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The portrayal of women in literature
Depiction of women in literature
Gender in literature
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Another way that Griet and Belle show the unfair treatment towards women is how their societies view women as less than men and try to force a "yes" response to a proposal, giving them no options in their own lives. In Girl With a Pearl Earring Griet is expected to marry Pieter the Son and her family is constantly pressuring her to do so because of the meat it would provide for them. Pieter tries several times to get Griet to agree to marrying him, which she constantly tries to avoid answering. On Griet’s eighteenth birthday towards the end of the novel, Pieter comes to the Vermeer’s house on Papists’ Corner and asks her in front of most of the family to marry him. Griet responded, “‘You were wrong to come here’” before the young maid turned …show more content…
‘Whore’” (Chevalier 207). Tanneke’s harsh words toward Griet show that it was frowned upon for women to refuse marriage proposals, especially considering how she was in some sort of relationship with Pieter. Women were not given choices so that they would not say no and risk humiliating the man. Instead, women in Griet’s society were supposed to accept proposals and do what the men asked since they held more power, were smarter, stronger, and overall the more important gender. This theme is also noticeable in Belle’s society from Beauty and the Beast because of the way the town reacts to Belle refusing Gaston’s constant proposals. Throughout the movie, Gaston constantly tries to get Belle to marry him since he was certain she was the prettiest girl in town and he deserved only the very best. When Gaston tries to take Belle out to the tavern in the beginning of the movie she responds by saying, “‘Maybe some other time’” …show more content…
In Delft the expectations men have for women include sexual interactions in exchange for any sort of kindness or help. Women and their bodies are treated as bartering tools in Griet’s society and the men all treat women as objects and toys for their own personal gain. Van Ruijven is the biggest example of this mindset and at one time near the end of the novel he “tried to pull [Griet’s] chemise down over [her] shoulders and expose [her] bosom. ‘You shouldn’t fight me, my girl’ he murmured as [Griet] backed away from him. ‘You’ll enjoy it more if you don’t fight. And you know, I will have you anyway when I get that painting.’ He pushed [Griet] against the wall and lowered his lips to [her] chest, pulling at [her] breasts to free them from the dress” (Chevalier 202). Griet’s treatment in her society just because of her gender and looks is unfair and yet is considered to be her role in her culture. This treatment of women against the treatment men limits Griet and other women to being manipulated without the ability to do anything for themselves because they were women and did not have rights or choices but were rather just there for men’s pleasure. Similar to Griet’s town of Delft, in Belle’s town women were treated as beautiful trophies that the men would select
...e can, however, signal her virginal status by dressing in a way that represents its equivalent: as a southern belle. In addition to her low-cut blue dress, with its feminine, puffed sleeves, Arvay wears a floppy-brimmed “leghorn-intention” (straw hat), decorated with a “big pink rose” (suggestive of reproduction). Most tellingly, we are told that she is wearing a corset that is “laced very tight” – so tight that she cannot eat her dinner. Corsets hold in the flesh and nip in the waistline to an attractively small diameter. By narrowing the waist, they emphasize the swellings of the hips and breasts, a contrast intended to stimulate sexual arousal. Thus Arvay’s wedding/reception attire emphasizes her fragility and innocence while highlighting her desirability. The clothing signs her as an object for consumption, rather than celebrates her as a beautiful companion.
In the beginning of the movie, Gaston is introduced as the perfect guy in the village. Girls sing, “Look there he goes, isn’t he dreamy? Monsieur Gaston, oh he’s so cute.” Gaston has his heart set on Belle and does all he can to convince her to marry him. Gaston believes that Belle would be a great wife based purely on her beauty, but Belle is not as shallow as Gaston and she follows her intuition and doesn’t marry him because she doesn’t care about appearances, but more about their inner beauty. “One tendency unites them all..”(Emerson 77), says Emerson. Every other girl in the village would have done anything to to be with him, wh...
Beginning in the 1890’s Jim Crow laws or also known as the color-line was put into effect in the Southern states. These laws restricted the rights of blacks and segregation from the white population. These laws were put into effect as partially a result of the reaction of the whites to blacks not submitting to segregation of railroads, streetcars, and other public facilities. African Americans Ids B. Wells, Booker T. Washington, and W.E.B Dubois had differing opinions on the color-line. Wells and Dubois felt the color-line created prejudice toward blacks and that the black population could not become equal with the whites under such conditions. On the other hand, Booker T. Washington thought the laws were a good compromise between the parties at the time.
Which is caused by the narrator having a male perspective. The narrator does not give the women and credit or redeeming qualities. All the women follow a general stereotype. If they tried to break away from the stereotype, they would me more important and influential characters. Paquette, a chambermaid in the Baron’s castle, is described as “a pretty and obedient brunette” (5). She is identified obedient not because of her job as a chambermaid, but because she is willing to exploit her soul and body to the men around the castle. In regards to the old woman, she doesn’t even have an actual name, which does not matter since is ugly and useless. The old woman has the mindset that she is; an object; a mistake; a disgrace. That her time has passed as a beautiful useful woman. All the rape and abuse has physically affected her and she is out of luck. In fact, she is lucky if men talk to her, or even look at her without
While Madame Ratignolle, Madamoiselle Reisz and Edna are very different characters, all of them are unable to reach their potentials. Madame Ratignolle is too busy being the perfect Louisiana woman that she no identity of her own; her only purpose in life is to care for her husband and children. Madamoiselle Reisz is so defiant and stubborn that she has isolated herself from society and anyone she could share her art with. Edna has the opportunity to rise above society’s expectations of females, but she is too weak to fight this battle and ultimately gives up. While these three characters depict different ideas of what it truly means to be a woman and what women’s role in society should be, none of them can reach their full individual potential.
In Tartuffe and The Country Wife, women are largely portrayed as rational and wise in contrast to the illogical patriarchy that oppress them. Female sexuality was viewed as a tool that could be employed by both men and women for economic, social and personal advantage.
Blanche is a former southern belle who has lost her exalted position in the eyes of her society due to the deaths in her family. Similarly to Williams’ mother, Blanche did everything in her power to cling to her prestigious status, without success. Blanche’s way of coping with her situation is to pretend that it is not happening and continues seeing herself as a pure, innocent, and even virginal character by clinging to her former social status, “Virgo is the Virgin” (Williams 89). In all of her attempts to continue her life as the well-respected woman she once was, Blanche treats Stanley as though he is lesser than her, which leads to conflict within the family, “I let the place go? Where were you!
In Zora Neale Hurston’s novel, Their Eyes Were Watching God, the reader is treated to an enthralling story of a woman’s lifelong quest for happiness and love. Although this novel may be analyzed according to several critical lenses, I believe the perspectives afforded by French feminists Helene Cixous and Luce Irigaray have been most useful in informing my interpretation of Hurston’s book. In “The Laugh of the Medusa,” Cixous discusses a phenomenon she calls antilove that I have found helpful in defining the social hierarchy of women and relationships between them in the novel. In addition, Cixous addresses the idea of woman as caregiver, which can be illustrated through the character of Janie in Their Eyes Were Watching God. On the other hand, Luce Irigaray discusses the different modes of sexual desire of men and women in her essay, “The Sex Which is Not One.” Many examples supporting and refuting her claims can be found in the novel. According to Cixous, the most heinous crime committed by men against women is the promotion of antilove. “Insidiously, violently, they have led [women] to hate women, to be their own enemies, to mobilize their immense strength against themselves, to be the executants of their virile needs” (1455). Their Eyes Were Watching God offers many examples of women in vicious contention with one another, usually involving or benefiting a man. Janie is confronted by the malice of her female neighbors in the very first chapter of the novel, as she arrives back in Eatonville after her adventure with Tea Cake. “The women took the faded shirt and muddy overalls and laid them away for remembrance. It was a weapon against her strength and if i...
Society shows the stereotypical way of thinking in the Victorian era: women are subordinate to men. This can be seen through Mary Whitney. Mary Whitney tells Grace what her goals should be and how she should act: “It was a custom for young girls in this country to hire themselves out, in order to earn money for their dowries, and then they would marry, and if their husbands proposed they would soon be hiring their own servants in their turn and then they, ―would be mistress of a tidy farmhouse, and independent” (Atwood 182). Mary Whitney is explaining to Grace that a woman needs to get married in order for her to be successful. This was the gender construction of the time, and she is trying to get Grace to take on that role. This is very true to the a...
The female characters in Molière’s Tartuffe display feminist behaviors years before the feminist movement emerged historically. Many of their actions, words and behaviors are completely out of character for women of their time. Moliere makes a strong statement with this play by presenting female characters that go against convention. The gender inequality when the Enlightenment began was extreme. The women in this play try to fight against this inequality and in the end it is the patriarch of the family that is fooled by Tartuffe yet most of the female characters remain un-fooled throughout the play. Two of the female characters in this play, Doreen and Elmire play significantly different roles in the home. They have different personalities, different household duties and drastically different social standing. As different as these women are, they both show signs of early feminism. To various degrees they fight for want they believe is right. Dorine speaks her mind openly and does not hold anything back. Elmire is sneakier and uses her sexuality to get what she wants.
Social factors have always encouraged the idea that men embody masculinity and women embody femininity and, thus, certain gender-norms are expected accordingly. In the past, such expectations were traditional and to go against them was frowned upon by the general public. Contemporarily speaking, there is more freedom to avail oneself of today than there was once upon a time. Jeanne-Marie LePrince de Beaumont’s fairytale adaptation of ‘Beauty and The Beast’ was published in 1740. During this time, men and women were compelled by the social conventions associated with their gender. When analyzing the literary work, the reader can grasp what gender roles are eminent in the characters identity and motives. By exploring the choice of language being
In today’s world, men and women are perceived equally by the society. In the past, authority and control define men while women are given the characteristic of helplessness. Men are able to get hold of high positions while women usually are subservient to them. In movies, we would usually see women portray roles that are degrading due to the stereotypical notions they associate with this gender group. Moulin Rouge, a movie set during the 1900s narrates the story of a courtesan woman, Satine, as she undergoes hardships to earn money, experiences love but unfortunately, due to her irrational choices, faces tragic consequences at the end. Satine is a symbol of how women are being treated by the society during the era before post-feminism, where men have superiority over women. As the plot develops, Satine transforms from a worthless prostitute to someone who is courageous and willing to face her fears in order to attain her aspirations. Psychoanalyst theory and feminist analysis are apparent throughout the film. The male gaze, fantasy and feminism are three topics that will be covered in depth in this essay through relating it to the movie.
Le féminisme est clairement un thème important dans "Les Belles Images". Laurence, le protagoniste féminin subit une crise d'identité, comme elle commence à devenir de plus en plus consciente de sa position dans le monde et dans sa famille comme une femme. "Les Belles Images" dépeint l'éveil de Laurence comme elle est apparemment arrachés de sa complaisance et devient conscience très vive de l'état stagnant de sa famille et de sa vie. Bien que depuis l'extérieur, Laurence semble être l'épitomé de l'idéal féministe de la femme nouvelle, avec sa carrière prospère, son amant et son mode de vie bourgeois, à l'intérieur, tout est train de s'effondrer. C'est la fille de Laurence Catherine qui agit comme un déclencheur pour cet éveil C'est la fille de Laurence Catherine qui agit comme un déclencheur pour ce réveil quand elle pose la question «pourquoi est-ce qu'on existe ?» (23). La question de Catherine Laurence fait examiner à elle-même et sa vie. Cette examen de conscience résultats dans Laurence devenir désabusés par les hommes de sa vie; son mari, son amant et son père. Dans son livre "Beauvoir et ses soeurs: La politique de l'corps des femmes en France", Sandra Reineke affirme que cette désillusion avec les hommes de sa vie, représente le rejet féministe de changement et de continuité dans la France moderne (27). Le père de Laurence symbolise l'ancien mode de vie de la bourgeoisie et Jean-Claude symbolise le nouveau mode de vie techno-bourgeoisie, qui ne sont dans l'intérêt de la femme. À la fin du roman, Laurence a résignée au fait qu'il ne soit trop tard pour elle de changer sa vie, mais elle est prête à prendre en charge la vie de ses filles et de les protéger de l'oppression des hommes:
Madame Bovary, a novel by Gustave Flaubert, describes life in the provinces. While depicting the provincial manners, customs, codes and norms, the novel puts great emphasis on its protagonist, Emma Bovary who is a representative of a provincial woman. Concerning the fundamental typicality in Emma Bovary’s story, Flaubert points out: “My poor Bovary is no doubt suffering and weeping at this very moment in twenty French villages at once.” (Heath, 54). Yet, Emma Bovary’s story emerges as a result of her difference from the rest of the society she lives in. She is in conflict with her mediocre and tedious surroundings in respect of the responses she makes to the world she lives in. Among the three basic responses made by human beings, Emma’s response is “dreaming of an impossible absolute” while others around her “unquestionably accept things as they are” or “coldly and practically profiteer from whatever circumstances they meet.” (Fairlie, 33). However, Emma’s pursuit of ideals which leads to the imagining of passion, luxury and ecstasy prevents her from seeing the world in a realistic perspective or causes her to confuse reality and imagination with each other.
Hence, many other characters in the novel show great animosity towards Mademoiselle Saget and describe her housing as a “house of tittle-tattle” (Zola, 48). Mademoiselle Saget also exhibits forms of leadership in her ability to control Madame Lecoeur and La Sariette. Her gossiping abilities were so substantial that if she heard you, “all the neighborhood would know” (Zola, 186). Despite establishing this power, the role of Mademoiselle Saget does not appear to be useful or advantageous in Parisian society. Upon learning about Florent’s intentions, her character proves to be deleterious and continues to symbolize women in the lower class.