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Rape in literature
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In Cane by Jean Toomer, women are, as critic Meagan Abbott writes, “damaged by functioning primarily as vessels of others’ meaning.” Using a combination of prose and poetry, Toomer metaphorically alludes to the affects of sexuality on Karintha, the protagonist of the first short story in Cane, “Karintha,” over time. Because of her sultry beauty, Karintha is prematurely thrust into the sexual arena through no doing of her own, becoming burdened rather than invigorated by her beauty. Her early exposure to licentious prowling leads to the loss of her identity. Toomer’s language exposes Karintha as a damaged “vessel” of a patriarchal society, one in which men are the decision makers, holding positions of power and prestige, ultimately empowering them to define reality.
Imagery allows Toomer to express the stark reality of the sexual victimization of Karintha. Her beauty, the result of mixed racial heritage, is described as “perfect as dusk when the sun goes down” (3). Karintha’s beauty, not Karintha as a person, was the “interest of the male” (3). She was a sought after sexual object to be won, used, and later discarded. At a young age, “Old men rode [Karintha] hobby-horse upon their knees” (3), a sexually suggestive act that was done to her, rather than something she took part in, confiscating her agency. Because Karintha was a child, she was vulnerable to the adults who abused their power of age. Similarly, men continuously abused their assumed patriarchal right to use Karintha in ways they desired regardless of her approval. Young and old men waited until they could mate with her, the older men asked God for “youth” while young men “counted the time to pass,” as if Karintha was speechless about her own wishes (3). Men wishe...
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...ory of the end of a day, and the decline in Karintha’s happiness (3). As an adolescent, Karintha was “a wild flash that told the other folks just what it was to live,” declaring her independence (3). Once people began talking about her mischievousness when she “stoned the cows, and beat her dog, and fought the other children,” she commenced a rapid descent into adulthood (4). From then on, old men “could no longer ride her hobby-horse upon their knees” and the young men “counted faster” knowing that Karintha approached the time when she would be able to mate. As part of the chain reaction, men began to make and save money because they assumed they only had to “count time,” but money alone would not satisfy the needs of Karintha (4). When giving birth, Karintha’s “child fell out of her womb,” indicating that it the birth was unintentional rather than planned.
In “Girl,” Jamaica Kincaid’s use of repetitive syntax and intense diction help to underscore the harsh confines within which women are expected to exist. The entire essay is told from the point of view of a mother lecturing her daughter about how to be a proper lady. The speaker shifts seamlessly between domestic chores—”This is how you sweep a house”—and larger lessons: “This is how you smile to someone you don’t like too much; this is how you smile to someone you don’t like at all…” (Kincaid 1). The way in which the speaker bombards the girl overwhelms the reader, too. Every aspect of her life is managed, to the point where all of the lessons she receives throughout her girlhood blur together as one run-on sentence.
... seen as unholy and and frightening, while the powers of men are natural and gifts from God himself. The author was quick to show that women's virtues are to be displayed through obedience, beauty, and piousness. The lord's wife in Bisclavret fails to support her husband and is tortured by the king, the wolf, and later by the genetic deformities of her offspring. The seigneur's wife in Yönec accepts the gifts of Muldumarec and is blessed with fleeting happiness and the postmortem adoration of her son's subjects.
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
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.
The final sentence of the first paragraph intrigued me, saying that "this interest of the male, who wishes to ripen a growing thing too soon, could mean no good to her [Karintha]." I think that this is Toomer's way of emphasizing to his audience that what the men were doing was very selfish on their part. These men did not really care about Karintha the child or Karintha the future young woman. All they cared about was the possibility of a conquest; even if the victim would be young, at least she would be beautiful. Even those younger men who might have had a chance with her many years in the future did not have the patience to wait. Instead they "danced with her at frolics" when they should have been spending their time with women in their own age group. There was not any concern for Karintha, just for the needs and desires of these men, who should have had enough self-control that this would not have even been an issue. Instead of waiting for Karintha to develop from a child to an adult, these men felt the need to rush the process, to "ripen a growing thing too soon," an...
This disconnect clearly be seen in the local preacher’s perception of her, “Even the preacher, who caught her at mischief, told himself that she was as innocently lovely as a November cotton flower”. He catches her fighting and beating animals, but convinces himself that because she is pretty, nothing is wrong. This shows clear fragmentation between how Karintha acts and how people perceive her. This can also be seen with men who are attracted to Karintha. Many of them believe that because they played with her as a child, she will sleep with them once she is old enough. The distance between this idea and Karintha’s reality are rather different. Karintha may sleep with some of these men but, “She has contempt for them”. Like with her internal fragmentation, Karintha’s looks corrupt how others perceive her, fracturing perception from
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
These novels, poems and short stories show how sexism is very much an issue in past decades but also in present and future decades. The America that we live in wants to believe in the fact that all men and women are created equal, it has yet to do anything. Women are still seen as objects to an extent. We are still seen as Daisy or as Charlotte Perkins main character, or the woman Carlos Gomez Andres writes about. The fact that we might die from the loss of freedom, because one cannot escape from an unhappy marriage, is considered ridiculous.
Although society has advanced dramatically technologically, I feel that we still have a long way to go when it comes to how we view one another. It amazes me that in a society such as ours, that bases its existence on the equality of all people, that misogyny (as it occurred in medieval times) still takes place. A timeless example of misogyny is the objectifying of women, which suggests that a woman's sexual beauty is her only worth. In dealing with this misconstruction, some women, as in the case of Bercilak's wife in "Sir Gawain and the Green Knight" and Alisoun in "The Miller's Tale" from The Canterbury Tales, use their sex appeal to deceive, lure, and, manipulate men. A small part of me shamefully admits that I respect, and even appreciate, the way in which a woman can outsmart a man by entertaining his sexist views; however, as a whole, I strongly feel that if a woman uses her sexuality for her own advancement, then she is contributing to her own misogyny.
In the novel She and in the stories of The Arabian Nights, both Haggard and Haddawy explore the expanding gender roles of women within the nineteenth century. At a time that focused on the New Woman Question, traditional gender roles were shifted to produce greater rights and responsibilities for women. Both Ayesha, from Haggard’s novel She, and Shahrazad, from Haddawy’s translation of The Arabian Nights, transgress the traditional roles of women as they are being portrayed as strong and educated females, unwilling to yield to men’s commands. While She (Ayesha) takes her power to the extreme (i.e. embodying the femme fatale), Shahrazad offers a counterpart to She (i.e. she is strong yet selfless and concerned with the welfare of others). Thus, from the two characters emerge the idea of a woman who does not abide by the constraints of nineteenth century gender roles and, instead, symbolizes the New Woman.
Toomer portrays the women in '"Cane" as those who believed in using their beauties to earn what they want or had little or nothing interest in developing relationships with men. Women from the south such as Karintha, Carma, and Louisa are portrays as women who taunted men. Many of the men they taunted ended up facing severe consequence such as being thrown in jail or death. Unlike the women in the south, Esther and Bona who were from the upper north. were women who deeply fell in love with me men who had no attention in pursuing love. In the chapter, "Esther" the self titled character finds herself believing that after watching a men perform religious rituals in the street one day when she was younger that she was destine to be his lover.
This twentieth-century tradition of dystopian novels is a possible influence, with classics like Aldous Huxley’s Brave New World and George Orwell’s 1984 standing prominent. The pessimism associated with novels of this genre—where society is presented as frightening and restrictive—exposes the gender inequality between men and women to be deleterious. An aspect of the way male/female relationships are presented in both texts is the repression of female sexuality by men, possibly stemming from a subliminal fear of women attaining power in a male-dominated society. Brocklehurst—a possible reflection of Bront’s Evangelical minister at Cowan Bridge, her own poorly run school—is a male authoritative figure whose relationship with the girls at Lowood is one of imposed tyranny. He means to “tame and humble” them through deprivations and restrictions, but such removal of liberties like cutting off the girls’ hair, consequentially robbing them of female attributes, can be interpreted as the male repression of feminine sexuality.... ...
The biological differences that set apart the male and female gender throughout any culture remain eminent. Men are perceived as the stronger and dominant gender; women play the role of the weaker. In each culture the expectation of the manner in which men and women behave are influenced by the ideals and customs of that culture. In most predominant cultures, the man undertakes the role as a leader, and the woman devotes her life to the husband. Throughout history, traditions and literature provide a template to the identities of various cultures. Sleeping Beauty’s classic tale of a beautiful princess takes a central precept that previous patriarchal archetypes dominated during the 17th Century. The archetypal perceptions of women resulted from conscious and unconscious literature influenced by male-dominated perspectives and social standards.
In contemporary society, feminism is emerging as a theory of social construct. In literature it is often challenging to discover female characters that go beyond the limits of marginalized female stereotypes and roles as a means to transgress beyond societal norms. Women are characterized as subordinate objects, amid the dominant patriarchal nature entrenched amid the epic. In The Ramayana, women are portrayed as powerless objects that succumb to the manipulation of men as the text portrays a false empowerment of women, which ultimately succumb to common archetypes accustomed to women in literature; implementing a hierarchy of gender that institutionalizes male dominance amid female inferiority. The women of The Ramayana struggle to oppose the systemic patriarchy and pursue a pathway towards attaining dynamic elements of power, that enable their ability to embody autonomous authority. In Valmiki’s The Ramayana, while women appear to be empowered, ultimately they are feeble instruments utilized to fulfill the desires of men.
Confessional poetry of women poets of the then 1950s and 1960s opens a new vista for them to express their ‘self’ and to foreground their identity. These poets feel the need for self-affirmation because of their experience of marginalization in society. They found all the experiences are gendered in the 1950s and 1960s patriarchal society and so they also develop a gendered image of their ‘self’ in their confessional poetry. At the time when Sexton and Plath were children, the authoritarian figure within the nuclear family was the father and so he was the representative of society’s rule. Hence, the delineation of the Electra complex in their confessional poetry is one of the approaches of scratching their gendered ‘self’ because through the Electra complex the poets inscribe the female sexuality into the text. So, “with their autobiographical works, they write themselves into the canon and represent and deconstruct cultural images and linguistic codes of ‘woman’ and suggest alternative modes of self and identity” (Carmen