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Womens influence on world war 2
Womens influence on world war 2
Womens influence on world war 2
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Communism and privacy are like oil and water; they do not mix. On the other hand Western Europe and the public eye are two peas in a pod. At the beginning of the twentieth centuries, Italian writer Sibilla Aleramo wrote Una Donna or A Woman very openly in hopes of making it clear that the issues that plagued women at the time needed to be made public. Slavenka Drakulic, a Yugoslav writer, wrote How We Survived Communism and Even Laughed very openly as well, however, she insisted that most of the events that took place in her piece should have been kept out of the public eye. While the west preferred sheer drapes on their everyday lives and feminists made that very obvious, the Eastern block seemed to wish they had thicker, darker curtains that were one of the main objectives for feminist groups. Their differences are deeper than just their upbringing and economic status; their feminist views differed and these views were brought on by the elements of their governments and daily life.
Though both women are feminists of the twentieth century, Aleramo and Drakulic definitely show distinct differences in their makeup. Sibilla Aleramo was born into a pretty “normal” family in Milano, Italy and received a fair amount of education. She “married” young, had a family, and suffered through a turbulent marriage. Aleramo went on to become one of Italy’s leading feminists and continued to write with an open mind about many everyday demons that women, in particular, faced.
On the other side of the Iron Curtain, Slavenka Drakulic was born in the former Yugoslavia, now Croatia, and was the daughter of a Communist party member. As a girl, she was privileged: she received a great education and had opportunities that other girls of her backgrou...
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...s experienced in her life truly outlines all the valuable things in her life like her accounts of watching her daughter grow up, remembering how her grandmother would hoard “useful” items, and her writing. Privacy for women like her was precious, and not until fairly recently, possible. Under a communist government, unlike a fascist government privacy was not a privilege. For Sibilla Aleramo who lived under fascist rule in Italy, privacy and private property were both permitted but were not necessarily essential to Aleramo. Her “valuable thing” she gained by giving up her privacy was a strong stance for western feminists who were tired of hiding and demanded a voice. Both women were strong, independent European feminist with two different preferences of “curtains”: dark curtains with plenty of privacy for Drakulic and sheer, airy drapes with a good view for Aleramo.
The two works of literature nudging at the idea of women and their roles as domestic laborers were the works of Zora Neale Hurston in her short story “Sweat”, and Charlotte Perkins Gilman’s short story “The Yellow Wallpaper”. Whatever the setting may be, whether it is the 1920’s with a woman putting her blood, sweat and tears into her job to provide for herself and her husband, or the 1890’s where a new mother is forced to stay at home and not express herself to her full potential, women have been forced into these boxes of what is and is not acceptable to do as a woman working or living at home. “Sweat” and “The Yellow Wallpaper” draw attention to suppressing a woman’s freedom to work along with suppressing a woman’s freedom to act upon her
The book became a great source of information for me, which explained the difficulties faced by women of the mentioned period. The author succeeded to convince me that today it is important to remember the ones who managed to change the course of history. Contemporary women should be thankful to the processes, which took place starting from the nineteenth century. Personally, I am the one believing that society should live in terms of equality. It is not fair and inhuman to create barriers to any of the social members.
Women have traditionally been known as the less dominant sex. Through history women have fought for equal rights and freedom. They have been stereotyped as being housewives, and bearers and nurturers of the children. Only recently with the push of the Equal Rights Amendment have women had a strong hold on the workplace alongside men. Many interesting characters in literature are conceived from the tension women have faced with men. This tension is derived from men; society, in general; and within a woman herself. Two interesting short stories, “The Yellow Wall-paper and “The Story of an Hour, “ focus on a woman’s plight near the turn of the 19th century. This era is especially interesting because it is a time in modern society when women were still treated as second class citizens. The two main characters in these stories show similarities, but they are also remarkably different in the ways they deal with their problems and life in general. These two characters will be examined to note the commonalities and differences. Although the two characters are similar in some ways, it will be shown that the woman in the “The Story of an Hour” is a stronger character based on the two important criteria of rationality and freedom.
Being one of the greatest Russian writers of 20th century, Aleksander Solzhenitsyn had a unique talent that he used to truthfully depict the realities of life of ordinary people living in Soviet era. Unlike many other writers, instead of writing about “bright future of communism”, he chose to write about everyday hardships that common people had to endure in Soviet realm. In “Matryona’s Home”, the story focuses on life of an old peasant woman living in an impoverished collectivized village after World War 2 . In the light of Soviet’s propaganda of creating a new Soviet Nation, the reader can observe that Matryona’s personality and way of life drastically contradicted the desired archetype of New Soviet Man. Like most of the people in her village,
Tatiana de Rosnay’s Sarah’s Key, though speaking about a particularly touchy subject, identifies feminist/ gender equality through a series of historical hardships that many had endured during the Holocaust. Keeping this in mind, Sarah’s Key is used for Mrs. Rosnay’s approval of the advances of feminism, and how women were limited by a low glass ceiling.
So why is it that for hundreds of years Margery Kempe’s life story has remained so intriguing to many? It may be the fact that there are still “Margery Kempes” in today’s societies or possibly because The Book of Margery Kempe birthed the beginning of feminism and women’s rights. Her attempt to gain personal, financial, and spiritual autonomy is a tale of radical reversal that touches us on many different levels. Although we may not completely or at all agree with the messages, beliefs, and actions of these people or Kempe, the “female hysteric”, there is a reason why we stop and listen to hear what they have to say when we could easily walk by, uninterested.
As a result, women were stuck at home, usually alone, until their husbands got home. In the story, Jane is at home staring at the wallpaper in her room. The wallpaper’s color is described by Jane as being “repellent, almost revolting” (3) and the pattern is “torturing” and “like a bad dream” (10). The description of the wallpaper represents Jane’s and all women’s thoughts about the ideologies and rules upheld by men prior to the First World War. It is made evident that this wallpaper represents the screen made up of men’s ideologies at the time caging in women. Jane is subconsciously repelled by this screen and represents her discovering continuously figuring out what she wants. Metaphorically, Jane is trapped in that room by a culture established by men. Furthermore, Jane compares the wallpaper’s pattern to bars putting further emphasis on her feelings of being trapped and helpless. Later in the narrative, she catches Jennie staring at the wallpaper’s pattern and then decides to study the pattern and determine what it means herself. Her study of the pattern is representative of her trying to analyze the situation in which she’s in. By studying the pattern, she progressively discovers herself, especially when she sees the woman behind the
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.
There is a problem with women’s view of gender identity in post communistic Eastern Europe. In the post-communism era there has been a promotion of gender difference rather than equality, where the status of women has regressed. There has been a lack of availability for economic opportunities and female representation in politics. These issues are addressed in the articles; ‘Incorporating Gendered Identities into Transition Studies,’ ‘Women in Post-Communist politics’ and ‘Feminism and Post-Communism’ and I will investigate the reasons why women are confused of their role in society post-communism.
A lady is an object, one which men attempt to dominate. A man craves to get a hold of this being beneath his command, and forever have her at his disposal. In her piece “Size Six: The Western Women’s Harem,” published in 2002, Fatema Mernissi illustrates how Eastern and Western women are subjugated by the control of men. Mernissi argues that though she may have derived from a society where a woman has to cover her face, a Western woman has to face daily atrocities far worse then ones an Eastern woman will encounter. Moreover, Mernissi’s core dogma in “Size 6: The Western Women's Harem” is that Western women are not more fortunate than women raised into harems in other societies. Additionally, she asserts that though women in the Western world are given liberties, they coincide with the unattainable ideals of what is aesthetically pleasing. Furthermore, to strengthen her argument towards her wavering audience, Mernissi’s main approach in her paper is to get the reader to relate with her issue by means of an emotional appeal, while also utilizing both the ethical and logical appeal to support her thesis.
Women have been mistreated, enchained and dominated by men for most part of the human history. Until the second half of the twentieth century, there was great inequality between the social and economic conditions of men and women (Pearson Education). The battle for women's emancipation, however, had started in 1848 by the first women's rights convention, which was led by some remarkable and brave women (Pearson Education). One of the most notable feminists of that period was the writer Charlotte Perkins Gilman. She was also one of the most influential feminists who felt strongly about and spoke frequently on the nineteenth-century lives for women. Her short story, "The Yellow Wallpaper" characterizes the condition of women of the nineteenth century through the main character’s life and actions in the text. It is considered to be one of the most influential pieces because of its realism and prime examples of treatment of women in that time. This essay analyzes issues the protagonist goes through while she is trying to break the element of barter from her marriage and love with her husband. This relationship status was very common between nineteenth-century women and their husbands.
Rueschemeyer, M. (1998) Women in the politics of postcommunist Eastern Europe. New York: M.E. Sharpe, Inc.
The belief that men and women should have equal rights and opportunities is truly what feminism is. A major key principle that Donald Hall utilizes in his Feminist Analysis is that “Language, institutions, and social power structures have reflected patriarchal interests throughout much of history” (202) and that “This has had a profound impact on women’s ability to express themselves and the quality of their daily lives” (202) are greatly seen in the two short stories “The Story of an Hour” by Kate Chopin, and “The Yellow Wallpaper” by Charlotte Perkins Gilman and in the novel The Awakening also by Kate Chopin all written in mid-19th century. These all illustrate how women were oppressed by patriarchal power and how women rose and subverted patriarchal oppression which elucidates Hall’s theories that state women have been denied self-expression affecting their daily lives and patriarchs take power away from women.
...ked at from the standpoint of allusion to the Russian government attempting to understate the problems. Throughout many nations' histories, problems made by the government have been ignored or covered up, and it seems as though the woman is attempting to turn her back on the problems of the serfs in order to maintain a happy life. Ignorance is bliss, in this case.
Friedan frustratingly explains how women’s choices to revert back to domestic roles after World War II compromised women’s independence and identity. Friedan uses this frustration to revive modern feminism and extinguish the prison that gender roles had imprisoned women in. In The Feminine Mystique, Friedan illustrates how women fell into the common portrayal of a housewife just fifteen years after the war and how “millions of women lived their lives in the image of those pretty pictures of the American suburban housewife, kissing their husbands goodbye in front of the picture window, depositing their stationwagonsful of children at school…their only dream was to be perfect wives and mothers…”(Friedan 61) and other description that fit the occupation of “housewife”.