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Term paper gender society
Gender role in literature
Gender role in literature
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While the impact that popular culture has on perpetuating systems of privilege and inequality for gender is evident, it is necessary to not undermine the importance of literature in perpetuating these systems as well. Shaw and Lee’s Chapter 9 on Women Confronting and Creating Culture discusses the increased importance of popular culture in creating and reinforcing dominant systems in terms of gender, but also recognizes how literature and the arts also reflect and reinforce gender-dominant systems. Emily Dickinson’s poem, “The Wife” nicely connects to this theme as it demonstrates how the institution of marriage perpetuates systems of privilege and inequality for women. By observing the language and strategic structuring of this poem, the ways in which the institution of marriage contribute to the patriarchal …show more content…
While the entire poem has been focused on the woman and the implications of marriage upon her life, Dickinson purposely ends the poem in the last two lines referring to the husband’s perspective. Dickinson confirms the dominance of the male in the institution of marriage by ending the poem with these definitive lines, “But only to himself is known/ the fathoms that they abide” (475). First, Dickinson subtly communicates much information regarding the dominance of the male in these two lines. As this is only the second time that a male pronoun is used in the entire poem, its meaning is intensified once again. Secondly, it is necessary to note the connection between “himself” and “they” in these two lines (475). It is the male perspective that decides the thoughts and opinions that they will collectively “abide” (475). This pair of lines is also ended with only the third period used in the entire poem to solidify his
Society continually places restrictive standards on the female gender not only fifty years ago, but in today’s society as well. While many women have overcome many unfair prejudices and oppressions in the last fifty or so years, late nineteenth and early twentieth century women were forced to deal with a less understanding culture. In its various formulations, patriarchy posits men's traits and/or intentions as the cause of women's oppression. This way of thinking diverts attention from theorizing the social relations that place women in a disadvantageous position in every sphere of life and channels it towards men as the cause of women's oppression (Gimenez). Different people had many ways of voicing their opinions concerning gender inequalities amound women, including expressing their voices and opinions through their literature. By writing stories such as Daisy Miller and The Yellow Wallpaper, Charlotte Perkins Gilman and Henry James let readers understand and develop their own ideas on such a serious topic that took a major toll in American History. In this essay, I am going to compare Gilman’s “The Yellow Wallpaper” to James’ “Daisy Miller” as portraits of American women in peril and also the men that had a great influence.
Marriage is a concept that society takes extremely inaccurately. It is not something one can fall back from. Once someone enter it there is no way back. In Zora Neale Hurston’s short story “Sweat” she tells the story of Delia, a washerwoman whom Sykes, her husband, mistreats while he ventures around with other women and later attempts to kill Delia to open a way for a second marriage with one of his mistresses. By looking at “Sweat” through the feminist and historical lens Hurston illustrates the idea of a sexist society full of men exploiting and breaking down women until men dispose of them.
For centuries women have been perceived as overshadowed figures who remain in a separate sphere from men. The term “separate spheres” refers to the distinct, conventional characteristics associated with gender differences. The public sphere of men is associated with commerce whereas the domestic sphere for women is linked with the household. However, there is more than just one perspective on feminism. The feminist view is influenced by three main voices: the French, American, and British. French feminists focus their attention on language; American feminists analyze the literary aspects; and British feminists examine the historical processes (Murfin 296-299). Using these perspectives, we can see the oppression of women conveyed in many different texts throughout literature and in history. Mary Shelley’s Frankenstein, for instance, exhibits not only a feminist view in the text, but also in society during Shelley’s time period as displayed by her negotiations with the separate spheres. Voltaire’s Candide also conveys powerful gender differences and reveals the oppression of women throughout the novel. Therefore, a correlation can be seen between the view of women in the two novels and how it reflects the culture and time period in which the novels were written.
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.
In her novel Good Wives Laurel Thatcher Ulrich explores the roles women played in northern New England throughout the 17th and 18th centuries. In her exploration she describes both the idealized and realized roles that were filled by New England women. Ulrich categorizes the books into three parts, each part named for a biblical female who represents traits that aligned with New England expectations for women. Ulrich emphasizes that women were expected to fill many roles at once, “A married woman in early New England was simultaneously a housewife, a deputy husband, a consort, a mother, a mistress, a neighbor, and a Christian. On the war-torn frontier she might also become a heroine” (pg 9). Ulrich maintained the stance that none of these roles could occur in isolation and dedicated the remainder of Good Wives to the study of how those many roles would be fulfilled.
Traditionally, men have held the power in society. Women have been treated as a second class of citizens with neither the legal rights nor the respect of their male counterparts. Culture has contributed to these gender roles by conditioning women to accept their subordinate status while encouraging young men to lead and control. Feminist criticism contends that literature either supports society’s patriarchal structure or provides social criticism in order to change this hierarchy. “The Yellow Wallpaper”, by Charlotte Perkins Gilman, depicts one women’s struggle against the traditional female role into which society attempts to force her and the societal reaction to this act.
The Yellow Wallpaper and The Awakening were two works written during the Age of Expression. The entire country was going through an era of Reconstruction; politically, socially, culturally and econmically . The Yellow Wallpaper and The Awakening are feminist works aimed at the psychological, social, and cultural injustices during the era. According to Mizruchi, “ Cosmopolitanism aroused dis-ease: depression and disaection were prevalent in a society whose pace and variety seemed relentless. Yet the same circumstances also instilled hope. For it was widely recognized that the burgeoning heterogeneity of a newly global America would be a source of enduring vitality.”(Mizruchi, 2008) The wives portrayed in these works defeated the attitudes of their husbands during this patriarchal culture.
Emily Dickinson is one of the great visionary poets of nineteenth century America. In her lifetime, she composed more poems than most modern Americans will even read in their lifetimes. Dickinson is still praised today, and she continues to be taught in schools, read for pleasure, and studied for research and criticism. Since she stayed inside her house for most of her life, and many of her poems were not discovered until after her death, Dickinson was uninvolved in the publication process of her poetry. This means that every Dickinson poem in print today is just a guess—an assumption of what the author wanted on the page. As a result, Dickinson maintains an aura of mystery as a writer. However, this mystery is often overshadowed by a more prevalent notion of Dickinson as an eccentric recluse or a madwoman. Of course, it is difficult to give one label to Dickinson and expect that label to summarize her entire life. Certainly she was a complex woman who could not accurately be described with one sentence or phrase. Her poems are unique and quite interestingly composed—just looking at them on the page is pleasurable—and it may very well prove useful to examine the author when reading her poems. Understanding Dickinson may lead to a better interpretation of the poems, a better appreciation of her life’s work. What is not useful, however, is reading her poems while looking back at the one sentence summary of Dickinson’s life.
Marriage is the union of two people, traditionally husband and wife. Traditional also are the roles that women play when confined in a marriage. When a woman has had the opportunity to educate herself pass tradition and has been use to a fast-paced modern lifestyle, this role of the wife might prove to be quite onerous to mold to. Usually a time of joy, celebration, and adulation, marriage may also bring along emotional and physical pain as well as awkward situations, as the woman must alter herself to conform the traditional role of what a wife should be. Bessie Head depicts two modernized, educated women in her short stories of “Life” and “Snapshots of a Wedding”. These women are forced to change from the only lives they knew as single women to the new roles they must live up to as wives.
The female gender role in society has created a torturous fate for those who have failed in their role as a woman, whether as a mother, a daughter, or a wife. The restrictive nature of the role that society imposes on women causes extreme repercussions for those women who cannot fulfill their purpose as designated by society. These repercussions can be as common as being reprimanded or as severe as being berated or beaten by a husband or father. The role that women were given by society entails being a submissive homemaker who dotes on her husband and many children. The wife keeps the home impeccably neat, tends to the children and ensures their education and well-being, and acts obsequiously to do everything possible to please her husband. She must be cheerful and sweet and pretty, like a dainty little doll. The perfect woman in the eyes of society is exactly like a doll: she always smiles, always looks her best and has no feelings or opinions that she can truly call her own. She responds only to the demands of her husband and does not act or speak out of turn. A woman who speaks her mind or challenges the word of any man, especially her husband, is undesirable because she is not the obedient little doll that men cherish. Women who do not conform to the rules that society has set for them are downgraded to the only feature that differentiates them from men; their sex. Society’s women do not speak or think of sex unless their husband requires it of them. But when a woman fails to be the doll that a man desires, she is worth nothing more than a cheap sex object and she is disposed of by society.
...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).
Hughes Gertrude Reif. (Spring 1986). Subverting the Cult of Domesticity: Emily Dickinson’s Critique of Woman’s Work. Legacy. Vol. 3, No. 1, pp. 17-2
In “The Yellow Wallpaper” by Charlotte Perkins Gilman, the narrator and her husband John can be seen as strong representations of the effects society’s stereotypical gender roles as the dominant male and submissive female have within a marriage. Because John’s wife takes on the role as the submissive female, John essentially controlled all aspects of his wife’s life, resulting in the failure of the couple to properly communicate and understand each other. The story is intended to revolve around late 19th century America, however it still occurs today. Most marriages still follow the traditional gender stereotypes, potentially resulting in a majority of couples to uphold an unhealthy relationship or file for divorce. By comparing the “The yellow wallpaper” with the article “Eroticizing Inequality in the United States: The Consequences and Determinants of Traditional Gender Role Adherence in Intimate Relationships”, the similarities between the 19th century and 21st century marriage injustice can further be examined. If more couples were able to separate the power between the male and female, America would have less unhappy marriages and divorces.
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.
“Emily Dickinson’s Poetry.” American Studies at the University of Virginia. 2009. Web. 20 January 2014.