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Female sexuality in literature
An essay about loneliness
Loneliness sample paper
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Radcliffe Hall’s The Well of Loneliness - A Classic of Lesbian Literature?
Radcliffe Hall’s novel, The Well of Loneliness, depicts the girlhood and womanhood of a non-conventional woman, Stephen Gordon, who after assuming her natural inversion during her adolescence, fights to find a place in the world. After fulfilling partially her aspirations by serving in I World War as an ambulance driver, she falls in love with Mary, another ambulance driver, and for a short while they defy the world with their happiness. This feeling, however would not last. The invert’s doom forces Stephen to the last exertion of self-denial and martyrdom when she renounces to her love for Mary and surrenders her to their common friend Martin to take care of her because she, not being a man, would never be able to give her an authentic life.
Nowadays, the novel is considered and sold as a lesbian literature classic throughout the world but for certain public it is not clear whether the characteristics and themes included qualify it as such or it is just a matter of popularity. In its favour it is necessary to consider it as an early precursor of any kind of declared lesbian literature (it was published in 1928). It was one of the first times that lesbian love was depicted extensively by means of a novel and it was an incredibly brave and honest attempt to bring daylight into the darkness of so many people’s life. One of the individual but essential steps lesbians were giving towards social...
This essay explores the blurring of gender roles within Bram Stoker’s Dracula and Angela Carter’s The Lady of the House of Love, focusing on the presentation of a sexually assertive female and its threat to the patriarchal society, and the duality of the female characters as they are presented as enticing and thrilling, but also dangerous and somewhat repulsive.
Louise, the unfortunate spouse of Brently Mallard dies of a supposed “heart disease.” Upon the doctor’s diagnosis, it is the death of a “joy that kills.” This is a paradox of happiness resulting into a dreadful ending. Nevertheless, in reality it is actually the other way around. Of which, is the irony of Louise dying due to her suffering from a massive amount of depression knowing her husband is not dead, but alive. This is the prime example to show how women are unfairly treated. If it is logical enough for a wife to be this jovial about her husband’s mournful state of life then she must be in a marriage of never-ending nightmares. This shows how terribly the wife is being exploited due her gender in the relationship. As a result of a female being treated or perceived in such a manner, she will often times lose herself like the “girl
With a heart-full of advice and wisdom, Dinah maturates from a simple- minded young girl to a valiant independent individual. “For a moment I weighed the idea of keeping my secret and remaining a girl, the thought passes quickly. I could only be what I was. And that was a woman” (170). This act of puberty is not only her initiation into womanhood but the red tent as well. She is no longer just an observer of stories, she is one of them, part of their community now. On account of this event, Dinah’s sensuality begins to blossom and she is able to conceive the notion of true love.
The way the Gurlesque applies mockery and exaggeration through a feminist perspective is more often than not directly linked with a subverted language, a language that purposefully deviates from what is standardized as “the proper language for a woman”. Refusing such standardization and responding to masculine “high-art”, the poems exhibit a political stance through the Gurlesque which employs the feminist understanding that multiplicities and even conflicting alternatives could very well coexist (Irigaray 28-29). The aesthetics of the distasteful comes into question in that regard and constitutes the third completing element of the Gurlesque. The Gurlesque copies the masculine culture without identifying with it, that is to say, it kitschifies
The purpose of Philip Slater’s book The Pursuit of Loneliness is to “reach some understanding of the forces which are unraveling our society” for his readers (xxii). It is a common conception that America is the best country, an idea which is substantiated by economic figures. However, Americans are not happy. According to Slater, “all societies frustrate certain human needs and satiate others (because) humanity and any particular society’s idea of what humanity should be is never very exact” (2). In America, the gap between reality and perception is growing farther and farther apart, at human expense. Americans work their entire lives for the future, in the pursuit of economic security, which ultimately leads to continued unhappiness in the present. American culture “struggles more and more violently to maintain itself, (but) is less and less able to hide its fundamental antipathy towards human life and human satisfaction” (122). Slater’s book teaches people about the existence of the “wide gap between the fantasies Americans live by and the realities they live in,” in the hopes that this will inspire people to react in positive ways (xxiii).
`Plays and Poetry by early modern women are primarily concerned with negotiating a position from which women could speak. A concern for ideas of gender, language and silence is, therefore, central, though its expression is sometimes open, sometimes covert.' Discuss with reference to Aemilia Lanyer and / or Elizabeth Cary.
Being lonely is nothing new. Many people every day are lonely. It is common in contemporary literature to be able to see and connect with characters who suffer from mental illness. Loneliness is seen even more often in novels of today, it could even be seen as undiagnosed depression in many cases. Nathanial Hawthorne’s novel The House of the Seven Gables is an excellent example of how depression is portrayed in early American novels.
Within the thin exterior of the cold dark building she called home, she wanted to keep the bodies of those in which she felt she had a connection. Whether it be a reasonable connection or not, she didn’t want to be alone. Her connection with her father brought her to keeping his corps in the house as well as the other man. Her distance from other people around her only drove her to madness causing nothing but isolation and a craving for any type of relation she could hold or be close
Haney-Peritz, Janice. "Monumental Feminism and Literature's Ancestral House: Another Look at 'The Yellow Wallpaper'" Women's Studies. 12 (1986): 113-128.
Wolff, Cynthia Griffin. "Un-Utterable Longing: The Discourse of Feminine Sexuality in The Awakening." Studies in American Fiction 24.1 (Spring 1996): 3-23. Rpt. in Twentieth-Century Literary Criticism. Ed. Janet Witalec. Vol. 127. Detroit: Gale, 2002. Literature Resource Center. Web. 19 May 2014.
She tells the girl to “walk like a lady” (320), “hem a dress when you see the hem coming down”, and “behave in front of boys you don’t know very well” (321), so as not to “become the slut you are so bent on becoming” (320). The repetition of the word “slut” and the multitude of rules that must be obeyed so as not to be perceived as such, indicates that the suppression of sexual desire is a particularly important aspect of being a proper woman in a patriarchal society. The young girl in this poem must deny her sexual desires, a quality intrinsic to human nature, or she will be reprimanded for being a loose woman. These restrictions do not allow her to experience the freedom that her male counterparts
How many individuals allow the fear of loneliness overtake their whole lives? Life is fickle and most people will be a victim of circumstance at times. This is why “ A Rose for Emily” is such a great read because it allows readers to stop and analysis if they are the type of individuals which allow loneliness take over their own personal life’s. However, some people choose not to let circumstance rule them and, as they say, “time waits for no man”. Faulkner’s Emily did not have the individual confidence, or maybe self-esteem and self-worth, to believe that she could stand-alone and succeed at life especially in the face of changing times. As a mater of fact, she had always been ruled by, and depended on, men to protect, defend and act for her. From her Father, through the manservant Tobe, to Homer Barron, all her life was dependent on men. In this story I will be discussing how fear can make indivuals due senseless things.
...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).
Myra, who is dying of illness, escapes the confinement of her stuffy, dark apartment. She refuses to succumb to death in an insubordinate manner. By leaving the apartment and embracing open space, Myra rejects the societal pressure to be a kept woman. Myra did not want to die “like this, alone with [her] mortal enemy” (Cather, 85). Myra wanted to recapture the independence she sacrificed when eloping with Oswald. In leaving the apartment, Myra simultaneously conveys her disapproval for the meager lifestyle that her husband provides for her and the impetus that a woman needs a man to provide for her at all. Myra chose to die alone in an open space – away from the confinement of the hotel walls that served as reminders of her poverty and the marriage that stripped her of wealth and status. She wished to be “cremated and her ashes buried ‘in some lonely unfrequented place in the mountains, or in the sea” (Cather, 83). She wished to be alone once she died, she wanted freedom from quarantining walls and the institution of marriage that had deprived her of affluence and happiness. Myra died “wrapped in her blankets, leaning against the cedar trunk, facing the sea…the ebony crucifix in her hands” (Cather, 82). She died on her own terms, unconstrained by a male, and unbounded by space that symbolized her socioeconomic standing. The setting she died in was the complete opposite of the space she had lived in with Oswald: It was free space amid open air. She reverted back to the religious views of her youth, symbolizing her desire to recant her ‘sin’ of leaving her uncle for Oswald, and thus abandoning her wealth. “In religion , desire was fulfillment, it was the seeking itself that rewarded”( Cather, 77), it was not the “object of the quest that brought satisfaction” (Cather, 77). Therefore, Myra ends back where she began; she dies holding onto
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