Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The role of woman in literature
The role of woman in literature
Gender and its roles in literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The role of woman in literature
Feminist Critique: Tess of the D'Urbervilles
Tess of the D’Urbervilles November 19, 1999 Ellen Rooney presents us with a feminist perspective which addresses a few key conflicts in the story, offering qualification if not answers. Essentially, Rooney argues that: Hardy is unable to represent the meaning of the encounter in The Chase from Tess’s point of view because to present Tess as a speaking subject is to risk the possibility that she may appear as the subject of desire. Yet a figure with no potential as a desiring subject can only formally be said to refuse desire…Hardy is blocked in both directions. (466) According to Rooney, we do not hear from Tess in this instance, for if we were to, it would only reinforce the notion of “Tess the seductress.” Yet, in various versions, Tess is presented as a seductress. Even by her nature as a beautiful women, Hardy presents the reader mixed messages; should we see her as a willing seductress, or as a victim who must suffer because of her body’s effects on others? Rooney argues that Hardy never comes to a conclusion on this issue, but “enables Tess to give over [her body], utterly silenced and purified, not by Hardy’s failure to see that she might speak, but by his unflinching description of the inexorable forces that produce her as the seductive object of the discourses of man” (481).
Rooney writes a capable piece of gender criticism, in that it is defined as “how women have been written.” Gender issues seem permeate the story and the author doesn’t take a definitive stand on them. Rooney attempts to examine what role Tess plays in the story, how her interactions with Alec and Angel Clare form her identity, and how she triumphs over her afflictions. Ironically, her biggest affliction is her natural beauty; it’s something men simply cannot pass up, and just by her looks, she becomes seductive.
Rooney brings this point up, but much to her credit, does not unleash an attack on Hardy or men because of it. Often feminist critics bear the burden that they are out to “get” men, yet when there is an apt argument for doing so in Tess, Rooney refrains and simply addresses the issues. Overall, her article was quite helpful in addressing the most resonate conflict in the whole story.
Clare’s identity is defined by her presentation, with the way she appears, how she dresses and her make-up and perfume she puts on. She is once again passing but this time pertaining to her gender. She appears to be playing up the role outwardly as the model woman. The metaphor of Clare’s face as a mask reveals that there is in fact something beneath the surface she is hiding, “Clare’s ivory face was what it always was, beautiful and caressing. Or maybe today a little masked” (220). Clare’s wearing of a mask allows her to be symbolized even more as a sort of heroine because a hero wears a mask but also relates to how she is hiding her true self by wearing a mask. She has masculine traits such as her not being afraid and being willing to do what ever it takes to get the things she wants (65). She has many more masculine traits then feminine. She is not like most women during the 1920’s whose occupation was to be a mother and wife. She does not really care to be a mother and even goes as far as to say, “being a mother is the cruelest thing in the world” (52). She overall is never worried about being a mother or a wife. We never really see Clare worrying about her daughter or husbands happiness only about her own. Irene on the other hand is depicted as a self-sacrificing
to keep her out of the house” (138). The sexist and racist attitudes of that era, in addition to the idolized Kurtz’s savage behaviour towards the Africans, amplify the anomaly of an African woman instilling fear into colonial white men. Conrad establishes the influence that women can have, as it clearly contrasts Hardy’s insinuation of the powerless nature of females when compared to men. While both novels show women embodying traditional male roles and characteristics, the chivalric trait of honour in a woman is most prominent in Tess of the D’Urbervilles.
In this dissertation, ideological systems considered to limit the creation of Western female identity were explored through feminist discourse: Angela Carter’s The Passion of New Eve (1977) and Kathy Acker’s Don Quixote (1986). The former discussed the extent to which gendered identities are founded on biological difference and binary structures, looking at how these dichotomies work to confine female identity to a concept of fixed ideals. With reference to the work of Butler, Carter undermines essentialist views which limit identity, demonstrating through multifaceted and changeable characters that identity is constructed as opposed to determined. By engaging in multiple discourses, Carter’s characters reject conforming to regulatory norms, and are consequently revealed to be living out simulacrums, as Butler suggests all people do. The motif of the mirror was explored with reference to the work of Lacan and Mulvey, looking at how the novel presents female identity as contingent upon male desires due to society’s preoccupation with the phallus. Female identity is therefore constructed to appease masculine appetites, with the mirror revealing the discord between unified appearance and incoherent inner identity. The lack of female representation was discussed with reference to speech and narrative structure, with patriarchal systems of communication shown to exclude women from representation. Carter uses the dual perspective of Eve(lyn)’s narration to destabilize gender identity, revealing it as cleft and uncertain. Lee suggests that the incongruity of the narration also works to mount a critique of the role of the gaze, with the fact that Eve(lyn) narrates in retrospect hindering the reader’s ability to know whether the narrator ...
However, well beneath the surface of the plotline, the viewer can also find himself or herself looking at a struggle for survival that is greatly affected by the roles of genders. Collins asks many questions regarding this; such as “If young girls do not see themselves reflected in media, will this diminish their sense of importance and self-esteem? Will boys conclude that women and girls are unimportant, as well? Will girls lack role models? Will adult women feel disenfranchised? Does the under-representation of women constrict societal perspectives and information in important ways?” (Collins). If Becky had not followed the standard gender role that the frame of time presented itself, she may have seen herself surviving the endeavor, despite almost no chance of her doing so. It is one of those things that today’s society may be glad to have moved past, because there is no reason for anyone to lose their life because they rely so heavily on the opposite
...hetypes of these primary characters, both of these novels make a parallel statement on feminism. The expectations of both themselves and society greatly determine the way that these women function in their families and in other relationships. Looking at the time periods in which these novels were written and take place, it is clear that these gender roles greatly influence whether a female character displays independence or dependence. From a contemporary viewpoint, readers can see how these women either fit or push the boundaries of these expected gender roles.
Feminism is the conviction that members of both the male and female gender should be treated equally in all situations in political, economic and socio-cultural settings. It involves activities put in place in support of the interests and just treatment of females. One major way through which feminism manifests itself in the society today is through books and movies. Authors and movie directors depict feminist in their works by using events and characters to bring out how women are looked at and treated in the society. Over the years, Feminism has gradually changed in terms of its nature and the characteristics of the people who took up the belief of feminism (Lyman, 264). Feminists have gradually changed from being about equal rights for men and women to a whole range of complex issues, with the emergence of issues such as radical feminism and the improvements in the amount of knowledge and power that feminists hold (Harnois, 122). This paper takes a look at aspects of feminism present in America and in Britain by analyzing selected situations from two books, The Maltese Falcon and The Adventures of Sherlock Holmes.
Throughout time women have been written as the lesser sex, weaker, secondary characters. They are portrayed as dumb, stupid, and nothing more than their fading beauty. They are written as if they need to be saved or helped because they cannot help themselves. Women, such as Daisy Buchanan who believes all a woman can be is a “beautiful little fool”, Mrs Mallard who quite died when she lost her freedom from her husband, Eliza Perkins who rights the main character a woman who is a mental health patient who happens to be a woman being locked up by her husband, and then Carlos Andres Gomez who recognizes the sexism problem and wants to change it. Women in The Great Gatsby, “The Story of an Hour,” “The Yellow Wall Paper” and the poem “When” are oppressed because the fundamental concept of equality that America is based on undermines gender equality.
Women play a key role in this novel in many ways. In the case of...
Androgyny may be defined as "a condition under which the characteristics of the sexes, and the human impulses expressed by men and women, are not rigidly assigned" (Heilbrun 10). In the midst of the Victorian Era, Thomas Hardy opposed conventional norms by creating androgynous characters such as Eustacia Vye, in The Return of the Native ; the title character in Tess of the d Urbervilles ; Sue Bridehead in Jude the Obscure ; and Marty South in The Woodlande rs. Hardy's women, possessing "prodigious energy, stunted opportunity, and a passion which challenges the entire, limiting world" (Heilbrun 70), often resemble men in actions and behavior.
...literature and media that challenge those expectations can shift society’s opinions. Carson McCullers’ The Ballad of the Sad Café uses two characters that exhibit the typical characteristics of the opposite gender and how they are perceived by their society as opposed to a character that meets all of his gender’s expectations. In doing so, McCullers presents her readers with a woman who, despite lacking femininity, leads a relatively successful life. This could influence readers and society as a whole to move towards a more progressive view of gender roles where women did not have to be like the housewives that were portrayed in many of the media during that time. Because people are constantly influenced by the media and how it says they should live, stories that feature women who do not follow the gender norm can be very influential to the audiences that read them.
In order for us to deal with how a consideration of femininity can effect our understanding of a literary text, we must also be able to grasp the notion of `feminism' and `Feminist Literary Theory'. A dictionary definition of `feminism' is: `the advocacy of women's rights on the grounds of the equality of the sexes.' Although this leans towards feminism in the historical sense of the word, it still provides the grounds, or foundations, from which feminist literary theories were created. Feminists argue against the stereotyping and social construction of female norms, seeing them as created by men in order to establish their own sense of power. It is thought that while males suggest that gender is sex and not actually a construct, the female role will become much more passive, stereotyped and controlled.
...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).
e may feel that the choice has been taken away from her and it is a case of survival. Hardy has a strong sense of accidental, coincidental, fate and bad luck. However it is trying to decipher which events are what. For example there are hints that Tess preordained to be murderess, and early in the story, when Prince dies, “Her face was dry and pale, as though she regarded herself in the light of a murderess.” I believe that many actions that took place in her life were not always bad luck were not always fate but just the path that she led.
Hardy’s novels are ultimately permeated upon his own examination of the contemporary world surrounding him, Tess’s life battles are ultimately foreshadowed by the condemnation of her working class background, which is uniquely explored throughout the text. The class struggles of her time are explored throughout her life in Marlott and the preconception of middle class ideals are challenged throughout Hardy’s exploration of the rural class. Tess of the D’Urbervilles revolves around Hardy’s views of Victorian social taboos and continues to be a greatly influential piece from a novelist who did not conform to the Victorian bourgeois standards of literature.
“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.