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Sex in literature essay
Essay on Sexuality in Literature
Sex in literature essay
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Evelyn Waugh’s 1945 novel Brideshead Revisited is a story about an upper class family observed and narrated by a middle class outsider Charles Ryder. The author introduces various motifs and themes throughout the novel, specifically the exploration of sexuality. Sexuality is defined as the expression of sexual receptivity or interest especially when excessive. Waugh successfully portrays homosexuality in this novel through the use of characterization, symbolism, and the nature of the relationship between the protagonist Charles Ryder and his tragic friend Sebastian Flyte. In Brideshead Revisited, homosexuality is the hidden love story concealed through the term friendship between Charles Ryder and Sebastian Flyte.
Homosexuality is first introduced
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He refers to Sebastian in idealistic terms such as “entrancing, with the epicene beauty which in extreme youth sings aloud for love” (Waugh 33). After an eventful night of Sebastian vomiting in his room, he sends Charles a bouquet of daffodils and invites Charles to lunch. This is the start of their friendship and he reminisces about their walk in the Botanical Gardens where physical contact took place; “[Sebastian] took my arm as we walked under the walls of Merton” (Waugh 36) and continued to be a very dominant action between the two. They become affectionate by sunbathing naked on the roof and when Charles is in the bathroom with Sebastian as he takes a bath (Waugh 100). This all begins the summer that Charles and Sebastian remain at Brideshead and is the start to where their friendship grows stronger. As their companionship flourishes, they are mostly alone together – “each so much bound up in the other that we did not look elsewhere for friends” (Waugh 124). Charles also recounts that while he was at Oxford, he did not have any interest in women at that time and only focused on the relationship he had with Sebastian. The last time Charles sees Sebastian at Brideshead, Sebastian is drunk and states that he does not want Charles there, eluding to the fact that their relationship will not work because Charles is not homosexual. The final time the two are together, Charles finds out that Sebastian is happily living with a new friend in Morocco and no longer has need for him. As they grow apart in two separate worlds, Charles states later in the novel that “never did I come alive as I had been during the time of my friendship with Sebastian” (Waugh 269), not during his marriage with Celia Mulcaster or even during his affair with Lady Julia
Often times, a seemingly simple story can convey complex themes. In her short story “A White Heron,” Sarah Orne Jewett is able to dive into the sexuality of her main character Sylvia. Though seemingly innocent on the surface, the reader might interpret the hunt for the elusive white heron as Sylvia’s discovery of herself and her sexuality. Though sexuality may seem like a mature topic for such a young character, it is irresponsible to completely ignore it. Especially in a story with innuendos that rival a romance novel. Jewett uses sexual undertones in the search for a white heron to bring light to Sylvia’s questioning of her sexuality.
The tragicomic Fun Home, by Alison Bechdel, is generally considered one of the most important pieces of the modern LGBTQ canon of literature. The graphic novel tells the story of Alison Bechdel’s attempt to find the truth about her father’s sexuality and what lead him to possibly commit suicide. Along the way, Bechdel finds her own sexuality. Bechdel’s choice to write about her and her father’s simultaneous journey to finding their sexuality was revolutionary at the time. Very few authors were writing openly about their own sexuality, and something even more revolutionary that Bechdel addressed was mental illness.
In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
From an early age Jane is aware she is at a disadvantage, yet she learns how to break free from her entrapment by following her heart. Jane appears as not only the main character in the text, but also a female narrator. Being a female narrator suggests a strong independent woman, but Jane does not seem quite that.
Eve Sedgwick describes the gothic novel as a “dialectic between the homosexual and homophobic” (92). Homosexuality was first recognized in the eighteenth century and resulted in far reaching social responses. With the establishment of the term “homosexuality”, social tensions appeared. These tensions found their way into novels as fears of sexuality and the struggle for sexual expression. Sedgwick terms this emerging homoeroticism as the “gothic unspeakable”, which is reflected through the depiction of male class and male sexuality (95). Although homosexuality is not explicitly discussed in the text of Otranto, some critics find the relationships and behaviours between the male characters to manifest Sedgwick’s queer reading of the gothic novel.
In Pride and Prejudice, Elizabeth Bennet’s journey to love and marriage is the focal point of the narrative. But, the lesser known source of richness in Austen’s writing comes from her complex themes the well-developed minor characters. A closer examination of Charlotte Lucas, Elizabeth’s dear friend in Pride and Prejudice, shows that while she did not take up a large amount of space in the narrative, her impact was great. Charlotte’s unfortunate circumstances in the marriage market make her a foil to Elizabeth, who has the power of choice and refusal when it comes to deciding who will be her husband. By focusing on Charlotte’s age and lack of beauty, Austen emphasizes how ridiculous and cruel marriage can be in this time.
Evelyn Waugh’s novel Brideshead Revisited is about a relationship between two Oxford boys: Charles Ryder and Sebastian Flyte. The book takes readers through the progression of their friendship and the introduction of Sebastian’s family: the Marchmains. Throughout the book Charles remains enamored with both Sebastian and his aristocratic family even though Charles and Sebastian grow apart. The novel takes a reflective look back to the golden age before the Second World War and what the author terms the age of Hooper and how it threated to bring down aristocracy. The underlying theme of the book is the changing nature of British society, however, Waugh presents an overly pessimistic representation about what the age of Hooper meant for the future of Britain.
Satire with a funny twist. In the novel The Princess Bride, William Goldman satirizes both fairy tales and the standard literary process through his characters and their actions. Westley, a poor farmer, falls in love with the far from perfect maiden, Buttercup, but has to sail away in order to find his fortunes. Years later, Buttercup, thinking that Westley abandoned her, is forcibly engaged to Prince Humperdinck, a cruel and calculating man. Vizzini, Fezzik, and Inigo, three mysterious kidnappers, abduct the princess in hopes of causing war between the great nations of Guilder and Florin. These events and characters mirror those in a common fairy tale, but with many twists to them. The author, William Goldman, uses both his role as the editor and writer to bring the fairy tale to new light, in order to ridicule the traditional literary structure. He is not actually editing his own novel, in fact he is intentionally including annotations that perhaps would normally be part of an editing process, but are included in The Princess Bride to mock tropes of other fairy tales and the literary process as a whole. Through the portrayal of his characters as archetypes and their flaws, in addition to his unorthodox writing style which allows his to annotate directly in the novel, Goldman satirizes both the literary process and the standard fairy tale.
“When we love, we always strive to become better than we are. When we strive to become better than we are, everything around us becomes better too” (Paulo Coelho. Web.). In Pride and Prejudice by Jane Austen, the false façade of Mr. Darcy slowly peels away until his true personality is revealed. His upstanding values are misused and insensitive, but through the love he develops for Elizabeth he strives to become a better person worthy of her affections.
The text is Pride and Prejudice which is about the ups and downs of the connection/relationship between Elizabeth Bennet and Mr. Darcy. The person who changes the most throughout the novel is Mr. Darcy who changes for the affection of Elizabeth. The first copy of Pride and Prejudice was published in 1993 by Wordsworth Editions Limited. Jane Austen is the author and the genre of the novel is Historical/Romance. The book looks at Mr. Darcy and changing his personality, which characters remain static through the book, what Jane Austen is trying to say about the period of time the novel is set in and why Jane Austen has so many characters that stay the same all through the book.
fortune. Is this to be endured! But it must not, shall not be. If you
The reception of homosexuality in Victorian England reflects the cultural climate of the period. An intense fear of anything `different' or `foreign' was present, which reflected the intense dread of invasion by foreigners. Same sex relationships were rampant before and after it became a criminal offence. Victorian authors could only touch on `the love that dare not speak it's name' using thinly veiled metaphors. Henry James, a homosexual himself, presented his sexual persuasion in The Turn of the Screw in a less than edifying light, by depicting a homoerotic relationship between two children and their adult minders. John Mead Faulkner, in The Lost Stradivarius, illustrates the madness ensuing from active homosexual encounters made dormant, in the case of John's marriage to Constance.
Modernist writings have always been hailed for its nuanced relationship with sexuality. This paper looks at the ways E.M. Forster, one of the modernist writers on the fringes, deals with the discourses of sexuality different in ways different from other high modernists against the backdrop of the socio-cultural milieu which was extremely intolerant to homosexuality through his novel Maurice, written in 1913-14 and published posthumously in 1971. To what extent Forster’s homosexuality and his novel on same sex love negotiate with other homosexual writers and activists of the period? The mere fact that Maurice was published posthumously shows the grim situation of homosexual men and women of the time. Now our job is to closely look at the novel and situate its transgressions and liberation in the larger context of same-sex writings of the early twentieth century.
The writer describes Robyn in opposition to her lover, Charles. He stays at home while she is out with her work. There is a discrepancy between the Victorian and Modernist doctrines, in the latter it seems that the roles of the woman and male are reversed. “Charles led a more subdued and private life. He kept the flat tidy while Robyn was out doing
On the other hand Brantenberg’s novel exploits the real worlds views of sexuality and applies them in th...