Both Phillip Ross' novel As For Me and My House and Sharron Pollock's "Blood Relations" address the ideological gender roles Mrs. Bentley and Miss Lizzie are up against and how they resist and comply to them. Miss Lizzie refuses for as long as she needs to because carrying out a facade of female compliance allows for a bit of rebellion and Mrs. Bentley's marriage to Phillip, who is not entirely playing his role, allows for a small amount of freedom to arrange things closer to her own desires. In this essay I will focus on the relationships the main characters of "Blood Relations" and As For Me and My House have with other characters. Both Pollock and Ross are able to point out the restraints in women’s lives because of their gender by having the main characters be in charge of telling their stories. These techniques create ambiguity as well as addressing the ideological gender roles Mrs. Bentley and Miss Lizzie are up against. They are not stories of liberation but of how these two women navigate within these roles and stereotypes. Miss Lizzie refuses to do things for as long as she is able while carrying out a facade of female compliance regarding her father while at the same time getting her way and Mrs. Bentley's marriage to a man who is not entirely playing his role allows for a small amount of freedom to arrange things closer to her own desires.
Ross and Pollock have put their main characters in charge of their stories. The structure of the stories reflects the impossible position the main characters are in. Mrs. Bentley is able to share how she feels about her role of a wife to a small town preacher through her writing. The diary format allows a glimpse into her character as she "builds a false front of [her] own, live [he...
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...rmine the motivation and the why's or how's of the story and reflect on why there was no complete transformation in the main characters lives but just an exchange of one role for another.
Works Cited
Moss, John. "Mrs Bentley and Bicameral Mind". Sinclair Ross's As for Me and My House: Five Decades of Criticism. Ed. David Stouck. Toronto: University of Toronto Press, 1991. Print.
Pollock, Sharon, Anne F Nothof. "Blood Relations" Blood Relations and Other Plays. [New ed.].Edmonton: NeWest, 2002. 4-73. Rpt. in AP/EN 2020 6.0B Canadian Literature Course Kit. Ed. Stephen Cain. York University, 2012/2013. Print.
Ross, Sinclair. As For Me and My House. Toronto: McClelland and Stewart, 2008. Print.
Stratton, Susan. "Feminism and Metadrama: role-playing in Blood Relations". Ed. Nothof,
Anne. Sharon Pollock: Essays On Her Works. Toronto: Guernica, 2000. Print.
During the Victorian Era, society had idealized expectations that all members of their culture were supposedly striving to accomplish. These conditions were partially a result of the development of middle class practices during the “industrial revolution… [which moved] men outside the home… [into] the harsh business and industrial world, [while] women were left in the relatively unvarying and sheltered environments of their homes” (Brannon 161). This division of genders created the ‘Doctrine of Two Spheres’ where men were active in the public Sphere of Influence, and women were limited to the domestic private Sphere of Influence. Both genders endured considerable pressure to conform to the idealized status of becoming either a masculine ‘English Gentleman’ or a feminine ‘True Woman’. The characteristics required women to be “passive, dependent, pure, refined, and delicate; [while] men were active, independent, coarse …strong [and intelligent]” (Brannon 162). Many children's novels utilized these gendere...
American culture has defined the ideal dynamic for a family for many generations as one with a single, or perhaps multitude of dominant male figures, a submissive role or roles usually filled by the women in the household, and of course, children, who are deemed more acceptable if they are “seen and not heard”. Marilynne Robinson’s Housekeeping deconstructs and twists around what has grown to be custom in American Literature, and challenges the reader to feel uncomfortable about missing or swapped gender roles within the story itself. In Housekeeping, Ruthie and her sister Lucille have been transferred through several relatives after their mother’s death, and find themselves aching for a “normalcy” that they have never experienced, one that
Moreover, the mother faces the turning point of the whole journey when she courageously confronts her husband and finally voices out her opinion against being treated as more of a thing rather than a person. She reminds him that “[her] name… is Elizabeth” and should not be referred to as a mere “woman”, but being outrageous as he was, he yells at her to “shut [her] mouth” as she was trying to explain, and “[get his] supper”. Through the mother’s confrontation with her husband, the readers learn the importance of having the courage of speaking out what we believe is right despite of the outcome, instead of merely submitting in silence. Ultimately, numerous positive changes occurred once resolution to both the mother's external and internal conflict are addressed. Not only does “[the husband] often speaks to [the] mother as though she were more of a person and less of a thing”, but the mother also decides to “[teach] her two grandsons how to wash dishes and make
In society, there has always been a gap between men and women. Women are generally expected to be homebodies, and seen as inferior to their husbands. The man is always correct, as he is more educated, and a woman must respect the man as they provide for the woman’s life. During the Victorian Era, women were very accommodating to fit the “house wife” stereotype. Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications.
“Boys will be boys, and girls will be girls”: few of our cultural mythologies seem as natural as this one. But in this exploration of the gender signals that traditionally tell what a “boy” or “girl” is supposed to look and act like, Aaron Devor shows how these signals are not “natural” at all but instead are cultural constructs. While the classic cues of masculinity—aggressive posture, self-confidence, a tough appearance—and the traditional signs of femininity—gentleness, passivity, strong nurturing instincts—are often considered “normal,” Devor explains that they are by no means biological or psychological necessities. Indeed, he suggests, they can be richly mixed and varied, or to paraphrase the old Kinks song “Lola,” “Boys can be girls and girls can be boys.” Devor is dean of social sciences at the University of Victoria and author of Gender Blending: Confronting the Limits of Duality (1989), from which this selection is excerpted, and FTM: Female-to-Male Transsexuals in Society (1997).
...ng it through Grace’s mother and Mrs. Humphrey. The novel depicts this construct of gender identity through society by molding Grace to believe women are subordinate and need to get married and be good housewives to be successful. This construct is seen through emotion as women who are emotional are seen as “abnormal” and sent to asylums, while men had to power to do so. The societal construct of gender identity was seen as men were to bask in their sexuality and be assertive, while women were to be passive and suppress their sexuality. Mrs. Humphrey challenged this construct as she was assertive and the instigator. Lastly, the societal construct of gender identity was challenged through Grace’s mother as she took over the males position of being the provider. Overall, women were looked at as subordinate to men in the Victorian age and Atwood challenged this belief.
Suggested roles of all types set the stage for how human beings perceive their life should be. Gender roles are one of the most dangerous roles that society faces today. With all of the controversy applied to male vs. female dominance in households, and in the workplace, there seems to be an argument either way. In the essay, “Men as Success Objects”, the author Warren Farrell explains this threat of society as a whole. Farrell explains the difference of men and women growing up and how they believe their role in society to be. He justifies that it doesn’t just appear in marriage, but in the earliest stages of life. Similarly, in the essay “Roles of Sexes”, real life applications are explored in two different novels. The synthesis between these two essays proves how prevalent roles are in even the smallest part of a concept and how it is relatively an inevitable subject.
Gender roles are a major theme in the novel To Kill A Mockingbird by Harper Lee, in the main ways being what is expected of proper Southern lady, the critcization of women because of their hypocrisy, and the distrust of masculinity as whole. The novel is set in the 1930s during the Depression in the small traditional town of Maycomb, Alabama. Scout is the main female protagonist in the novel and Scout herself faces the gender conformity, as does many others, like Tom Robinson and other men, and the female gender as a whole.
Since the beginning of time men have played the dominant role in nearly every culture around the world. If the men were not dominant, then the women and men in the culture were equal. Never has a culture been found where women have dominated. In “Society and Sex Roles” by Ernestine Friedl, Friedl supports the previous statement and suggests that “although the degree of masculine authority may vary from one group to the next, males always have more power” (261). Friedl discusses a variety of diverse conditions that determine different degrees of male dominance focusing mainly on the distribution of resources. In The Forest People by Colin Turnbull, Turnbull describes the culture of the BaMbuti while incorporating the evident sex roles among these “people of the forest”. I believe that the sex roles of the BaMbuti depicted by Turnbull definitely follow the pattern that is the basis of Freidl’s arguments about the conditions that determine variations of male dominance. Through examples of different accounts of sex roles of the BaMbuti and by direct quotations made by Turnbull as well as members of the BaMbuti tribe, I intend on describing exactly how the sex roles of the BaMbuti follow the patterns discussed by Freidl. I also aim to depict how although women are a vital part of the BaMbuti culture and attain equality in many areas of the culture, men still obtain a certain degree of dominance.
While our natural sex is selected for us soon after our conception, however, our gender identity is not. Our psychological characteristics, the role we decided to take in society, and even our behaviors shape our gender identity. Whether your true gender identity is learned from those closest to you as a child, or if you decide to change you physical sex to match your gender identity at a point in your life, the expectations of society still play a huge role in shaping how parts of your life are lived.
identity or roles. Gender expression may or may not conform to a person’s gender identity.
Society places ideas concerning proper behaviors regarding gender roles. Over the years, I noticed that society's rules and expectations for men and women are very different. Men have standards and specific career goals that we must live up to according to how others judge.
Katherine Mansfield belongs to a group of female authors that have used their financial resources and social standing to critique the patriarchal status quo. Like Virginia Woolf, Mansfield was socioeconomically privileged enough to write influential texts that have been deemed as ‘proto-feminist’ before the initial feminist movements. The progressive era in which Mansfield writes proves to be especially problematic because, “[w]hile the Modernist tradition typically undermined middle-class values, women … did not have the recognized rights necessary to fully embrace the liberation from the[se] values” (Martin 69). Her short stories emphasized particular facets of female oppression, ranging from gendered social inequality to economic classism, and it is apparent that “[p]oor or rich, single or married, Mansfield’s women characters are all victims of their society” (Aihong 101). Mansfield’s short stories, “The Garden Party” and “Miss Brill”, represent the feminist struggle to identify traditional patriarchy as an inherent caste system in modernity. This notion is exemplified through the social bonds women create, the naïve innocence associated with the upper classes, and the purposeful dehumanization of women through oppressive patriarchal methods. By examining the female characters in “The Garden Party” and “Miss Brill”, it is evident that their relationships with other characters and themselves notify the reader of their encultured classist preconceptions, which is beneficial to analyze before discussing the sources of oppression.
“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.
Many women in modern society make life altering decisions on a daily basis. Women today have prestigious and powerful careers unlike in earlier eras. It is more common for women to be full time employees than homemakers. In 1879, when Henrik Ibsen wrote A Doll's House, there was great controversy over the out come of the play. Nora’s walking out on her husband and children was appalling to many audiences centuries ago. Divorce was unspoken, and a very uncommon occurrence. As years go by, society’s opinions on family situations change. No longer do women have a “housewife” reputation to live by and there are all types of family situations. After many years of emotional neglect, and overwhelming control, Nora finds herself leaving her family. Today, it could be said that Nora’s decision is very rational and well overdue.