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Essay on women in the 1950s
Essay On Women In The 1950 S
Essay on women in the 1950s
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Alter Ego by Gwen Harwood
“Who am I?” is the question raised by Gwen Harwood in her poem, ‘Alter Ego’. Gwen Harwood’s poems explore societal positions and expectations of women in the 1950s which are derived from her own experiences. Though most of her poems have an underlying theme of grief, loss, love and the passing of time, which is explored through her reflecting on her childhood, some are also about self-discovery. ‘Alter Ego’ and ‘The Glass Jar’ are two examples of poems about self-discovery. The 1950s wasn’t the greatest era for female creativity, might it be art or literature which is why most artists and writers sold their material under male pseudonyms as did Gwen Harwood.
I’ve done my visual representation inspired by the thematic concern of Harwood’s poem, ‘Alter Ego’. ‘Alter Ego’ is defined as, ‘a close friend who seems almost a part of yourself’. Harwood describes her alter ego as a part of her that she doesn’t quite know, yet it knows her. It stands
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beside her yet is unaware of “any lost of ill motion of mind or will”, it’s nameless, almost tangible but one “who will not answer her”. Harwood establishes her alter ego as a creative force. In the poem, Harwood uses the idea of Mozart’s ability to, “hear a symphony complete, its changing harmonies clear plain in his inward ear in time without extent”, as a metaphor to describe a longing for meeting her alter ego “face to face” but she acknowledges that only death will unite them. This juxtaposes with the idea of Mozart hearing his symphony be complete and Harwood’s longing to be ‘whole’. Hence, why we can infer that this poem is about self-discovery and a huge metaphor about life as a journey. Harwood tries to convey to the readers about her attempted journey towards self-discovery. There are feminist points of views and somewhat religious perspectives in this particular piece which indicates to the readers that Harwood recognizes and explores her “other self” through different aspects. But the main question she raises is “who am I?”. Harwood’s use of a range of poetic techniques such as symbolism, imagery and manipulation of musical references help construct meaning that also contributes to her work being of timeless quality. She talks about her childhood, good versus bad and the sacrifices of motherhood which also helps her material to be relatable and be the voice of a predominantly female audience. Her musical reference and comparison of herself to Mozart in Alter Ego suggests her feminist views that only men were allowed to be creative while still using Mozart as an example of timeless music and art as many still to this day consider him a musical legend. The symbolism demonstrated in the poem is of light and dark.
If looked at from a religious perspective light is symbolised as good and darkness as evil. I have incorporated that in my visual rep by the fragmentation of light and dark in the background. The face on the left has her lips painted black and disappearing into the background to convey that it really wasn’t appropriate for women to break out of the repressive and constrictive role of being nurturing mothers and the perfect housewives. If she was to comment on those roles, to admit to the isolation and frustration of being a mother out loud, it was considered wrong and sinful. Hence, why a lot of women took to mediums such as poetry or writing to have their voice be heard. The figures in my VR are bald because during the Holocaust the prisoners’ heads were shaved off to identify them as an inmate. The bald head is to symbolise imprisonment in terms of limited opportunities for women in the 50s and they were basically prisoners in their
homes. Though on the left she has been worn down by the reality she hopes that when death unties her and her alter ego- that her experiences shape the definition of the ‘perfect women’ in her perspective whilst she was being the perfect women according to the expectations of society. The figure to the right with a serpent wrapped around her head has been used as a metaphor. Historically, serpents represent fertility or a creative life force. As snakes shed their skin through sloughing, they are symbols of rebirth, transformation and healing. The casting off of this skin metaphorically represents the release of old ways of thinking that don't work in our lives. The fresh new skin found underneath is rebirth and new beginnings that can be juxtaposed with purification. Which is why I have incorporated that in to my visual rep. In conclusion, Gwen Harwood conveys her journey of self-discovery through the use of juxtaposition and musical references used as metaphors which show the audience that Harwood realises that she need to live and experience life in order to meet this “other person” and finally in death will they unite. Quote “I trace their questioning voices, know little, but learn, and go on paths of love and pain to meet you, face to face.”
Both Vanity Fair and A Room of One’s Own explore and challenge the idea that women are incapable of creating a name and a living for themselves, thus are completely dependent on a masculine figure to provide meaning and purpose to their lives. Thackeray, having published Vanity Fair in 1848, conforms to the widely accepted idea that women lack independence when he makes a note on Ms Pinkerton and remarks “the Lexicographer’s name was always on the lips of the majestic woman… [He] was the cause of her reputation and her fortune.” The way that a man’s name was metaphorically “always on the lips of the majestic woman” and how he was the source of “her reputation and her fortune” expresses this idea, especially through Thackeray’s skilful use of a sanguine tone to communicate that this cultural value, or rather inequality, was not thought of as out of the ordinary. From viewing this in a current light and modernised perspective...
The Harwood’s poem, ‘Boxing Day’ (2003), is centred on a mother, who is cleaning up after her children the day following Christmas. The mother figure in this poem is represented as a person who is ‘too tired to move’ and in this state, is reflecting on a life of past happiness she once may have enjoyed. In the opening stanza, the mother is portrayed as a traditional 1960’s housewife, ‘framed in the doorway: woman with a broom’, which reads almost as a position that carries a stigma for women being seen as more than just housewives to cook, clean and keep her family happy.
The well-acclaimed poem “Suburban Sonnet”, written by the talented author Gwen Harwood successfully portrays the disillusions that 1950s Australia has us to believe about their culture. Harwood addresses the past ethical issue of misogyny and patriarchy with a variety of techniques to meet her goal of sharing her experiences as an Australian mother. One instance of the text which captured this is in the poet’s dejected tone as she conveys to the reader. This has identified in the quote, “She practices a fugue, though it can matter to no one now if she plays well or not.” Lines 1-2. By using the example above, the author effectively implied to readers that in reality women faced oppression in society through a common neglect towards their role
Imagery of light is used in Fisher’s collection of poems to symbolize positive facets of a life lived in poverty. People living in poverty are not given all the basic necessities required to live comfortably. Many impoverished persons are malnourished due to lack of resources such as sufficient food or appropriate clothing. The lack of living essentials and the inability to afford everything that they desire provides people living in poverty with a greater appreciation for small acts of kindness. Many of the poems in Fishers collection show aspects of the poor being grateful for the little things in life. One of the poems shows a little girl being extremely appreciative of something every...
It is a way to crucially engage oneself in setting the stage for new interventions and connections. She also emphasized that she personally viewed poetry as the embodiment of one’s personal experiences, and she challenged what the white, European males have imbued in society, as she declared, “I speak here of poetry as the revelation or distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean — in order to cover their desperate wish for imagination without insight.”
Women of both the ages of Victorian and early Modernism were restricted from education at universities or the financial independence of professionalism. In both ages, women writers often rebelled against perceived female expectations as a result of their oppression. To lead a solitary life as a subservient wife and mother was not satisfactory for writers like Elizabeth Barrett Browning and Virginia Woolf. One of the most popular female poets of the Victorian era, Elizabeth Barrett Browning, illustrated "a woman's struggle to achieve artistic and economical independence in modern society" (Longman P.1858). Many Victorian critics were shocked by Barrett Browning's female rebellion, which was rare for the era. With her autobiographical epic poem, Aurora Leigh provoked critics who were "scandalized by its radical revision of Victorian ideals of femininity" (P.1859). In the age of Modernism, women were finally given the some rights to a higher education and professionalism i n 1928 (p.2175). However, female poets of early Modernism, such as Virginia Woolf, were raised in the Victorian age. Rebellion toward "Victorian sexual norms and gender roles" (P.2175) are reflected in Woolf's modern literary piece, such as The Lady in the Looking-Glass: A Reflection. Also echoed in the piece, is how Woolf "never lost the keen sense of anguish nor the self-doubt occasioned by the closed doors of the academy to women" (P.2445).
The idea of having many different aspects of human experience is central to Gwen Harwood’s anthology of Selected Poems. In her works, Harwood explores many specific situations and circumstances associated with encountering human experiences; from childhood pleasures, innocence, emotion, celebration and passion, to the dullness and misery of domestic suburban life. Harwood utilizes a range of characters in her writing, adopting personas and pseudonyms in order to transform what may be seen as often very personal and private experiences into universal facets of human existence. By using her own personal journey towards self-knowledge and experience of growing up, Harwood is able to comment on the aspects of unconcealed and uncensored events in
...ottom or side lighting to make the subject appear evil or dangerous, and in this case it portrays that very well. The audience feels powerless and feeble while she comes across ass powerful and authoritative. Lastly, in Charlie and the Chocolate Factory during the scene in which Charlie is just gazing up at the stars from his room through the whole in his roof, front or back lighting is used. This is used to make Charlie seem innocent and happy, despite how poor he is and how tough times are. It also makes the viewer feel empathy for Charlie by how innocent he's portraying.
Both Carol Ann Duffy and Phillip Larkin use ambiguity and emotive language in their poetry to express their attitudes towards women. The poets utilize many congruent and contradictory techniques in the way they explore the theme of women which can be showed in Larkin’s Collection ‘’Whitsun wedding (1964)‘’ and Duffy’s collection ‘’Mean Time(1993)’’.The poems I chose from both poet’ collection coevals the theme of women in detail which I analyse in detail.
Florentino, Sonya. “Alter Ego”. Poems by Sonya Florentino. New York, New York. Penguin Publishing. 2009. 48. Print.
One of her most well-known works, entitled “Bitch”, was published in 1984 in the collection of poems Mermaids in the Basement. The poem written in a single stanza of 34 lines depicts the scene of a woman meeting an ex-lover in a random encounter. What is later depicted in the poem is an intricate display of contrasting emotions and thoughts. Outwardly, the woman is polite and pleasant to the man, but inwardly her “bitch” fumes at the meeting. Her inner “bitch” remembers the relationship and wants the woman to outwardly display her disdain. The woman’s internal dialogue subdues the wanton wanting of her harsh inner cri...
In this book, the audience follows a Victorian Era New Orleans resident, Edna. Nevertheless, throughout the story we see that Edna is struggling between two desires; the desire to be loved and the desire to be free and independent of men. This conflict of desires illuminates the meaning of the work to show that in that time period, a woman’s independence or love both come at a price, and that they were mutually exclusive.
One of the salient attributes of women poetry composed during this time was a vehement uproar against the essentialist notions of womanhood. “On Deconstruction: Theory and Criticism after Structuralism”, Jonathan Culler says, “to read as a woman is to avoid reading as a man, to identify the specific defenses and distortions of male readings and provide correctives” (54). The new women poets wrote from a woman’s perspective and were read from the
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
This essay, entitled ‘The Potential of Sisterhood: Christina Rossetti's Goblin Market’ (1991) is a journal article incorporated as a book chapter in the twenty-ninth volume of the Victorian Poetry. It was written by American feminist literary critic Janet Galligani Casey. This chapter features as a small part of a much wider study concerning literature from the Victorian period through a range of theoretical and critical angles. Victorian Poetry currently has fifty-four volumes suggesting, that it is a popular landmark text in Victorian literary criticism.