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Femininity and its effects
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Ruth Ozeki’s novel explores numerous relationships: human and animal, human and human, man and wife, and many more. An important relationship investigated is the relationship between truth, authenticity, and consumerism, and is depicted in many ways throughout the novel. One approach being through the criteria that the Japanese network wants in every featured wife that is on the show. For example, the mold that the wife should fit is described as being, “attractive, appetizing, and all-American. She is the Meat Made Manifest: ample, robust, yet never tough or hard to digest”(8). The description provided by the network simplifies and ojectifies both the female body and mind, as well as the meat, almost boiling them down to nearly just matters of sex. Jane pushes for real and genuine women that do not fit the 1960’s housewife mold, but the network demands for the Mrs. Flowers …show more content…
They go on to critique Ozeki for using stories about the abundant number of individuals that have been impacted by the industry. Suggesting that by doing so, it tugs at the heartstrings of the reader and motivates them to be more concerned and angered by the practices used in mass livestock farming. However, another point to the statement made is that perhaps it takes sympathetic characters and a sad story to get people to care, making the assumed intention of Ozeki’s novel a success. Harrison progresses her thought on Ozeki’s use of narration by stating, “While contextualizing stories of environmental injustice, Ozeki’s novel also suggests that awareness of how storytelling shapes environmental knowledge and ignorance is crucial to enabling political
This phenomenon suggests that all women are required to remain loyal wives and stay at home mothers who aspire to achieve perfection. In “Mirrors of Masculinity: Representation and Identity in Advertising Images,” Jonathon E. Schroeder and Detlev Zwick claim that “highly abstract connections are made between the models, a lifestyle, and the brand” resulting in a need to associate these products with a specific way of living (25). Instead of simply displaying these luxurious bracelets and handbags, the ad creates an elegant environment through the incorporation of sophisticated items. The women are dressed elegantly in dresses and blouses, adding a conservative element to the ad. The ad presents a rather stereotypical image of the very successful heads-of-household type mothers who have brunch with other elite women in an exclusive circle. Everything from the merchandise they sport to the champagne glasses down to the neatly manicured fingernails provides insight into the class of women presented in this ad. The body language of the women strips the image of the reality element and instead appears to be staged or frozen in time. This directly contributes to the concept of the gendered American dream that urges women to put up a picture-perfect image for the world to see. Instead of embracing individual struggle and realities, the American dream encourages women to live out a fabricated
... mold of a traditional woman throughout her entire life. She set new standards for women regarding relationships. She dared to get divorces, to leave an abusive man, to leave a cheating man, to have a lover, even to marry a much younger man, but more importantly she dared to write about these controversial topics. Readers may get a sense of Granny's bitterness toward men, but they cannot ignore her strength and independence. Porter was a part of the "era of exuberance" because she played her role in the evolution of women. The answer to the question posed at the beginning of this paper is the same question women of the early twentieth century began asking themselves. This question became a choice for them. Porter chose to be strong because of her ability to move on, and by the time she became Granny Weatherall she knew she had achieved what she had set out to do.
Kerry Wade’s essay titled: “The Restoration of Voice in The Kitchen God’s Wife” is a literary criticism based upon Amy Tan’s fiction novel The Kitchen God’s Wife. She asserts that Winnie is able to escape the hardships of a patriarchal society and reshape her identity as she transitions from her past into her present life through the act of speaking up. Wade refutes this by first introducing Wen Fu’s dominance which acquaints Winnie’s oppressed silence, then by disclosing Winnie gaining a voice through Jimmie, and finally, by displaying what Pearl’s reaction is along with what she identifies her mother as after listening to the narration of her life story.
Ethos, logos, and pathos are one of the most important literary strategies to making an effective essay. In the essay “Why I Want a Wife”, Judy Brady focuses most on her use of pathos to try and emotionally connect with her audience. Brady also strategically uses ethos and logos to successfully make a point to the readers of Ms. Magazine that a wife's duties are greatly exceeding what is acceptable. Although Brady uses all three of these strategies, the one that most successfully appeals to her audience is her use of pathos.
Much about Kogawa's novel makes it difficult not only to read but also to classify or categorize. First, Obasan blurs the line between nonfiction and fiction. Kogawa draws from actual letters and newspaper accounts, autobiographical details, and historical facts throughout the novel, but she artistically incorporates this material into a clearly fictional work. In addition, Kogawa's narrative operates on multiple levels, from the individual and familial to the communal, national, political, and spiritual. Stylistically, the novel moves easily between the language of documentary reportage and a richly metaphorical language, and between straightforward narrative and stream-ofconsciousness exposition. This astonishing variety in Kogawa's novel can, at times, become bewildering and unsettling to the reader. But as many readers and critics have noted, Kogawa's style and method in Obasan also constitute the novel's unique strength. Kogawa writes in such a way that ambiguity, uncertainty, irony, and paradox do not weaken her story but instead paradoxically become the keys to understanding it.
A lady is an object, one which men attempt to dominate. A man craves to get a hold of this being beneath his command, and forever have her at his disposal. In her piece “Size Six: The Western Women’s Harem,” published in 2002, Fatema Mernissi illustrates how Eastern and Western women are subjugated by the control of men. Mernissi argues that though she may have derived from a society where a woman has to cover her face, a Western woman has to face daily atrocities far worse then ones an Eastern woman will encounter. Moreover, Mernissi’s core dogma in “Size 6: The Western Women's Harem” is that Western women are not more fortunate than women raised into harems in other societies. Additionally, she asserts that though women in the Western world are given liberties, they coincide with the unattainable ideals of what is aesthetically pleasing. Furthermore, to strengthen her argument towards her wavering audience, Mernissi’s main approach in her paper is to get the reader to relate with her issue by means of an emotional appeal, while also utilizing both the ethical and logical appeal to support her thesis.
In society, there has always been a gap between men and women. Women are generally expected to be homebodies, and seen as inferior to their husbands. The man is always correct, as he is more educated, and a woman must respect the man as they provide for the woman’s life. During the Victorian Era, women were very accommodating to fit the “house wife” stereotype. Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications.
... to the domesticated woman urging her to care for her family providing food for the body but to also care for herself in providing food for her mind: A house is no home unless it contain food and fire for the mind as well as for the body” (602). Murray, also makes suggestion for reform, encouraging women not to abandon their familial roles, but, rather tend to their family’s domestic needs dynamically saying “while we are pursuing the needle, or the superintendency of the family, I repeat, that our minds are at full liberty for reflection; that imagination may exert itself in full vigor” (405). In saying this she encourages women not to be passive but to be active and dynamic in their supposed roles as women, to defy the notion of the archetypal woman who tends to her family and has nothing that pertains to her solely and enrich the mind and subsequently herself.
Even greater pathos is painted by the proverbial “road-to-hell-is-paved-with-good-intentions” mindset of most animal characters, who seem to strive toward a Great Society and a better world, but bombastically “bomb out” in this quintessential quest. “Ethos,” the piercing propounding of community or communal tenets, is arguably employed third-most in the searing saga, while “kairos” brings up the rear in raw rating of the components, due to the stark fact Animal Farm is timeless in its theory, and merely because its penning at the pinnacle of the red-hot “Red Scare” worldwide does not render it now moot, nor moored inextricably in that time and place.
‘For a women on this street, I must not lose,’ says Keiko to herself after suffering a chain of setbacks. As Russell points out in The Cinema of Naruse Mikio, the transition of modern city structure provide more women with more space and opportunity to survive, however, the level of female autonomy is tightly linked with the level of pecuniary status. From my perspective, this relationship resembles the shape of an hourglass, i.e., the more economically unprovided or self-sufficient you are, the larger extent of freedom you are given. Apparently, Keiko is currently stuck at the bottleneck, but Naruse dose not limit his focus merely on dwelling upon the dilemma of the heroine. Instead, he provides his audience other ‘potential’ identities or parallels of Keiko by observing other hostesses’ experiences. These female hostesses seem to flow with the tide of mizushōbai, but meanwhile they displays a gesture of strong adaptability generated from a modern subjectivity. For example,
Judy Syfers essay “I Want a Wife” is a perfect example of a feminist. Syfer gives her insight about the traditional gender roles for a woman in society. Syfer refers to the mans perspective on marriage to compose this essay, she provides specific details on what a wife should do. Throughout her paper, she emphasizes how a woman and a man should share the burden of the household. Syfer uses many rhetorical strategies to achieve her purpose on why she “wants a wife”. She uses pathos and anaphora to point her views to the audience.
Marriage is the union of two people, traditionally husband and wife. Traditional also are the roles that women play when confined in a marriage. When a woman has had the opportunity to educate herself pass tradition and has been use to a fast-paced modern lifestyle, this role of the wife might prove to be quite onerous to mold to. Usually a time of joy, celebration, and adulation, marriage may also bring along emotional and physical pain as well as awkward situations, as the woman must alter herself to conform the traditional role of what a wife should be. Bessie Head depicts two modernized, educated women in her short stories of “Life” and “Snapshots of a Wedding”. These women are forced to change from the only lives they knew as single women to the new roles they must live up to as wives.
The 1970’s were a time for movements and change, Brady’s I Want a Wife takes inspiration from the feminist movement as she takes the stand of a male and gives a perfect example of the imbalance of power and rights between the sexes. By using a male’s point of view on the definition of a traditional wife she is able to create tension, and with her heavy use of sarcasm is able to make valid points on some serious matters and lighten it with humor. By remaining consistent on her point and maintaining fluidity through her use of sarcasm each and every claim that is made is validated and linked. “I want a wife to go along when our family takes a vacation so that someone can continue care for me and my when I need a rest and change of scene.” Is directly linked to; “I want a wife who is sensitive to my sexual needs, a wife who makes love p...
In the 1950s, the image of the perfect suburban wife who is efficient, patient, and always charming was often portrayed by the media in television, radio and magazines. In reality, the wife's life at home is burdened with housework, child care, and boredom (Out of Many, 27.2.2; Suburban Life). The article "Young Mother" illustrates how boring and unattractive middle-class women could be. In the article, a woman named Mrs. Petry told that the chores that she have to do everyday causing her to spend very little of time with her children and husband. In her words, she stated "I would also like to have a little more rest and a little more time to spend in relaxation with my husband" (Young Mother, p. 4) It is also stated in the
Many women in modern society make life altering decisions on a daily basis. Women today have prestigious and powerful careers unlike in earlier eras. It is more common for women to be full time employees than homemakers. In 1879, when Henrik Ibsen wrote A Doll's House, there was great controversy over the out come of the play. Nora’s walking out on her husband and children was appalling to many audiences centuries ago. Divorce was unspoken, and a very uncommon occurrence. As years go by, society’s opinions on family situations change. No longer do women have a “housewife” reputation to live by and there are all types of family situations. After many years of emotional neglect, and overwhelming control, Nora finds herself leaving her family. Today, it could be said that Nora’s decision is very rational and well overdue.