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Gender roles and literature
Gender roles and literature
Gender roles and literature
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Q: Analyse the character of Effi Briest in Fontane’s novel and critically comment on her fate as part of Fontane’s concerns regarding the cultural legitimacy of the Junker class to lead German society in the final years of the 19th century, but also to what extent Effi is to blame for her own misfortunes.
Effi Briest, a realist novel written by Theodore Fontane and published in 1896. This novel forms a story around a female character’s point of view of a socially arranged marriage to a man 21 years her senior, resulting in a story of adultery and ultimately tragedy. This essay aims to analyse the character of Effi Briest, with critical commentary on her tragic fate as part of Fontane’s concerns with regard to the cultural legitimacy of the Junker class to lead the German society in the final years of the 19th century. The essay will go on further to make comment on the extent that Effi is to blame for her own misfortunes in the novel.
Effi Briest, when we meet her in the novel is a 17-year-old girl, who can be considered a carefree, and happy child. Her adolescence is revealed early in the novel, when she is doing some embroidery with her mother (Luise), and appears to be restless when taking part. This image is furtherly painted by the author when the reader sees Effi playing a game of tag with her middle class friends Hulda, Hertha and Bertha, in chapter 2, when she knows she has to meet someone important later, but wants some more time to play with her friends. “…Effi was off up the nearest gravel path, dodging left and right until suddenly she was gone. ‘Effi, that doesn’t count. Where are you? We’re not playing hide and seek, we’re playing tag.’” (Chapter 2). This childishness that Effi embodies is significant, as it casts ...
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...lame, for arranging an unsuitable marriage, between two completely opposite people, only for her social and financial gain, ignoring her personality completely. Innstetten holds some accountability in the matter, as he was so unsuitable for Effi, and he did not try to relate to her emotionally or physically, leaving her feeling totally isolated. Major Von Crampas is blameable too, as he took advantage of Effi, and led a major role in her exclusion from society. Fontane means to conclude that it is not a single one of these characters that plays a role in Effi’s fall, but the society itself that influences the individual character’s thought processes that causes Effi’s misfortunes, and ultimately her death. It is possible to believe that in Fontane’s text, he leaves the interpretation for society, in the hopes that they will fix their socially guided ways.
Perhaps one of the most haunting and compelling parts of Sanders-Brahms’ film Germany Pale Mother (1979) is the nearly twenty minute long telling of The Robber Bridegroom. The structual purpose of the sequence is a bridge between the marriage of Lene and Hans, who battles at the war’s front, and the decline of the marriage during the post-war period. Symbolically the fairy tale, called the “mad monstrosity in the middle of the film,” by Sanders Brahms (Kaes, 149), offers a diagetic forum for with which to deal with the crimes of Nazi Germany, as well a internally fictional parallel of Lene’s marriage.
Gluckel's memoir enables a reader to gain an understanding of what a widowed Jewish woman would face in Christian dominated Germany both from a personal and public perspective throughout seventeenth and eighteenth century. Throughout her memoirs Gluckel describes the worries that a mother would have over her children, her relations with both her first and second husband while addressing the responsibilities she faced as a businesswoman. Gluckel arranged her life narrative in seven books. The first four books and the opening section of the fifth book have been written consecutively in the months or year of mourning after Haim's (her first husbands) death in 1689. The rest of Book 5 was written during the decade of the 1690's but given final form after her second marriage. The sixth book was written in 1702 or shortly afterward, during the initial shock of Hirsch Levy's (Gluckel's second husbands) bankruptcy in Metz, and the seventh and final book was composed in 1715, during her second widowhood, with a final paragraph from 1719 before her death. Gluckel has conveniently broken down her narratives in seven books, which help the reader clearly identify with individual aspects occurring in her life. In her memoirs Gluckel thoroughly encompasses a social, cultural and economical perspective about her life as a Jewish woman while contrasting it to Christian ways which dominated Germany during both 17th and 18th century.
Anna was the daughter of Hermann Buschler, a prominent citizen who had even been the burgermeister of the German town of Schwabisch Hall, within the Holy Roman Empire. When she was young, Anna had simultaneous affairs with a young local nobleman, Erasmus Schenk of Limpurg, and a cavalryman named Daniel Treutwein. Anna’s father was so upset when he discovered these affairs; he deprived her of mostly all her inheritance. Anna a scandalized woman, fought in the Hall legal system for decades, and she eventually won back some of her inheritance.
INTRODUCTION Wendy Lower in Hitler’s Furies interrelates the adventures of 13 women who travelled to East Germany in search of jobs, fortune, romance, and even power. These young women (mostly secretaries, wives, teachers and nurses) saw the “wild east” as an exciting opportunity to acquire what most women in Germany dreamed about which were career advancement, marriage and valuable possessions. Hitler’s Furies attacks the claim that women in Germany were largely innocent and hardly participated in Nazi party’s devilry by using examples of seemingly “ordinary” German women who committed heinous crimes under the guise of patriotism. Their crimes were as low as being indignant bystanders to as high as been the perpetrators who were only too
Edith dreamed of good things and participated in deep political discussions. When Edith was twenty-four and an aspiring law student with only one exam left to finish her schooling and her future looked very bright. Edith fell in love with a young and intelligent Pepi Rosenfeld. However, it would soon dim when Hitler and the Nazis took over Austria. When the Nazis came to power all hope was lost for Edith. Five years of school and the law career she had dreamed of was denied her because she was a Jew and no longer welcome. After her two younger sisters Hansi and Mimi had become Zionist, Edith and her mother had to bec...
The Geisels, though they were not wealthy, lived a comfortable life. They were of German descent, and took great pride in their heritage until th...
One of the corner stones in gothic literature is the characterization of female characters as weak and submissive. This notion can be tracked all the way back to 1764, when Horace Walpole wrote what many assume to be the first gothic novel, The Castle of Otranto. When the sickly Conrad dies, his sister Matilda expresses her apprehension to her attendant Bianca over the increased scorn of Manfred. “No, Bianca; his heart was ever the stranger to me – but he is my father, and I must not complain,” (Pg. 37). Matilda understands what her role in the household is and accepts it, despite of Manfred’s increased scorn. Matilda, as well as the other female characters, exhibits no negative or evil traits or thoughts yet are treated with nothing but contempt. They are submissive for no real reason beside from that was how men expected women to be in the time of the novel. The purpose of this essay is to show that if the reader does not understand the feature of the
The Schlegel’s are known for loving their art and literature, compared to the Wilcoxes who would rather speak about sport, economics, and polities. Margaret Schlegel, who is apart of the upper class, does not all her social standing to unrecognized social injustice. Margaret encounters Leonard Bast, a working man who is apart of the lower class, as Forster describes “He was not in the abyss, but he could see it, and at times people whom he knew had dropped in, and counted no more. He knew that he was poor, and would admit it: he would have died sooner than confess any inferiority to the rich” (Forster). Although his family disowns him because of his marriage to Jacky, a woman of a questionable past from the extreme lower class, Leonard “intuitively recognizes the ethics of his romantic commitment to her, as well as the perilous nature of the ‘fallen woman’ in his society 's class structure” (Womack). Margaret seeked advice from, Henry Wilcox a business man and the head of the Wilcox family about Leonard Basts employment at Porphyrion Fire Insurance Company, because Henry believes that the lower classes should be kept at a discreet distance, a maneuver that he accomplishes himself through the art of gratuity, he had little to no interest in Leonards employment. Although Henry information about Leonards employment was misleading he does nothing to help; “A word of advice. Don 't take that sentimental
With exaggeration, authors craft their writing to have an even greater, more impactful effect on their audiences. This enhanced effect found in Candide serves the purpose of highlighting how humans adopt a type of absolute viciousness and inhumanity in times of war. One example is the instance where Candide - a member of the Bulgar army, at the time - must choose between being “flogged” by the entirety of the military command, or to endure “twelve bullets in his brain” (24). Here, Candide is given a nonsensical, almost ludicrous, ultimatum. Voltaire offers an embellished example that serves to demonstrate the barbaric military practices that come with war. Being a recurring aspect of war, Candide is, essentially, forced to choose between death and death. In fact, along with exaggeration, Voltaire satirizes war even further as the choice of whether it be a gradual or speedy demise is Candide’s own luxury. Voltaire does not just simply antagonize the ramifications of war, but rather, he ridicules all facets of war. Another example within Candide is when the Old Woman reveals the story of her own life as proof of the grim hardship that she too has experienced. In the midst of another battle, “one buttock” was cut off of the live bodies of every woman present in the interest of feeding the starving soldiers (56).
Labovitz, Esther Kleinbord. The Myth of the Heroine: the Female Bildungsroman in the Twentieth Century. 2nd ed.
...nly a secondary symbol, it assists in enriching our understanding of Miss Brill's peculiarities while pointing out primary symbols, like her own fur necklet. How Mansfield employs the "ermine toque" to foretell the plot of the larger story demonstrates a difference between those who interact and constructively deal with conflict and those who run away, refusing to accept the realities of life. Miss Brill, who does not interact with life, chooses to interact with her fur which, though genuine, is not alive. Instead, she chooses an imitation for her own life by "sitting in other people's lives" (440) which, though reality, cannot remain her reality.
In America, the 1890s were a decade of tension and social change. A central theme in Kate Chopin’s fiction was the independence of women. In Louisiana, most women were their husband’s property. The codes of Napoleon were still governing the matrimonial contract. Since Louisiana was a Catholic state, divorce was rare and scandalous. In any case, Edna Pontellier of Chopin had no legal rights for divorce, even though Léonce undoubtedly did. When Chopin gave life to a hero that tested freedom’s limits, she touched a nerve of the politic body. However, not Edna’s love, nor her artistic inner world, sex, or friendship can reconcile her personal growth, her creativity, her own sense of self and her expectations. It is a very particular academic fashion that has had Edna transformed into some sort of a feminist heroine. If she could have seen that her awakening in fact was a passion for Edna herself, then perhaps her suicide would have been avoided. Everyone was forced to observe, including the cynics that only because a young
London, was one of the biggest areas of fashion influence in the sixties. Even the salons in Paris were in thrall of London (p.11 Reed, Paula). The film La Dolce Vita was one of the most stylish films of all time, and greatly inspired the sack dress (Schell, Lauren). Lackie Kennedy wore prim skirt suits, pill box hat, and super sized dark sunglasses. Audrey Hepburn made the top handle bag very popular through the movie Breakfast at Tiffany’s. She also influenced the fashion community by making capri pants and ballet pumps very popular (Watt, Alice). As a model for Vogue, Jean Shrimpton popularized the mini skirt (Jean Shrimpton Biography). Brigitte Bardot made messy piled-high-up-do’s the hairstyle of choice. Edie Sedgwick was the original “it” girl. Her go to outfit was a mini mod dress with sheer black tights and cropped platinum
“Mademoiselle de Scudéri,” written by E. T. A. Hoffman, is the first German language detective story ever written. Inspired by the story of La Voisin, an old woman involved with the art of making poisons and poisoning members of society, this novel intertwines aspects of history and fiction, creating an entertaining short story that feeds off the fear of citizens who are knowledgeable about La Voisin and her poisonous crimes. Within this novel, Hoffman portrays a variety of characters, all of which can be separated into two distinct groups in regards to the perception of societal classes: male characters and female characters. Each group perceives the different societal classes in their own way, creating clear distinctions between the two groups.
Her sexual morality and personal actions are secondary to Kettle’s interest in the larger historical and economic processes at work in late nineteenth century. For Kettle Hardy novel has: