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Gender roles in Literature
Gender roles in Literature
What are gender roles in literature
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Throughout Alice Notley’s The Descent of Alette, Notley uses the character’s bodies as a way to create an identity. The use of disempowerment creates a path to form unification between a man and a woman; push away gender division. By breaking the binary structure that is within society, Notley shines light on maintaining identity and bodies. In other words, Notley expresses that sex is distinct from gender; Alette acts as a link to represent that sex is a costume.
Notley has Alette defend her sex. Alette travels in different caves and has to enforce her identity as a woman. Alette encounters a naked man in this room that is made up of all flesh. The man expresses, “ ‘I wonder’ ‘what it’s like’ ‘not’ ‘to have a sex’ ” (Notley 57). In this
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scene, the characters both have an identity as they have their genitalia attached to them. However, Alette says, “ ‘We [disattach] them then-‘ ‘my vagina,’ ‘his penis’ ‘pulled them out of’ ‘our bodies’ (Notley 57). Alette and the man do not have their sex on their bodies anymore; instead, they are attached to the flesh like walls. As a consequence of losing her sex, Alette conveys: “ ‘Somehow,’ ‘that my mind was becoming lost’ ” (Notley 57). Due to putting her vagina on the flesh wall, Alette loses a part of herself. She loses her sex, which causes her identity to escape her. Alette shouts, “ ‘I want my sex back!’ ‘My sex’ ‘was then replaced’ ‘between my legs,’ ‘instantly back’ ‘The man’s’ ‘was too;’ ‘& we were then delineated,’ ‘formed,’ ‘ourselves again’ ” (Notley 57). Notley wants Alette to realize that without her sex, she is considered neutral; she does not have a trait that makes her have a form of personal identity. However, once her sex is given back, Alette realizes that her sex allows her to represent herself. Notley uses a snake to represent the unification between men versus women.
The symbolism with the snake signifies the notion of androgyny. The snake is sexless, as it is unsure what to make of the snake as it talks: “ ‘in a high-pitched’ ‘but sexless, amusing voice’ ” (Notley 76). Notley uses the depiction of gender by having the snake have a higher pitched voice, which is associated with women, but then back tracks with this feminine characteristic by stating that the snake is sexless. With the snake being sexless, Notley expresses how she breaks gender division. The snake highlights the hierarchy of gender that is placed on society, rather than binary of sex. Notley even pushes the hierarchy of gender on the snake by signifying it to the story of Adam and Eve. The snake refers to itself as Eve; therefore, referring the need to have a sex in society to have a form of identity. Even with Notley expressing the high-pitched voice and the snake being sexless, any creature in society will need to align with a form of sex to distinguish its identity. Even seen earlier in the novel, Alette associates the sex of the snake to be female: “ ‘which I took to be a female-’ ‘she wore’ ‘a gold fillet’ ‘the shape of’ ‘delicate grasses’ ‘& tiny flowers-“ (Notley 52). Based off this reaction, Alette assumes that the sex of the snake must be female due to her gender expression of wearing flowers, which are associated as a feminine trait. Notley later allows the snake to come forward by
relieving her sex as she identities as Eve. Notley lets the snake to identity as Eve, because Eve is known as the first woman in society. As the snake refers to herself as Eve, she is indicating her sex and her form of identity. The gender roles that Notley expresses throughout her novel demonstrate how the characters are dependent on their sex to form an identity. This rebellion of sex versus gender poses the form of neutrality that express unification between men and women. However, Notley does vividly present the idea that sex is needed to form identity.
Alice Cogswell was an incredible little girl from the 1800s who helped to change the course of history for deaf people everywhere. Alice was one of the first and most prominent figures in the creation of ASL as well as an education system for American deaf people. She became this brave pioneer at only 9 years old.
At different points throughout the poem Notley repeats the thesis of the story. The poem reads, “the holy men,” “the wise men,” “are frivolous” “and cruel” Here Notley is blatantly addressing the brutality of patriarchy. (Notley 90) Alette is being told that powerful men and those that are labeled as “holy” are also cruel. Unless this immorality is stopped there will be no truth in this world. Notley is trying to make the reader understand the need for gender equality. In society women are looked at as inferior to men when it comes to strength and power. She is challenging that idea through Alette’s journey to take down the tyrant. Alette is a heroin in this poem, and portrays characteristics far different than how society has identified femininity. Femininism is not a bad thing, it simply calls for gender equality, and that is what Alette is chasing in this story.
Firstly, Alice’s betrayal centers on her husband, Arden. She betrays Arden in two ways; she plans his murder in a cunning way, and she does not remain faithful to him. She, along with some help, contrives a plan to murder Arden, so that she and Mosby may bring their secret relationship to the surface. Though Alice prefers to be with Mosby, and not to kill Arden, as noted when she states “…Might I without control/Enjoy thee [Mosby] still, then Arden should not die;” Alice understands this is impossible if she truly wants a relationship Mosby (“Arden” 274-275). “It is the fulfillment of Alice’s … desire for Mosby that is most blatantly presented as dependent upon the termination of Arden’s life” (Schutzman 290). Therefore, Alice creates a plan
Evelina and Northanger Abbey both belong in the 18th-century literature syllabus because they are good examples of how two different vehicles used to tell a story—a “history,” told in epistolary form, and a witty, tongue-in-cheek narrative—can completely transform the tone of a piece. On the surface, these are two novels about young women growing up in Europe during the18th century. They are both told with humor, they both offer great insight into the mind of their observant female leads, and they both give the reader a glimpse into the manners and customs of the time. On a deeper level, however, the differences between the two texts lie in the manner in which the story is told—and this comparison point is where the reader truly gleans a richer, fuller view of females coming-of-age in the 18th century.
Nella Larsen’s novel presents us with a good view of women’s issues of the early 20th century. We see in the two characters seemingly different interpretations of what race, sexuality, and class can and should be used for. For Clare, passing takes her into a whole new world of advantages that she would not have had if she had remained a part of the African-American community. She gains social status and can be seen as an object of sexual desire for many people, not only the black community. Irene leads herself to think that passing is unnecessary, and that she can live a totally happy life remaining who she is. What she fails to realize is that she is jealous of Clare’s status and sometimes passes herself subconsciously. Larsen presents to us the main point of the book – that the root of the love, hate, desire, and rejection that Irene holds for Clare is a result of social standing, not only passing and sexuality.
Women and men are not equal. Never have been, and it is hard to believe that they ever will be. Sexism permeates the lives of women from the day they are born. Women are either trying to fit into the “Act Like a Lady” box, they are actively resisting the same box, or sometimes both. The experience of fitting in the box and resisting the box can be observed in two plays: Lorraine Hansberry’s “A Raisin in the Sun” and Henrick Ibsen’s “A Doll House”. In Hansberry’s play, initially, Beneatha seems uncontrolled and independent, but by the end she is controlled and dependent; whereas, in Ibsen’s play Nora seems controlled and dependent at the beginning of the play, but by the end she is independent and free.
As Lorber explores in her essay “Night to His Day”: The Social Construction of Gender, “most people find it hard to believe that gender is constantly created and re-created out of human interaction, out of social life, and is the texture and order of that social life” (Lorber 1). This article was very intriguing because I thought of my gender as my sex but they are not the same. Lorber has tried to prove that gender has a different meaning that what is usually perceived of through ordinary connotation. Gender is the “role” we are given, or the role we give to ourselves. Throughout the article it is obvious that we are to act appropriately according to the norms and society has power over us to make us conform. As a member of a gender an individual is pushed to conform to social expectations of his/her group.
Gender is a performance according to Judith Butler . All bodies, she claims, are gendered from birth; sometimes even earlier now we can determine sex in the womb . For Butler society dictates ones gender and the individual reinforces that gender through performance . “The deeds make the doer” in Butler’s words; there is no subject prior to performance. Butler’s concept of gender, however, leads us to question: what of those who are incapable of performing the gender ascribed to them? If one is unable to perform are they left genderless, lacking subjectivity and social identity? If no human is without gender , as Butler claims, then where does this leave her theory? Either gender is more than simply performance or one can exist without gender.
As Melinda Sordino is entering the 9th grade the unspeakable happens to her. This event impacts many facets of adolescent life. It change is her mentally, socially and emotionally. More importantly it changes who she associates herself with. After the incident, she starts to look at females and males differently. One could argue, that at some point in the novel she doesn’t associate herself with the female gender. However, when Melinda does begins to solve her problems and learns to advocate for herself, she starts to see females in a new light. Throughout the novel Melinda aims to distinguish herself from orthodox gender roles.
In her novel Orlando, Virginia Woolf tells the story of a man who one night mysteriously becomes a woman. By shrouding Orlando's actual gender change in a mysterious religious rite, we readers are pressured to not question the actual mechanics of the change but rather to focus on its consequences. In doing this, we are invited to answer one of the fundamental questions of our lives, a question that we so often ignore because it seems so very basic - what is a man? What is a woman? And how do we distinguish between the two?
"The androgynous woman literally incorporates the independence that the male was designed to exemplify prior to the introduction of woman, but the male who depends on a woman becomes effeminate and is perceived as missing something in the outline of maleness," (Rose, 25). While in the forest of Ardenne, Rosalind is dressing in and taking on the male persona.
Essentially, Burkett trusts that some other sort of gender with the exception of women ought not to get the opportunity to speak to women because “their truth is not my truth. Their female identities are not my female identity” (54). Burkett uses comparison to persuade the persures that women ought not to be stereotypes or characterized by men. For instance, she analyzes herself as a women to men including female-to-male transgender individuals to uncover the immense contrasts between them. At first, Burkett describes to others that female-to-male transgender people have not lived their life profoundly as women because of their propensity to the inverse sex, while having a female 's body. Especially, she brings up that transgender individuals are not very delicate about issues as women generally may be. Also, Burkett notice that the true character of a man as having a manly or female identity relies on upon the hormones that the one has. In this manner, female-to-male transgender individuals who have not gotten the female 's hormones, have not gotten the encounters of coping with their period while being at school as a sample, so they might not perform women. Bloom concurs on Burkett 's point by giving an illustration of a female-to-male transgender. According to Bloom, “When Lyle entered
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.
One key archetype which is significantly highlighted by both writers is that of female beauty. One way in which this is explored is by presenting the female protagonists through the lens of ‘Male Gaze’ in order to articulate the way in which women are typically portrayed as objects, products or art to be desired due to the assumptions and perspectives of the heterosexual male. Claire McEwan therefore argues that Duffy’s poetry challenges “the masculinist representations of female identity that pervade history and literary discourse […] in order to reject the rendering of women as an aesthetic construction” , a view which corresponds well to Duffy’s poem “Pygmalion’s Bride”. Within which Pygmalion’s goal appears to be creating the ideal woman, with no concern paid towards her identity, rendering her as only aesthetically valuable. The narrator thus describes having her “stone cold lips” kissed, her “marbled eyes” thumbed and told “blunt endearments [of] what he’d do and how.” Yet when Pygmalion “let his fingers sink into [her] flesh” Galatea states that she “would not bruise” which can be seen as her refusal to conform to what he wants, instead she “played statue” refused to “shrink” and rejects the identity which has been constructed for her. Therefore as she transforms from “stone” to “stone cold”, a vision of beauty suspended, inanimate and susceptible to Pygmalion’s absolute power, into a woman who “screamed [her] head off”, Pygmalion’s attraction to his sculpture dissipates as his conceptualised image of her beauty becomes tarnished.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.