The illustration of women and their bodies during times of revolution and political protests have been considered viable sources of commentary on the legitimacy of the cause and their agency within the public sphere. Weather being idealized or demonized for their thoughts and actions, women have been subjected to their bodies being inspected and manipulated by the media to create allegories of heroism or vilified to discredit a movement all together. Two teenage girls, Jeanne Laisne and Emma Gonzalez, are no stranger to this contrasting predicament. Jeanne Laisne, known also as Jeanne Hachette, became a symbol of heroism and courage to the French people following a battle in 1472 despite her gender. As seen in Jean-Jacques-Francois Le Barbier’s …show more content…
They were restrained from participating actively within the public sphere, for it went against the biological precedent of female behavior of modesty, passivity, declicay, piety, compliancy, and submisivness. Joan B. Landes, in her book Visualizing a Nation: Gender, Representation, and Revolution in Eighteenth Century France, noted that if women went against this ideal, they “risked achieving not greatness, but personal notoriety. They came to expelmpfy the dangers unleased once women entered the public relms.” However, and very rarely, some key figures have been able to transcend the norm in some regards and be praised for her actions for centuries, such as Jeanne Hachette. Melissa Hyde reasons this phenomenon and thier subsquencent represenation in art, because “certain models—in particular, the so-called femmes fortes—performed virtuous military feats thought to be outside the reach of their sex”. Le Barbier’s drawing Jeanne Hachette at the Seige fo Beauvais (1784, Fig. 1), documents, or perhaps idealizes, Laisner’s …show more content…
Despite her gender, she was glorified and became an allegory for the public to admire. However, every teenage girl fighting for justice meets the same fate. Emma Gonzalez, a student turned activist for gun-control after surviving the Stoneman Douglas High School shooting in February 2018, has been demonized by the media and far-right extremists in order to discredit the Never Again movement. Speaking out against the government and the National Rifle Associatiion, henceforth the NRA, Gonzalez and other students have made headlines, news appearences in interviews to discuss social change in regards to stricter regulations on gun-control. In a March interview with Teen Vouge, a still frame from Why We March (2018, Fig. 2) of Gonzalez was doctered, which created a firestorm of hate towards her and the movement by some people and organizations on various social media
Many may think this is an obvious observation to be made, yet the interpretation of titles often goes unnoticed or is simply overlooked. Hall gives a statement which gives the reader an understandable interpretation of the title when she states, “The activists of Elizabethton belonged to a vulnerable tradition of disorderly women, women who, in times of political upheaval, embody tensions that are half-conscious or only dimly understood” (Hall). This statement alone sheds light onto exactly how many different components the common marginalization of women in society takes place in. Women, not only in this time period, but also currently are often either overlooked or simply claimed to being not understood when seen attempting to create names for themselves. This may be why feminism often has a negative connotation connected to it. Feminism is ultimately the advocacy for equality of both genders in society, and this is exactly what was represented all throughout Jacquelyn Hall’s article. This was done so when Hall mentioned the common instances where female militancy had often gone “unseen” due to the fact that it was a contradiction of conventional wisdom and had simply fractured America’s image of what an ideal woman should represent. This image is often categorized as slightly submissive towards men, while behaving in a meek, controlled manner in all situations, no matter the
In sixteenth century France, women were not independent and treated as equals as they are today. Women didn’t have much of or any identity of their own apart from their husbands, let alone any importance outside of their household duties; meaning, women didn’t have a voice within the home or publicly. Bertrande’s decision to go publicly to trail with the accusations of Arnaud being an impostor was a huge deal to the rest of the family; all of Martin’s family except for his uncle believed Arnaud was none other than Martin Guerre. This was pressure for Bertrande, to no longer go forward with the accusations against Arnaud. Determined, independent, honourable and brave were all qualities that Bertrande had shown through the actions she had taken to fight what she believed was the truth in the process of pursing the impostor. Bertrande proved women could stand up for themselves and not just stand behind their...
By alluding to popular activists in today’s society and the use of inspirational photos, the article shows support to women’s rights and inspiration for other women to fight for their rights. Quoting Madeleine Albright with “there’s a special place in hell for women who don’t help each other,” it helps integrate the idea that, no matter how hard a few people work to change something, it takes a larger group to highlight the
Here she celebrates in a way her freedom and identifies with the struggle of other women. According to Mary Jane Androne Ramatoulaye uses her “range of emotions and opinions to express her evolving consciousness of women’s roles in her culture” (38). She also not only stands up for herself, she speaks on behalf of her girls and other women. When Dieng, her love interest from childhood refer to women as “mortar shells” Ramatoulaye quickly rises to the defense saying “But we are not incendiaries; rather we are stimulants! And I pressed on “In many fields and without skirmishes, we have taken advantage of the notable achievements that have reached us from elsewhere, the gains wrested from the lessons of history. We have a right, just as you have,
Through the analysis of Thérésia Cabarus’s portrait, Amy Freund attempts to examine Cabarus’s failure to “create a feminine version of political agency through portraiture” in order to provide insight into the unfulfilled promises of female citizenship during the French Revolution. She asserts that, through the use of a combination of imagery associated with revolutionary femininity, including the emphasis on the sitter’s physical passivity and sentimental attachments, and conventions usually associated with male portraiture, Cabarrus and Laneuville, the painter, attempted to present her portrait as an argument for women to be granted an active role in revolutionary politics. Freund suggests that the portrait failed to achieve its goals because it recalled the Terror and the disunity of France in addition to invoking the “anxiety surrounding the increased visibility of women in post-Thermidorean social life and visual representation.” Because of its relative failure, Freund considers Cabarrus’s portrait a symbol of the “possibilities and limitations of female agency in Revolutionary portraiture and politics” as well as a shift in portraiture; as she remarks, “portraiture after 1789 shouldered the burdens formerly borne by history
Ranging from newspapers and radios to walkouts opposing warfare, teenage girls are active participants in a variety of social movements. In Jessica Taft’s book, “Rebel Girls” the experiences and perspectives of girl activists serving as agents for social change are illustrated. Taft introduces readers to a wide scope of girl activists from various whereabouts such as Mexico City and Buenos Aires. Taft’s work brings authenticity to the voices of female activists who are engaged in the struggle for social justice, where she is emphasizing their importance to social movements. The book also presents the process in which girls construct their activist identities.
Throughout history, women are often included as a side note to occurrences of their ages, most often seen as small and unimportant among patriarchs. Despite this shortcoming in historical documentations, some events do look more closely through the eyes of women. The French Revolution of the eighteenth century is one of these events. This investigation will be exploring the French Revolution, and asking: to what extent did women make an impact? In Thomas Streissguth’s book, Women of the French Revolution, he highlights several women of France, while also analyzing their contribution to the course of the revolution. With his book as a major source, the investigation will explore the topics of women’s riots and salons, individual women, and women as a whole.
Moses, Claire Goldberg. French Feminism in the 19th Century. Albany: State University of New York Press: 1984.
Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from 1755-1842, she painted over 900 works. She enjoyed painting self portraits, completing almost 40 throughout her career, in the style of artists she admired such as Peter Paul Rubens (Montfort). However, the majority of her paintings were beautiful, colorful, idealized likenesses of the aristocrats of her time, the most well known of these being the Queen of France Marie Antoinette, whom she painted from 1779-1789. Not only was Elisabeth Vigée-Lebrun the Queen’s portrait painter for ten years, but she also became her close, personal friend. She saw only the luxurious, carefree, colorful, and fabulous lifestyle the aristocracy lived in, rather than the poverty and suffrage much of the rest of the country was going through. Elisabeth kept the ideals of the aristocracy she saw through Marie Antoinette throughout her life, painting a picture of them that she believed to be practically perfect. Elisabeth Vigée-Lebrun’s relationship with Marie Antoinette affected her social standing, politics, painting style, and career.
Also, District Court of Middle District of Tennessee Adopted the Magistrate court result and found this case as a close case because they believe the facts are not enough to lead to abusive work environment. They also make this decision by following precedent circuit case, Rabidue v. Osceola Refining
These specific ploys that are performed by the Guerrilla Girls are in the way they dress, the masks they wear, pseudonymous names of dead women artists and the witty factual evidence in their works. These are all examples to evoke audiences in challenging not only the art society which dictates the value and worth of women in art, but also to confront yourself and your own beliefs in a way that makes audiences rethink these growing issues. Over the last twenty years, the Guerrilla Girls have established a strong following due to the fact that they challenged and consistently exhibited a strong supportive subject matter that defies societal expectations. In an interview “We reclaimed the word girl because it was so often used to belittle grown women. We also wanted to make older feminists sit up and notice us since being anti- “girl” was one of their issues....
Her chief arguing points and evidence relate to the constriction of female sexuality in comparison to male sexuality; women’s economic and political roles; women’s access to power, agency, and land; the cultural roles of women in shaping their society; and, finally, contemporary ideology about women. For her, the change in privacy and public life in the Renaissance escalated the modern division of the sexes, thus firmly making the woman into a beautiful
There was no serious effort to train women for professional careers in art, because of the enormous social pressure for women to become homemakers. The very fact that women in general were not given enough opportunities is demonstrated by what Marie Bracquemond, a student of the famous artist Jean Auguste Dominique Ingres, said in 1860, “The severity of Monsieur Ingres frightened me… because he doubted the courage and perseverance of a woman in the field of painting… He would assign to them only the painting of flowers, of fruits, of still life’s, portraits and genre scenes.”
Kinoshita, Sharon. "Cherchez la Femme: Feminist Criticism and Marie de France's `Lai de Lanval'." Romance Notes 34.3 (1994): 263-73.
“Courage in women is often mistaken for insanity” (von Garnier, 2004, part 10) and that is exactly what courage was viewed as when the women’s suffrage movement erupted in the mid 1800’s and it was quite the uphill battle from there. Iron Jawed Angels captures the height of the women’s suffrage movement with Alice Paul, a liberal feminist, as the front woman on the battle against Congress. Paul’s determination to pass a constitutional amendment can be seen through her dauntless efforts to go against the societal norms of the time to fight for women’s rights. Through the first wave of the women’s suffrage movement seen in Iron Jawed Angels, the struggles women endured for equality have a lasting impact on