embedded within late nineteenth century Junker society. Through the theme of marriage and its breakdown, Fontane problematizes the structure of Junker society in its response to the emerging modern subject, embodied in the character of Effi Briest. This essay will explore how Fontane utilizes the marriage theme and its breakdown to suggest the necessity for social reform. Fontane’s Effi Briest is essentially a novel that calls for the reevaluation of the social norms and customs upon which Junker society rests. The marriage theme not only serves as a reduced replica of nineteenth-century Junker society, but is utilized as a tool to socialize Effi into obedience. In the breakdown of Effi’s marriage to Instetten, Fontane suggests the breakdown of Junker convention through the questioning of its legitimacy within a society undergoing change. …show more content…
Fontane provides the reader with questions ultimately left unanswered, a style differing from the novels written in Germany in the late nineteenth century. With Fontane’s novel being written and published at the turn of the century, Fontane’s novel Effi Briest, “points firmly forward to twentieth-century preoccupations.” Modernism began to emerge within the literary field towards the end of the nineteenth-century. The gradual decline in the utilization of ideas pertaining to realism towards the closing of the century allowed for the emergence of ideas surrounding the modern subject and their respective environment. Fontane’s novel essentially attempts to critique the social order of nineteenth-century Junker society. Intrinsic to Junker society is the preservation of Junker conventions through Fontane’s attempt to override the “conventional moral design of nineteenth-century realism” (Chambers xvii). Helen Chambers’ explores the utilization and adaptation of German realism in the narrative structure of Fontane’s nineteenth-century German classic, Effi Briest (1895). While novels written in nineteenth-century England adopted a narrative style concerning the, “naming or describing of an abundance of people and things” (xiv), Fontane adopted a narrative style corresponding to that of the German novella. Fontane’s unique, “brand of realism,” allowed for the implementation of, “glimpses and allusions,” in place of using direct statements and sentiments (Chambers xiv). In doing so, Fontane’s narrative technique encourages his readership to develop their own argument concerning matters raised throughout the novel. Although Effi Briest is a novel critiquing the structures of Junker society, the novel does not suggest the eradication of society as a whole. Chambers emphasizes that, “even if society’s values are wrong the only possible existence is social existence” where, “you either conform or go under” (Chambers xiii), of which Effi went for the latter. Through the characterization of the modern subject as Effi, Fontane attempts to challenge the legitimacy of Junker conventions. While Junker norms and conventions provide the lenses through which the actions of Effi are perceived by the characters within the novel, Fontane, through his adoption of German realism, provides an alternate perspective of Effi, a perspective not offered under Junker convention, in which the reader adopts. At the heart of Effi Briest, Fontane attempts to provide a critique of Junker norms and conventions through the theme of marriage. The marriage theme identified within the novel is essentially presented to the reader in the form of a microcosm: a reduced representation of Junker society through the embodying of the norms and conventions located within Junker society. The marriage theme presented within the novel provides a representation of a patriarchal society, a society perceived to situate the fairer sex within “a situation of constraint” (Fontane 31). It is through the marriage theme where ideas surrounding gender and tutelage first emerged. The overwhelming presence of patriarchy in nineteenth-century Junker society is represented in the passages not only leading up to Effi’s marriage to Instetten, but is identified in the nature of Effi’s relationship to Instetten throughout their marriage. Taking Fontane’s narrative style into consideration, Fontane encourages an active engagement with the text from the reader through the providing of unanswered questions. These questions, and the topics in which they confer, are identified when the phrase: “that’s too vast a subject,” is used (Fontane 27, 29, 31, 87, 88, 136 and 217). It is important to note here that it is not only the topic being discussed, or rather refraining from being discussed, but the nature in which these words are being said, and what it might suggest. The condescending voice of patriarchy is most evident when these words are being said for they imply that the subject matter at hand is too ‘broad’ for the comprehension of the fairer sex. Questions concerning the unfair treatment of women surface during a conversation had by Effi’s parents regarding Effi’s lack of agency within her marriage to Instetten.
Luise asserts: “Aha – now you admit it. With me you’ve always denied, I repeat, always denied that women are in a situation of constraint.” Fontane activates the reader’s curiosity concerning the role of gender in Junker society with a condescending and empty response: “Yes, I have Luise. But why bring that up now? It’s really too vast a subject” (Fontane 31). Effi’s role within her marriage to Instetten, as well as within society, is grounded on her aesthetics, as Instetten informs her: “yes, my dear Effi, you will just have to get used to it, that’s what being young and pretty and charming is for” (Fontane 37). Throughout the novel, Effi refers to her position as one of isolated imprisonment (Fontane 123). The marriage theme identified within the novel does not only stand in for the patriarchal order presiding over nineteenth-century Junker society, but is used as a tool by Fontane to recognize as well as utilize within the novel as a means of
socialization. For the purpose of this essay, the theme of marriage recognized within the novel performs as a tool of socialization. Effi’s marriage to Instetten within the novel does not only highlight the importance and acquisition of wealth and status within the aristocracy of Junker society, but provides the foundation upon which Instetten manipulates Effi into the corset of Junker convention. While marrying for love is common motivation within the lower ranks of Junker society, an ideal husband within the aristocracy possesses the qualities that fundamentally hold promise to the acquisition of wealth and status, as Effi informs her friends: “anybody is the right one. Provided he is an aristocrat and has a position and good looks, naturally” (Fontane 14). The marriage theme within the novel is not only recognized as a means through which wealth and status are accumulated, provided one marries into the aristocracy, but as a tool of conformity. With marriage being perceived as a branch of the tree of social order, Instetten is identified as an extension of Junker convention through the means of socializing Effi. Through Effi’s encounter with Cramps, Crampas reveals to Effi Instetten’s true character as someone who, “besides his burning desire to make a career for himself, whatever the cost… he always has to improve every-body, he’s a born pedagogue” (Fontane 97). Instetten adopts the telling of ghost stories in his attempt to scare Effi into order, or otherwise ‘improve’ he to the liking of her rightful position within the Junker social order (Fontane 98). Effi’s inability to conform to the social order positioned her as a potential threat to the wellbeing of the social system, for when, “it came to really wanting something, that something always had to be quite out of the ordinary. And in this she was demanding” (Fontane 17). Effi's unrequited desire for
Judith Ortiz Cofer’s use of diction had effectively implemented the dismissiveness behind an individual’s transition from childhood into adulthood, which had been the central meaning of the poem. Cofer’s uses a rather negative choice of wording in the first line of the poem that being, “My dolls have been put away like dead children”. As the poet decides to use the words “dead children” it brings a sense of gloominess upon the passage. Once the reader continues reading it appears that a connection can be made between the gloominess in the act of putting away the young girl’s dolls like “dead children” to her Quinceanera. Further Along the poem, the pessimism towards the act of maturing is found once again as the poet uses defeatist words such as “poison” when describing the fluids of her body that being blood. It seems that the young girl’s blood symbolizes her menstrual cycle, which effectively marks her entrance into womanhood. When describing the fluids of her body by using the word “poison” it creates a somber image of adulthood as she views her rite of passage as being toxicant. Ultimately, it seems that the poet’s use of diction provides the poem with a solemn tone which ultimately supplies the p...
A conflict that arises in the beginning of the story is the controlling of her husband Richard towards her. Ines feels trapped and imprisoned in the providing for the specific needs for Richard. She lives in his world where rules and regulations are to be expected of her. In the beginning of the story Garcia introduces the thoughts of Ines towards her husband stating “When her husband returns home he'll expect her trussed up in a silk dress and pearls and wearing make-up and high heels.” Ines is in a conf...
? . . . it made no difference if they studied medicine or had the right to vote, because they would not have the strength to do it, but she herself [Nivea] was not brave enough to be among the first to give up the fashion.? (6, Ch 1) The women in this society are dependant on the dominant male figure to handle political and economical duties. This point of view is intended to mimic the older generation of women ad present a foundation for the growth of an enlightened generation. Allende uses this excerpt to present a foundation of structure to the novel by beginning with the extremes of opinion, which are followed in the novel through different generations. Alba for example, become a very outspoken activist by trying to attend the student protests and follow Miguel on his demonstrations, a sharp contrast to the indifference or shallowness found in her great grandmother.
Arredondo exposed Luisa as a dynamic character because during the story the readers can see the changes that her personality had over the time. At the beginning of the story the reader can see how Luisa takes care of her uncle with devotion and love, but after they married she considered it as a disgusting duty. Ines Arredondo described Luisa as woman who has the power of “purify everything” (81), but after suffering the physical abuse of her uncle, all her innocence disappear. She was an innocent girl that was reserving herself for marriage. However, after married her uncle, she started seen the things in a different way. Now, she thinks of herself as “the vilest of harlot” (87). The way that the author exposes Luisa is like happy young lady that thanks to the circumstances enter to a deep depression that changes her life and she “was not able to go back to who I [she] was”
Throughout The House on Mango Street Esperanza learns to resist the gender norms that are deeply imbedded in her community. The majority of the other female characters in the novel have internalized the male viewpoint and they believe that it is their husbands or fathers responsibility to care for them and make any crucial decisions for them. However, despite the influence of other female characters that are “immasculated”, according to Judith Fetterley, Esperanza’s experiences lead her to become a “resisting reader” in Fettereley’s terminology because she does not want to become like the women that she observes, stuck under a man’s authority. She desires to leave Mango Street and have a “home of her own” so that she will never be forced to depend on a man (Cisneros 108). During the course of the novel Esperanza eventually realizes that it is also her duty to go back to Mango Street “For the ones that cannot out”, or the women who do not challenge the norms (110). Esperanza eventually turns to her writing as a way to escape from her situation without having to marry a man that she would be forced to rely on like some of her friends do.
The central characters, setting, and tone of the story help create the central idea of the psychological and internal desires of a woman. Through the view of the central characters it is established that the lawyer’s wife wants more than her average day and is searching for more to life than the daily routine of a house wife. Jean Varin is believed to be the desire she is looking for; however, she is not fulfilled or happy with the outcome of her choices. The setting and the tone reveal the psychological need for the wife to have an adventurous, lavish, and opulent lifestyle that she feels can only be achieved in Paris.
Many stories talk about relationships, especially the ones between man and woman as couple. In some of them, generally the most popular ones, these relationships are presented in a rosy, sentimental and cliché way. In others, they are presented using a much deeper, realistic and complicated tone; much more of how they are in real life. But not matter in what style the author presents its work, the base of every love story is the role each member of that relationship assumes in it. A role, that sometimes, internal forces will determinate them, such as: ideas, beliefs, interests, etc. or in order cases external, such as society. In the story “The Storm” by American writer Kate Chopin and the play A Doll’s house by Norwegian playwright Henrik Ibsen I am going to examine those roles, giving a special focus to the woman´s, because in both works, it is non-traditional, different and somewhat shocking, besides having a feminist point of view.
Anna Julia Cooper’s, Womanhood a Vital Element in the Regeneration and Progress, an excerpt from A Voice from the South, discusses the state of race and gender in America with an emphasis on African American women of the south. She contributes a number of things to the destitute state African American woman became accustom to and believe education and elevation of the black woman would change not only the state of the African American community but the nation as well. Cooper’s analysis is based around three concepts, the merging of the Barbaric with Christianity, the Feudal system, and the regeneration of the black woman.
Pontellier does not doubt nor desire for something beyond society’s standard for women. Leonce Pontellier, Edna’s husband, is about fifteen years older than Edna; this age divide causes a drift in what principles Leonce feels that Edna must adhere to. He maintains his belief that Edna should follow a pattern of behavior that is in conformity with what society expects of a mother-woman. A mother-woman, was defined to be one “who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals…” (Chopin 16). This principle definition of a ‘mother-woman’ was expected to be followed by the women of the late 18th century; and was viewed as an ‘unwritten law’, or simply a regulation known to obey but not question. At first, Edna does not object to this expected behavior as Leonce’s wife. She fulfills her domestic duties without complaining and she stays loyal to her husband. Mrs. Pontellier never protests or confronts any inward doubt or apprehensions she may have imagined. Instead, Edna conforms by being quiet, reserved and calm; she suppresses her own feelings to try and please society and its strict standards. Yet, all this external conformity and compliance forces Edna to question her role in the society. Is this all she can expect in
Imagine yourself, dear reader, transported to Shakespearian Verona, a bustling, peaceful city (aside from the occasional death or two), with its obligatory social classes going about agreeably (aside from the occasional brawl or two), and all people happy and successful (aside from the occasional poor wretch or two). The Verona in which Shakespeare’s tragedy Romeo and Juliet takes place in is made sinister by the deadly consequences than ensue from its strict, unbending society. Romeo and Juliet paints a tale about two young lovers, Romeo Montague and Juliet Capulet, whose attempts to be together are cruelly thwarted by society. Society’s fixation on honor and disgrace, poverty-creating laws, and austere social roles all have crucial functions in causing the deaths of Romeo and Juliet.
On this train of thought, Felix’,s family hold power over Safie’,s father, but only while he is imprisoned. Once he is freed, the tables turn, and he breaks his promise to Felix of his daughters hand in marriage. Coming form an Eastern society that is suggested to be even more patriarchal than the Western European culture, a power struggle ensues between Safie, who wishes to marry Felix, and her father, who wants her to return home with him. What is most interesting is the fact that it is Safie, with the assistance of another woman, who eventually gets her own way.
Federico García Lorca’s poem “La casada infiel” depicts the story of a gypsy who makes love to a married woman on the shore of a river. When looking deeper into the poem, Lorca appears to provide a critical observation on the values of the conservative society at the time in which he lived. The woman, at her most basic reading, is treated as an object, elaborating on the sexist values in society at the time. Lorca addresses issues of sexism as well as issues of sexuality within society mainly through the poem’s sexist narrative voice, objectification of the female character and overriding sense of a lack of desire throughout the poem. His achievement to do so will be analysed throughout this commentary with particular attention to Lorca’s use of poetic techniques such as diction, personification and imagery.
In Kleist’s novella The Marquise of O, the narrative depicts the account of the Marquise of O’s, a young Italian window and a “lady of unblemished reputation”(Kleist 68), sudden impregnation and her subsequent attempts to solve the question of the paternity of her child. Through the contrasting interactions between the characters from the Marquise’s estrangement with her family to her eventual reconciliation, Kleist utilizes the search for her unborn child’s father to provide a social commentary on how tensions of uncertainty complicate the search for truth and identity within established gender relationships and traditional social constructs.
When Evgeny’s successful marriage is tested by Stepanida’s trap he is sickened with himself because he is not able to control his yearning for another woman when he already has the perfect one. “‘How can I not be a scoundrel, when I, Liza’s husband, Liza’s! – you must know her purity, her love – when I her husband, want to betray her with a peasant wench!’” (Tolstoy 199). Liza is the 19th century stereotypical ideal woman characterized as a housewife that provides a family, while adhering to her husband’s needs; she is Evgeny’s
Clarice Lispector, a Brazilian female writer of Jewish descent, tied her writing with her very life, for her writing reflects her viewpoint on many aspects of her life. She was well-known for her existentialist writing involving themes revolving around women’s roles. Through the characters and their interactions in her works, Lispector explores the societal status of women. The male subjugation of women influences many of the themes found in her works and a better understanding of women’s social status ultimately leads to a better understanding of the relationship between the characters in her works and actions by those characters. Thus, the evaluation of women in the society contemporary to the era Lispector lived in influences the overall existentialist ideas and the motif of women’s roles in her work.