choose between independence and a happy domestic life - the two cannot be squared. For another, New Deal programs aimed to raise the male employment level, which often meant doing nothing for female employment. And, finally, as historian Ruth Milkman has also noted, the g...
It was expected of women to get married, have children, buy a suburban home and do housework. The video, “A Word to the Wives” displays what Betty Friedan calls, “the feminine mystique”. The video presents the dilemma of a woman who is not happy because she does not have the newest house. Her friend has all the new “necessities” in order to successfully complete housework. Women were defined by what they had, not by who they were. Friedan’s research found that despite fulfilling the “feminine mystique”, when women were questioned they realized they were not truly satisfied with their life. The woman in the video would not of been fulfilled by buying a new house, or object. Women were deprived of the need to put their skills and talents to a purpose. The video, “Are You Popular” also shows the expectations of women.. It promotes that appearance, serving others, and rewarding men with “women” gifts such as baking is how to be popular. It condones girls for “parking in cars” but accepts men who do the same thing. Women must earn the approval of men, and men must earn women by doing thing women are “incapable” of. The repression of women in the 50’s is what eventually causes the “outbreak” of feminism in the 60’s. The idolism of the “female mystique” covered the sexism against women in the
The “Feminine Mystique” is a highly influential book in the early second wave feminism movement. It is said that it helped shaped the demands of the second wave by insisting for the right to work outside the home, and to be paid equally; the right for reproductive freedom; the demand that women should not be expected to have children and be mothers if they do not want to. Betty Friedan addresses “the problem that has no name” which is the women who are highly educated, suburban housewives that are bored and want something “more” in their life. This is the point where women knew we needed a second wave. Women’s role had gone backwards and they were beginning to realize that they were all experiencing the same “problem that has no name”. “The
Haney-Peritz, Janice. "Monumental feminism and literature's ancestral house: Another look at The Yellow Wallpaper". Women's Studies. 12:2 (1986): 113-128.
Ihara Saikaku’s Life of a Sensuous Woman written in the 17th century and Mary Woolstonecraft’s A Vindication of the Rights of Woman written in the 18th century are powerful literary works that advocated feminism during the time when women were oppressed members of our societies. These two works have a century old age difference and the authors of both works have made a distinctive attempt to shed a light towards the issues that nobody considered significant during that time. Despite these differences between the two texts, they both skillfully manage to present revolutionary ways women can liberate themselves from oppression laden upon them by the society since the beginning of humanity.
Irigaray, Luce. "This Sex Which Is Not One." Feminism: An Anthology of Literary Theory and Criticism. Ed. Robyn R. Warhol and Diane Price Herndle. New Brunswick, NJ: Rutgers UP, 1991.
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
The 1960s provided a reality time of suppressed females and overindulgent males within the society spectrum. Yet the nostalgia aspect of this manifests in the idea of the perfect housewife and the graci...
Even in our culture today this type of literature exists in the forms of advertisements, fashion magazines, and exercise books. Again, much of this type of literature is directed at women more than men, which these editors explain as an attempt to specify "what a woman should desire to be if she wishes to attract a socially approved male and keep him happy" (Armstrong and Tennenhouse 5). This makes sense because even today our society is patriarchal, constructed so that women many times have to count on financial support from a man. However, the introduction points out the irony of this, since not only is the desirable woman being defined, but also what a man should find desirable in a woman is defined. also note that this is not necessarily a contradiction, since "the gendered world of information we inhabit today reproduces and maintains the dominant view (Armstrong and Tennenhouse 5).
Betty Friedan’s book, The Feminine Mystique, explains the mind set of society in the 1960s. She writes that the women of the ‘60s were identified only as creatures looking for “sex, babies, and home” (Friedan 36). She goes on to say “The only passion, the only pursuit, the only goal a woman [was] permitted [was] the pursuit of a man” (Friedan 36). This mind set, this “feminine mystique,” is clearly shown throughout the show Mad Men. The side effect of the feminine mystique hurt all the women of this time. Matthew Weiner shows how this conception of the “ideal woman” hurt all of his lead women. The consequences are shown in the two women who bought into the idea, Betty and Joan, and the one who re...
Rebecca Traister’s All the Single Ladies: Unmarried Women and the Rise of an Independent Nation provides insight on what it is like being a single woman living in America in current and past times. Traister interviewed more than 100 single women to give their personal stories, which makes the readers think about themselves and how they can relate to them. All the Single Ladies is an investigation into the sexual, economic, and emotional lives of women in America. Traister argues that there are unknown unset society rules for women that women are expected to fulfill like marriage and children and those cliché stereotypes must be broken. Some women desire to be married and other women are concentrated on finding themselves which Traister argues
There is much debate in feminist circles over the "best" way to liberate women through writing. Some argue that a female writer should, in an effort to recapture her stolen identity, attack her oppressive influences and embrace her femininity, simultaneously fostering dimorphic literary, linguistic, and social arenas. Others contend that the feminization of writing pigeonholes women into an artistic slave morality, a mindset that expends creative energy on battle and not production, and inefficiently overturns stereotypes and foments positive social change; rather, one should lose gender self-consciousness and write androgynously.
...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).
Jamaica Kincaid’s “Girl” shows in society how a woman should be placed and what it means to be a woman. A women doesn’t question her partner, instead she is subservient to him. A woman’s duties include staying at home taking care of the children and cooking; while the man works and brings home the money. A feministic approach to Kincaid’s “Girl” points to the idea of the stereotypes that women can only be what they do in the home, they should only be pure and virtuous, and their main focus should be satisfying their husband.
In just a few decades The Women’s Liberation Movement has changed typical gender roles that once were never challenged or questioned. As women, those of us who identified as feminist have rebelled against the status quo and redefined what it means to be a strong and powerful woman. But at...