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Gender roles in boys and girls by alice munro
Gender roles in boys and girls by alice munro
Feminism in the works of alice munro
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Comparing Female Sexuality in Sylvia Plath’s The Bell Jar and Alice Munro’s Lives of Girls and Women
In Sylvia Plath’s The Bell Jar and Alice Munro’s Lives of Girls and Women, Esther and Del try to take control of their sexuality and their sexual lives. These two female protagonists attempt to gain sexual confidence by quietly rejecting the societal images of women. They are able to seduce men and pilot their own sexual lives. These women are also able to ignore the popular beliefs about marriage and motherhood, thus freeing them from the traditional, restrictive female sexual roles. By rejecting the popular notions of womanhood, sexuality, and marriage, Esther and Del become the mistresses of their sexuality and sexual lives.
Female sexuality is often equated with physical beauty. In The Bell Jar, the protagonist Esther works for an “intellectual” fashion magazine The Ladies’ Day and receives bonuses such as clothing and make-up kits. These false enhancers of female sexuality only make her feel “very empty” (Plath, 3). To fill the empty void in her sexual wellbeing, Esther stows away these beauty products and privately envies the “stern muscular Russian girl with no make-up” at the U.N. (78). As well, Esther admires Jay Cee, the editor who has brains so that “her plug-ugly looks didn’t seem to matter”(6). Esther sees that once a woman is rid of her make-up, she may appear masculine, but her strength will shift towards useful talents such as simultaneous interpretation, which enhances her true feminine value. Indeed, Esther is insulted when she reads a magazine article which insists: “The boy thinks of the universe, its immensity and mystery; the girl thinks, ‘I must wash my hair’”(177). Esther does not belie...
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...g her successful control over her sexuality.
As Del remarks in Lives of Girls and Women, “There is a change coming I think in the lives of girls and women. Yes. But it is up to us to make it come” (Munro, 173). Del and Esther are women who answer this call to repossess their sexuality and reclaim their sexual lives. They take the initiative to stray from the mainstream definition of femininity, and they learn to make men dance to their tune in the game of sex. Uninterested in the traditional domestic roles of women, Del and Esther reject the institution of marriage and reshape their attitudes towards motherhood. The change is not merely coming; it has already taken root in the psyches of these two women.
WORKS CITED
Munro, Alice. Lives of Girls and Women. London: Penguin Books, 1982.
Plath, Sylvia. The Bell Jar. London: Faber and Faber, 1966.
Mary Pipher goes on to say that the problem faced by girls is a ‘problem without a name’ and that the girls of today deserve a different kind of society in which all their gifts can be developed and appreciated. (Pipher,M). It’s clear that cultures and individual personalities intersect through the period of adolescence. Adolescence is a time in a young girl’s life that shapes them into the woman they become. I think it begins earlier than teen years because even the clothing that is being sold for younger girls says sexuality. Bras for girls just beginning in every store are now padded with matching bikini underwear, Barbie dolls are glamour up in such away that these girls believ...
In “‘A Language Which Nobody Understood’: Emancipatory Strategies in The Awakening,” Patricia Yaeger questions the feminist assumption that Edna Pontellier’s adulterous behavior represent a radical challenge to patriarchal values. Using a deconstructionist method, Yaeger argues that in the novel adultery functions not as a disrupting agent of, but, rather, as a counterweight to the institution of marriage, reinforcing the very idea it purports to subvert by framing female desire within “an elaborate code [of moral conduct] that has already been negotiated by her society.” A reading of The Awakening that can envision only two possible outcomes for its heroine – acquiescence to her role as good wife/mother or “liberation” from the marriage sphere through extramarital passion – suffers from the same suffocating lack of imagination that characterizes the most conventional romance tale. Thus, Yaeger contends, Edna Pontellier’s extramarital dalliances with Alcée Alobin and Robert Lebrun are hardly “emancipatory” or “subversive” as critics such as Tony Tanner would see them.
With a heart-full of advice and wisdom, Dinah maturates from a simple- minded young girl to a valiant independent individual. “For a moment I weighed the idea of keeping my secret and remaining a girl, the thought passes quickly. I could only be what I was. And that was a woman” (170). This act of puberty is not only her initiation into womanhood but the red tent as well. She is no longer just an observer of stories, she is one of them, part of their community now. On account of this event, Dinah’s sensuality begins to blossom and she is able to conceive the notion of true love.
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.
In Alice Munro’s “Boys and Girls” she tells a story about a young girl’s resistance to womanhood in a society infested with gender roles and stereotypes. The story takes place in the 1940s on a fox farm outside of Jubilee, Ontario, Canada. During this time, women were viewed as second class citizens, but the narrator was not going to accept this position without a fight.
Rubin, Gail. "Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality." American Feminist Thought at Century's End : A Reader. Ed. Linda S. Kauffman Cambridge, Ma : Blackwell, 1993. 3-64.
Boa, Elizabeth. "Wedekind and the 'Woman Question'." Boa, Elizabeth. The Sexual Circus: Wedekind's Theatre of Subversion. New York : Basil Blackwell Inc. , 1987. 167-202. Print.
Marcus, Lauren, Ph. D., and Amanda Baron, M.S.W. "Childhood Obesity: A Growing Problem." Www.aboutourkids.org. NYU Child Study Center, May 2004. Web. 27 Oct. 2013.
Institute of Medicine. (n.d.). Retrieved Jan 10, 2011, from Childhood Obesity Prevention Actions for Local Government: www.iom.edu/Activities/Childhood/LocalObesPrevention.asp
Furthermore, another form of symbolism and allusion that Plath includes in the novel to emphasize the struggles in which a woman withstands as she grows is the fig tree. Within the story of the fig tree, it is actually a based on the Biblical story of the Garden of Eden where the tree symbolizes conflict between genders. The story details a doomed relationship between a Jewish man and a nun. Interestingly enough, she infers that her relationship with Buddy is also hopeless when she states, “It seemed Buddy and I were like that Jewish man and that nun” (Plath 55). She figures that even though Buddy and her attend the same church, they may as well be following different religions due to their extreme differing perspectives regarding gender roles. In regards to symbolism, the tree implies the decisions Esther must face in her life because she can only pick one fig, yet she wants them
...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).
A notable image that readers of the twentieth-century literature easily recognize is a bell jar. A bell jar is an unbreakable, stiff glass container that confines objects within its inescapable walls. It metaphorically represents the suffocating and an airless enclosure of conformism prevalent during the 1950’s American society. More specifically, American societal standards approve men to have the dominant role as they are encouraged to attend college in order to pursue professional careers. They are given the responsibility of financially supporting their families. In contrast, a women’s life in the 1950’s is centralized around family life and domestic duties only. They are encouraged to remain at home, raise children and care for their husbands. Women are perceived as highly dependent on their husbands and their ability to receive education is regarded as a low priority. Thus, the social conventions and expectations of women during the 1950’s displayed in The Bell Jar by Sylvia Plath correlate to Esther Greenwood’s downward spiral of her mental state. Throughout the course of her journey, Esther becomes increasingly depressed because of her inability to conform to the gender roles of the women, which mainly revolved around marriage, maternity and domesticity.
In Alice Munro’s “Boys and Girls,” there is a time line in a young girl’s life when she leaves childhood and its freedoms behind to become a woman. The story depicts hardships in which the protagonist and her younger brother, Laird, experience in order to find their own rite of passage. The main character, who is nameless, faces difficulties and implications on her way to womanhood because of gender stereotyping. Initially, she tries to prevent her initiation into womanhood by resisting her parent’s efforts to make her more “lady-like”. The story ends with the girl socially positioned and accepted as a girl, which she accepts with some unease.
n Prelude, Katherine Mansfield explores issues of sexual frustration and the restrictions on female identity in a patriarchal society, as experienced by three generations of Burnell women. Linda Burnells responses to male sexuality are tainted by their inevitable association to her obligations in fulfilling her role as a wife and a mother, both of which Linda has shown indifference towards. As a result, Linda's own sexuality suffers under feelings of oppression.
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.