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The Glass-Ceiling in the Wizarding World of Harry Potter
The portrayal of female characters in British literature has most often reflected the larger perception of women by society during the time of a work’s publication. In this regard, the immensely popular Harry Potter series written by author J.K. Rowling is certainly no exception. The circumstances for women in late 20th century Britain have improved and in many ways are nearing equality with men, yet a notable upper barrier to success still remains. Rowling captures this gender dynamic throughout the Harry Potter series by including a diverse cast of resilient female characters who are not allowed to take on the same leadership roles dominated by the men at Hogwarts, at the Ministry of Magic, in quidditch, and during the Triwizard tournament. The novels also center on an important theme of motherly love that Rowling uses to explore the sacrifices women must make in order to raise their children well. Such issues have been present in British literature for well over a century, with each generation seeing steps toward equality, both for the fictitious characters and the women of a given time period. The Harry Potter series, therefore, constitutes a reflection of female status in modern Britain that has advanced, but remains perpetually flawed.
Rowling describes a lack of mobility for women into the higher echelons of society through the an absence of a true female leadership roles, despite the apparent equality a magical education should give women. Throughout the series, Rowling demonstrates that magic gives males and females equal power in theory, but that in practice, positions of authority remain occupied by men. Magic alone is not able to discriminate between genders be...
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...- Two Theories." BBC News. BBC, 21 Oct. 2005. Web. May 2014.
Rowling, J.K.. Harry Potter and the Sorcerer’s Stone. New York: Scholastic, 1997. Print.
Rowling, J.K.. Harry Potter and the Chamber of Secrets. New York: Scholastic, 1998. Print.
Rowling, J.K.. Harry Potter and the Prisoner of Azkaban. New York: Scholastic, 1999. Print.
Rowling, J.K.. Harry Potter and the Goblet of Fire. New York: Scholastic, 2000. Print.
Rowling, J.K.. Harry Potter and the Order of the Phoenix. New York: Scholastic, 2003. Print.
Rowling, J.K.. Harry Potter and the Half Blood Prince. New York: Scholastic, 2005. Print.
Rowling, J.K.. Harry Potter and the Deathly Hallows. New York: Scholastic, 2007. Print.
Rowling, J. K. "Ravenclaw Sorting Hat Welcome Message." Pottermore: A Unique Online Harry
Potter Experience from J.K. Rowling. J.K. Rowling, 2014. Web. May 2014.
Children’s literature of the Nineteenth Century is notoriously known for its projection of expected Victorian gender roles upon its young readers. Male and female characters were often given specific duties, reactions, and characteristics that reflected society’s particular attitudes and moral beliefs onto the upcoming citizens of the empire. These embedded concepts helped to encourage nationality and guide children towards their specific gender roles which would ensure the kingdom’s future success. Even in class situations where the demanding gender roles were unreasonable to fulfill, the pressure to conform to the Victorian beliefs was still prevalent.
In today’s society, gender issues are often discussed as a hot topic. In literature, feminist views are used to criticise “societal norms” in books and stories. Two popular pieces by authors Kolbenschlag and Hurston paint two very different views on women. One common assumption in the use of a feminist critical perspective is that gender issues are central. Kolbenschlag who wrote the literary criticism “Cinderella, the Legend” would most likely disagree with this statement, she feels that women bare greater burdens in society and are more largely affected by social norms.
Women pageant queens think they are supposed to represent the ideal of female beauty. The tomboy is especially associated with childhood and is defined by the girlhood performance of masculinity. As Michele Abate noted, “The traits most Americans are likely to name as constitutive of this code of tomboy conduct include proclivity for outdoor play (especially athletics), a feisty independent spirit, and a tendency to don masculine clothing and adopt a boyish nickname” (Abate). What does it mean to be a boy in children’s literature and the kind of varieties of boys that are represented? J.K. Rowling’s Harry Potter series typically features a social, educational, and physical dangers of school life that provide opportunities for adventure, mischief, and exploration. This collection of experiences allows boys to enact traditional forms of boyhood while practicing many of adult men’s culture and the ability to plan out schemes. Not all boys in children’s literature fit these conventional models of the physically robust athlete, hearty survivalist, or mischievous bad boy. Children’s literature also includes boys such as Laure in Little Women, who are described as sensitive, saintly, sickly, or effeminate. The literary and popular texts help understand expectations of boyhood and the insight into contemporary constructions of
Women in Literature: Reading Through the Lens of Gender. Westport, Conn.: Greenwood Press, 2003. Print. The. Bailey, Carol. "
In C.S. Lewis’ sixth book, our heroine Jill Pole sets out on her first adventure into Narnia. She sees giants, evil witches, a green serpent and many more creatures. Accompanied by Puddleglum and Eustace Scrubb, the trio set out on a journey to find the Prince Rilian. Although the three friends go on their adventure together, Puddleglum, Scrubb, and other male characters do most of the grunt work. The Chronicles of Narnia have been criticized for being sexist over recent years. The slander that this book has received is happening now because societal definitions of sexism have changed since this book was written. The Silver Chair was published in 1953, while all accusation of sexism started in the 1990’s. There are small instances of sexism in C.S. Lewis’ novel, The Silver Chair.
Rowling, J.K. (2003). Harry Potter and the Order of the Phoenix. New York, NY: Scholastic
Women are crucial to society. They are our voices, and they revolutionize our people. More importantly, mothers are a big part of our society. J.M Barrie’s Peter Pan is a magic-filled story about a mischievous young boy named Peter, and his tribe, the Lost Boys, who explore and go from raising themselves to attaining a mother. This story can be studied under the lens of the Feminist Critical Theory, which focuses on women empowerment and their outstanding role in society. Literature allows society to explore this role, which J.M Barrie displays impeccably in his book. Barrie’s book definitively presents Wendy’s journey from childhood to motherhood, her role in the development of Peter and the Lost Boys, and the idealization of women. Peter
In the Eighteenth and Nineteenth centuries, the idea of patriarchy ruled the many societies all over the world. Particularly in Britain, its “overarching patriarchal model” (Marsh) had “reserved power and privilege for men” (Marsh). Also during this time period feminist literature began to arise and was invaded by, “the complex social, ethical, and economic roots of sexual politics… as testimony to gender bias and the double standard” (“Sexual Politics and Feminist Literature”). In Jane Austen’s writing, readers have been aware of her constant themes of female independence and gender equality. However, many have criticized the author for the fact that many of her “individualistic” female characters have ended up
New York: Bantam Books, 1997. Rowling, J.K. Harry Potter and the Philosopher’s Stone. 1st Ed. London: Bloomsbury Publishing, 2000.
Throughout literature’s history, female authors have been hardly recognized for their groundbreaking and eye-opening accounts of what it means to be a woman of society. In most cases of early literature, women are portrayed as weak and unintelligent characters who rely solely on their male counterparts. Also during this time period, it would be shocking to have women character in some stories, especially since their purpose is only secondary to that of the male protagonist. But, in the late 17th to early 18th century, a crop of courageous women began publishing their works, beginning the literary feminist movement. Together, Aphra Behn, Charlotte Smith, Fanny Burney, and Mary Wollstonecraft challenge the status quo of what it means to be a
...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).
Throughout literature, authors employ a variety of strategies to highlight the central message being conveyed to the audience. Analyzing pieces of literature through the gender critics lens accentuates what the author believes to be masculine or feminine and that society and culture determines the gender responsibility of an individual. In the classic fairytale Little Red Riding Hood, the gender strategies appear through the typical fragile women of the mother and the grandmother, the heartless and clever male wolf, and the naïve and vulnerable girl as little red riding hood.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
Rowling, J. K., and Mary GrandPré. Harry Potter and the Order of the Phoenix. New York, NY: Arthur A. Levine Books, 2003. Print.
Rowling, J. K. Harry Potter and the Deathly Hallows. New York: Arthur A. Levine Books, 2007. Print.