Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Womens roles in the 1950s
Womens roles in the 1950s
Gender roles of women in the 1950s
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Womens roles in the 1950s
What do Betty from "Pleasantville," June from "Leave it to Beaver," and Donna Reed from "The Donna Reed Show" all have in common? They all represent the image of the perfect housewife in the 1950s. They represent women who gladly cooked, cleaned, dressed in pearls and wore high heals while waiting for their all-knowing husbands to come home. They represent women who can only find fulfillment in male domination and nurturing maternal love. Tillie Olsen, as a single mother with four children (204), provides readers with another view of women. Through the representation of the narrator in I Stand Here Ironing, Olsen contradicts the image of the 50s ideal woman, a happy housewife and a perfect mother.
This story begins with a request for the narrator to come in and discuss her daughter. The narrator's response to this is "Who needs help" (199). Her response is a statement and not a question. It conveys the narrator's negative attitude about the type of help the social worker, society or etc. can give. The narrator thinks "Even if I came, what good would it do? You think because I am her mother I have a key, or that in some way you could use me as a key. She has lived for nineteen years. There is all that life that has happened outside of me, beyond me" (199). This shows that she does not believe that she could do anything for her daughter even if she did come. Women in the 1950s, as portrayed on television, were very involved in their children's lives. They were always on top of things. By making the narrator appear less than involved and knowledgeable about her daughter's life, the author is contradicting the mainstream view of a mother in the 1950s.
The initial request serves as the psychological motivation needed to cause the...
... middle of paper ...
...wisdom.
Tillie Olsen makes the narrator contradict the ideal housewife of the 1950s image for a reason. By doing this, she shows that even if you are a less than perfect mother and or housewife, it is not always your fault if things go wrong. For instance, if the narrator in this story exemplified the image of a 50s housewife, we, the readers, would not even consider blaming her for Emily's condition as well as for her relationship with Emily. However, the narrator does not exemplify the ideal image of a housewife. Thus, we, as the audience, are compelled to blame her imperfections. However, as the story goes on, it is realized that the narrator did the best that she could for Emily. She was a first time mother with no safety net. Her situation as a single mother and sole provider during Emily's early years left her with no choice. She did what she had to do.
Although, a mother’s determination in the short story “I Stand Here Ironing” mother face with an intense internal conflict involving her oldest daughter Emily. As a single mother struggle, narrator need to work long hours every day in order to support her family. Despite these criticisms, narrator leaves Emily frequently in daycare close to her neighbor, where Emily missing the lack of a family support and loves. According to the neighbor states, “You should smile at Emily more when you look at her” (Olsen 225). On the other hand, neighbor gives the reader a sense that the narrator didn’t show much affection toward Emily as a child. The narrator even comments, “I loved her. There were all the acts of love” (Olsen 225). At the same time, narrator expresses her feeling that she love her daughter. Until, she was not be able to give Emily as much care as she desire and that gives her a sense of guilt, because she ends up remarrying again. Meanwhile narrator having another child named Susan, and life gets more compli...
In the 1950’s becoming a wife, having and raising children and taking care of the home was the primary goal for most women. Post war brides were marrying young, having children at significant and unrivaled rates, and settling into roles that would ultimately shape a generation. This ideal notwithstanding, women were entering the workplace like never before and changing the face of American business forever. In the movie The Man in the Gray Flannel Suit directed in 1956 by Nunnally Johnson, we get an inkling of the type of voice American women would develop in the character of Betsy Rath. We are introduced to a wife and mother who leverage her role in the family to direct and influence. The decade of the 50’s signify the beginnings of the duplicity that women would embrace in America, being homemakers and independent women.
During the 1950‘s suburbs such as Levitown were springing up all across the country, and the so-called American dream was easier to achieve for everyday Americans than ever before. They had just come out of two decades dominated by The Great Depression and World War Two, and finally prosperity was in sight. The need for women to work out of the home that was present during the war was no more, and women were overwhelmingly relegated to female-dominated professions like nursing, secretaries, and teachers, if they worked at all. Televisions became very popular, and quickly became part of the American cultural canon of entertainment. Leave It To Beaver is a classic American television show, encompassing values such as respect, responsibility and learning from your mistakes. But, at least in the episode used for this essay, it is also shockingly sexist to a modern viewer. This begs the question, what does the episode The Blind Date Committee1 say about the gender expectations of the 1950’s?
Life is sad and tragic; some of which is made for us and some of which we make ourselves. Emily had a hard life. Everything that she loved left her. Her father probably impressed upon her that every man she met was no good for her. The townspeople even state “when her father died, it got about that the house was all that was left to her; and in a way, people were glad…being left alone…She had become humanized” (219). This sounds as if her father’s death was sort of liberation for Emily. In a way it was, she could begin to date and court men of her choice and liking. Her father couldn’t chase them off any more. But then again, did she have the know-how to do this, after all those years of her father’s past actions? It also sounds as if the townspeople thought Emily was above the law because of her high-class stature. Now since the passing of her father she may be like them, a middle class working person. Unfortunately, for Emily she became home bound.
To understand why Hitchcock’s portrayal of female characters is crucial to fully understanding the film, it is important to consider the way society worked for women in the fifties. Women “were taught to pity the neurotic, unfeminine, unhappy women who wanted to be poets or physicists or presidents” (Friedman, 16). It was completely wrong for women to try and get male dominated jobs. They were supposed to be housewives who did not have any power in society. “They had no thought for the unfeminine problems of the world outside the home; they wanted the men to make the major decisions” (Friedman, 18). In her book, Friedman continues to explain how most of the women she had interviewed who were housewives felt dissatisfaction with their lives and were ashamed that they felt this way.
Emily’s mother is just a teenager when she had Emily. She did not have the money or resources to take care of her, so she had to let Emily live with her grandparents for a couple of years before she could get Emily back. When Emily was two, her mother finally got her custody of her, but Emily is not the little girl she remembered. When the mother first had Emily, she described her as a beautiful baby (302), but it changed when Emily became sickly and got scars from chicken pox. The mother said, “When she finally came, I hardly knew her, walking quick and nervous like her father, looking like her father, thin, and dressed in a shoddy red that yellowed her skin and glared at the pockmarks. All the baby loveliness gone. (302)” Nevertheless, the mother is never there for Emily as she grew up. Emily tried to show her mother in different ways that she needed her, but she never seemed to catch the hint. For example, when Emily was two her mother sent her to a nursery school. The teacher of the nursery school was mistreating the children, and instead of telling her mother directly like the other kids told their parents, she told her in different ways. She always had a reason why we should stay home. Momma, you look sick. Momma, I feel sick. Momma, the teachers aren’t there today, they’re sick. Momma, we can’t go, there was a fire there last night. Momma, it’s a holiday
As time went on pieces from Emily started to drift away and also the home that she confined herself to. The town grew a great deal of sympathy towards Emily, although she never hears it. She was slightly aware of the faint whispers that began when her presence was near. Gossip and whispers may have been the cause of her hideous behavior. The town couldn’t wait to pity Ms. Emily because of the way she looked down on people because she was born with a silver spoon in her mouth and she never thought she would be alone the way her father left her.
The 1960s provided a reality time of suppressed females and overindulgent males within the society spectrum. Yet the nostalgia aspect of this manifests in the idea of the perfect housewife and the graci...
The era of I love Lucy, Leave it to Beaver and Father knows Best, brought about a time where family values were necessary, family life was wonderful and no one was worrying about politics and the Cold War. These families had the molds of women constrained in the home, men bringing home the bacon and all in the homes of white middle class families. Women in the 1950s were often depicted as dependent on men and were encouraged to get married young. (Bloom and Breines, 6) It took large media input from movie stars like Marilyn Monroe, to influence many women to join the workforce and reject the “traditional feminine roles”. (Bloom and Breines 6) This mold would be challenged by the introduction of the Birth Control pill in 1954 and the growing unhappiness of women who would seek to break the walls that trapped their mothers. (Bloom and Breines, 5) More women would venture out of the homes and into the workplace between the two decades, “from 25 percent in 1950to 32 percent in 1960”. (Bloom and Breines, 5) The introduction of the Birth Control pill allowed for women to avoid unwanted pregnancies or even marriages and encouraged the sexual liberation that would be seen in the sixties.
The mother is doing everything she can to make Emily's life worth living. However, because the mother is trying so hard to juggle more than one job at a time she has less time with her daughter. During the Great Depression it was next to impossible to find a job. The mother would have less stress in her life if she had a strong dependable job with flexible hours so she could be with her daughter. The mother cannot care for her daughter to her full potential when all she is doing is working just to keep her daughter nourished, healthy and safe. The mother's character is living in a world where the word well-off is next to impossible to comprehend, "[she] found a job hashing at night so [she] could be with her days." (p.158). The mother wishes making money would not have to be the life she lived just to be next to her daughter. During the Great Depression this wish was impossible to fulfil. Thus leaving the mothers character in a lack of hope for a better future.
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.
Motherhood in never guaranteed to by easy. Children definitely do not come with instruction manuals and even if they did there are so many variables, such as the national economy and unexpected single motherhood, that are beyond our control. The choices a mother has to make can cause numerous moments of second guessing and immense guilt. “I Stand Here Ironing” explores the perceived failures and gnawing guilt of a post- Depression era mother as she contemplates the childhood circumstances of her oldest, overlooked, and seemingly troubled child. Throughout the story Tillie Olsen takes us through the depths of a mother’s guilt due to pressures of the economy and society on parenting during her time and how much blame she puts on herself for her
In the commentary article written by Jack Coulehan, the quote “the girl is a natural performer, a wonderful comedienne, who now is in demand throughout the city and state” this quote shows that other people besides Emily’s mother can see that she has a wondrous talent. Later in the story the mother finalizes understands that she expected to much from Emily, because she had Emily so young she sent her away to figure things out for herself. The mother says “I was a young mother, I was a distracted mother…my wisdom came too late.” Because Emily never showed love to her mother or other siblings, her mother only saw the disconnection, but really she was missing that Emily was scared to love the person that sent her away. As the iron, the mother wants to fix the wrinkled spots of the dress, which is a symbol for Emily. To Emily the wrinkles don’t change who she is, Emily loves to preform, and views herself as the same person no matter what circumstances she goes through, such as the experiences she had in her childhood. The mother comes to the realization at the end of the story of why her daughter doesn’t show affection, when the old man living in the back said “you should smile at Emily more” because she had not shown Emily attention or love when she was younger Emily never expected or understood the unconditional love of a mother to a daughter. In the short story Sonny’s Blues, the narrator and Sonny grew up close, as normal brothers do, but as the narrator reads the newspaper he gets some unsettling news about Sonny. Sonny’s use of drugs and criminal
In the last century, America and its inhabitants underwent many changes. From the "Roaring Twenties" to the Great Depression, and from the Dust Bowl to the ideal 50's, entertainment evolved to suit an ever changing nation. In D.W. Griffith's film, Way Down East, a young woman seeks out financial assistance from her wealthier family members. In this film in particular an ever widening separation between the classes is evident. In John Ford's The Grapes of Wrath, and The Salt of the Earth, a change has occurred within the sexes, and within the struggles of working class American's. In Leave it to Beaver, American is life depicted as worry free and ideal. It is through movies and television shows of these eras that people of today are able to witness the evolution of a culture first hand. Between 1920 and 1962, movies and television experienced a vast amount of progress. During this century, as is displayed in these films, woman's roles were drastically transformed. The struggles that families faced during the Great Depression and the overwhelming Dust Bowl called on women, especially mother's, to become just as much the backbone of the American family as the father had always been. Another great change that is apparent from the viewing of these films is the ever changing fashion and the prominent emphasis placed on appearances. Perhaps the most momentous change apparent in the comparing of American life in these films is the substantial emphasis placed on the appearance of the home. Within the fifty years between 1920 and 1962 American's and their perceptions of the world changed substantially. By taking an in depth look at women's roles, the e...
These homemaking shows’ tactics were to encourage and show women that being a homemaker, wife, and mother is not a lonely life or a life full of drudgery and that having this status is not being an unproductive citizen. These shows had to incorporate these tactics because a decade before women’s role were vastly different to the roles they have now. Women before were working in jobs that were mainly solely for men, they were independent by earning their own wages, and being patriotic citizens by participating in the war effort by fighting on the home front or joining the military. Their work on both fronts were dangerous and life-threatening in which these jobs were predominantly for men; many were spies, others made bombs and weapons, and many flew planes and carried out dangerous missions. All of this changed during the postwar years in which their main occupations now were mothers and housewives. It may seem that women decreasing independence and their rigid gender and social mobility made them feel limited in