Power and Privilege Displayed in A Woman on a Roof
In Doris Lessing’s "A Woman on a Roof," three workmen react differently towards a woman sunbathing on a roof. The men are Harry, who is in his mid-40s, Stanley, who is newly married, and Tom, who is 17. They are engaged in a jovial banter when they spot a woman about fifty yards from where they are standing. She’s on her back, face down on a brown blanket. Stanley is first to comment, "She’s stark naked." Harry agrees, "Looks like it," while Tom cranes his neck so he can see more and replies, "She thinks no one can see." Stanley whistles, but the woman does not look up. She sits, smoking a cigarette (856).
This seems to be one of Lessing’s most critically neglected stories. In fact, there are only a few written criticisms about it, and most of these focus on the different reactions of the three workmen. However, the woman, who is not named in the story, is also a very intriguing and interesting character. While many readers see her as an innocent – the sunbather who only wants to be left alone – there is evidence to show that she uses her sexuality through nonverbal communication to show power and privilege.
Sociological perspectives suggest that nonverbal communication is of particular importance to women because their socialization to docility and passivity makes them likely targets for social control. Sexuality (masculinity or femininity) is not biologically determined but is part of social learning. In "Womanspeak and Manspeak," Nancy Henley, Mykol Hamilton, and Barrie Thorne have argued that while women’s general bodily demeanor must be restrained and restricted, and that their femininity is gauged by how little (personal) space they take up. In contra...
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Henslin, James. " On Becoming Male." Down to Earth Sociology. Ed. James Henslin. New York: The Free Press, 1991. 126-148.
Lessing, Doris. "A Woman on a Roof." The Harper Anthology of Fiction. Ed. Sylvan Barnet. New York: Harper Collins, 1991. 856-862.
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At the start of the novel, Eliza Haywood places her protagonist in a very interesting, unique position, with regards to society of the time. The nameless main character is first illustrated in a playhouse, observing the interactions of the strangers around her. She notices a prostitute, surrounded by a swarm of men. “She could not help testifying her contempt of men who...threw away their time in such a manner, to some Ladies...the greater was her wonder, that men, some of whom she knew were accounted to have wit, should have tastes for very depraved” (257-258.) “Fantomina”, as she later comes to be called, oversees all of this. Haywood seems to put her above this crowd of men and prostitutes, while she observes and makes judgments on the nature of their behaviors. She expresses that she is disgusted by the mindlessness of the men in this situation. One might argue that this depicts a reversal of gender roles. Typically, men would look at women in this way, and the male character wo...
Murphy, L. S. (2010). Understanding the Social and Economic Contexts Surrounding Women Engaged In Street-Level Prostitution. Issues in Mental Health Nursing, 31(12), 775-784.
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Chesnutt’s short story features only two female characters who receive little focus or development. Despite this apparent lack of women in the text, the plot of both the main and framed narratives depend upon their
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