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Literary analysis gender criticism essays
Gender in literature
Issues of gender equality in the literary profession
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In the 17th and 18th centuries it was known for men to have complete power over everything and most writings from that time gave evidence to that. It was also quite common for a man to speak in vulgar language about sexual encounters but it was considered scandalous and wrong if a woman was to do the same. In Aphra Behn’s The Disappointment, she challenges all of that by using romance and sexuality to modify the differing views of power in relation to gender roles. At the end of the first stanza Behn says, “And left no light to guide the world, But what from Cloris ' brighter eyes was hurled” (Stanza 1, Line 9-10), what Behn is illustrating is that even though it seems that Lysander has all the control because he is a male, Cloris is actually …show more content…
“Nature’s support, (without whose aid She can no human being give) Itself now wants the art to live; Faintness its slackened nerves invade: In vain th’ enraged youth essayed To call its fleeting vigor back, No motion ‘twill from motion take; Excess of love his love betrayed: In vain he toils, in vain commands The insensible fell weeping in his hand” (Stanza 8-9, Lines 80-90). In these lines, Behn displays the frustration and anger Lysander goes through because he has prematurely ejaculated. As Cloris is passed out, he tries self-arousal but fails miserably. This displays a sense of power to Cloris in a way that she is needed by Lysander for him to get aroused again. It also displays a deeper image of how a man can’t keep going unlike a woman can, therefore giving the power back to …show more content…
Who can the nymph’s confusion guess? The blood forsook the hinder place, And strewed with blushes all her face, Which both disdain and shame expressed: And from Lysander’s arms she fled, Leaving him fainting on the gloomy bed” (Stanza 12, Lines 111-120). One aspect of power shown in this stanza is by Cloris leaving Lysander in the situation he was in, she left him completely powerless. It also shows how Cloris finally stood up for herself and realized what was happening and that it was wrong. Even though this was a time where women were supposed to lie down and take what was given to them she got up and ran because she has the power to do that. Behn is saying that all women have the power to stand up for their selves and exit a situation they should not be in. Women have the right and power to flee even if society says
The most difficult part of any modern theological debate is choosing the authority. With the variety of Christian denominations, individual thinkers, and outside influences, and it is often difficult to reach a general agreement. In her essay, “Homosexuality: A Case Study in Moral Argument,” Catholic theologian Lisa Cahill examines four major authorities and different ways to determine how they work together to produce a cohesive Christian ethic. Though she fails to give a definitive, quantifiable method of describing the interactions between the authorities, her final judgment, approval of some aspects of homosexuality, indicates that she values modern cultural context and general biblical themes over church tradition and specific biblical texts.
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
Reading Chapter 11, “Genders and Sexualities,” written by Carrie Hintz was to construct and enact alternatives for these two traditional categories. Data is clearly indicated that sexual material is some of the most controversial content in literature. Children’s literature that is involved with adolescent’s childhood are key battlegrounds for attitudes about gender and sexuality. The significance of gender and sexuality in children’s literature is the persistent investment in what is perceived to be the innocence of children. Innocence is defined in part by children’s enforced ignorance of sexual matters. According to James Kincaid, “Youth and innocence are two of the most eroticized constructions of the past two centuries. Innocence was that
One way in which Medieval women were undermined and subjugated to men was by being painted as untrustworthy temptresses, and the lady in Laustic, the unnamed lover in Lanval, and the Queen in Lanval are all portrayed as temptresses. For instance, the lady in Laustic spends all night looking over at her lover. She cannot go to the castle next door to see her lover, so instead, all night “The lady, at her window, higher,/Speaks, and looks, only desire.” From this passage we can see the sexual undertones of the story, with lady looking with desire at her lover. Elsewhere it explains that “They had all they wanted, at their leisure,/Except coming together alone, you know,/And going as far as they'd like to go,” clearly indicating the overt sexual nature of the woman’s desire for her lover and his for her. Lanval’s unnamed lover is even more overtly sexual, appearing scantily clad. The first time we meet her, the story tells, “In just ...
In Malory’s famous account of the King Arthur legend, the most notable example of woman as destructive sexual temptation is, of course, Queen Guinevere. Sir Lancelot’s affair wi...
The hilarious play, A Midsummer Night’s Dream, by William Shakespeare, tells the twisted love story of four Athenians who are caught between love and lust. The main characters: Hermia, Helena, Lysander, and Demetrius are in a ‘love square’. Hermia and Lysander are true love enthusiasts, and love each other greatly. Demetrius is in love with Hermia, and Helena, Hermia’s best friend, is deeply and madly in love with Demetrius. Hermia and Lysander try to elope in the woods because Egeus, Hermia’s father, disapproves of Lysander. Helena, hearing about their plans, tells Demetrius, and all four of them end up in the woods where Lysander’s quotation, “The course of true love never did run smooth”(28), becomes extremely evident due to several supernatural mix-ups, authority, and jealousy.
There is a quote that goes "behind every successful man there is a woman”. This implies that the sexes are not credited equally, and gender shadows over success. Men and women are separated not only physically, but in other aspects. A male-dominated culture exists although women are capable of performing just as well as men. There are different situations where men overpower women. There is a stereotype that divides the sexes, ultimately harming both genders. Literary works brush upon the subject of men versus women, touching these components as storyline progresses. There is not a black and white division among the sexes; however, novels such as Geek Love by Dunn and Maus by Spiegelman expose the underlying power struggle among the genders,
A critical analysis of Oscar Wildes only novel would yield that it is in fact a homosexual allegory of doomed, forbidden passion. The relationship between Lord Henry and Dorian, as well as Basil and Dorian is, clearly Homoerotic and must’ve shocked Victorian society.
There is an unnaturalness where gender and generational roles are subverted. In the context relating to the death of Henry Tudor and the incest and witchcraft tainting Elizabeth’s birth and duality as a Virgin Queen. Overall in King Lear the issues surrounding gender are associated with unnaturalness, a deviation from the laws of nature, from the authority of God and the misuse of power. Gender and its treatment is the cause of the fall of Lear’s reign. The incest and adultery are a curse on the land and the royalty, the wind battles against the evil natures of the characters men. The restoration of the patriarchy and order in society is linked to the chastisement undergone by Edgar, and the result being the victory of his noble and chivalrous character over that of the false Edmund. The darkness and shame of the relationship to the female gender and sexuality are brought to life, and rage throughout, what was hidden or kept in the darkness is brought out. In relation to the context the issue being the challenge to patriarchal culture and the tragedy of the reversal of gender roles resulting from the hamartia or fall of grace of the noble
In the first part of the play Egeus has asked the Duke of Athens, Theseus, to rule in favor of his parental rights to have his daughter Hermia marry the suitor he has chosen, Demetrius, or for her to be punished. Lysander, who is desperately in love with Hermia, pleads with Egeus and Theseus for the maiden’s hand, but Theseus’, who obviously believes that women do not have a choice in the matter of their own marriage, sides with Egeus, and tells Hermia she must either consent to marrying Demetrius, be killed, or enter a nunnery. In order to escape from the tragic dilemma facing Hermia, Lysander devises a plan for him and his love to meet the next evening and run-off to Lysander’s aunt’s home and be wed, and Hermia agrees to the plan. It is at this point in the story that the plot becomes intriguing, as the reader becomes somewhat emotionally “attached’’ to the young lovers and sympathetic of their plight. However, when the couple enters the forest, en route to Lysander’s aunt’s, it is other mischievous characters that take the story into a whole new realm of humorous entertainment...
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
Love plays a very significant role in this Shakespearian comedy, as it is the driving force of the play: Hermia and Lysander’s forbidden love and their choice to flee Athens is what sets the plot into motion. Love is also what drives many of the characters, and through readers’ perspectives, their actions may seem strange, even comical to us: from Helena pursuing Demetrius and risking her reputation, to fairy queen Titania falling in love with Bottom. However, all these things are done out of love. In conclusion, A Midsummer Night’s Dream displays the blindness of love and how it greatly contradicts with reason.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
This, in fact, is an example of “dynamic decomposition” of which the speaker claims she understands nothing. The ironic contradiction of form and content underlines the contradiction between the women’s presentation of her outer self and that of her inner self. The poem concludes with the line “’Let us go home she is tired and wants to go to bed.’” which is a statement made by the man. Hence, it “appears to give the last word to the men” but, in reality, it mirrors the poem’s opening lines and emphasises the role the woman assumes on the outside as well as her inner awareness and criticism. This echoes Loy’s proclamation in her “Feminist Manifesto” in which she states that women should “[l]eave off looking to men to find out what [they] are not [but] seek within [themselves] to find out what [they] are”. Therefore, the poem presents a “new woman” confined in the traditional social order but resisting it as she is aware and critical of
In Aphra Behn’s “The Rover”, between the categories of virgin and whore lies a void rather than a spectrum. The three leading ladies of the play Hellena, Florinda and Angellica most certainly fall into these categories; Hellena and Florinda being virginal ladies of quality and Angellica being a famous courtesan. These three women attempt to challenge these roles throughout the play. Aphra Behn uses the domination of the men over the women, the objectification of the women and the double standards that exist between men and women to illustrate the impossibility of taking one’s sexuality into one’s own hands, and challenging the assigned roles of the patriarchal society for the female characters in the play.