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Representation of women in literature
Representation of women in literature
Patriarchal society and the condition of women
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In “The Power of Discourse and the Subordination of the Feminine,” Luce Irigaray argues that, because society uses a patriarchal language that privileges male-gendered logic over female-gender emotion, there is no adequate language to represent female desire. She writes that “feminine pleasure has to remain inarticulate in language, in its own language, if it is not to threaten the underpinnings of logical operations” and, because of this, “what is most strictly forbidden to women today is that they should attempt to express their own pleasure” (796). This inability to articulate female desire means that female desire becomes unutterable, something that cannot be expressed. According to Irigaray, this unutterable-ness of female desire in patriarchal language leaves only one option for women to attempt to express their desire and that is the act of mimicry or mimesis. Mimesis is not an attempt to represent female desire in patriarchal language; instead, mimesis is in attempt through the use of patriarchal language to reveal that female desire cannot be presented, a way to “make ‘visible,’ by an effect of playful repetition, what was supposed to remain invisible – the cover-up of a possible operation of the feminine in language” (795). Mimesis exposes how patriarchal language disallows or denies female desire by circling around the absence of that female desire, by making its absence perfectly clear in a patriarchal discourse.
The concept of a patriarchal discourse, necessary to Irigaray’s argument, is an example of a shared interpretive community, a term coined by Stanley Fish that refers to a discursively-created set of ideas, beliefs, and interpretations that belong to a community or multiple communities. The most important aspe...
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...etative community of patriarchal language, does not allow for the existence of female desire and kills what little life it had in Eliza in these last lines. In the end, the characters of Edna and Eliza reveal the impossibility of female desire, of their having desire, within a culture that cannot articulate or name it.
Works Cited
Chopin, Kate. The Awakening. Ed. Nancy Walker. Boston: Bedford, 2000. Print.
Fish, Stanley. "How to Recognize a Poem When You See One." Is There a Text in this Class? The Authority
of Interpretive Communities. Cambridge, MA: Harvard University Press, 1980. PDF File.
Irigaray, Luce. "The Power of Discourse and the Subordination of the Feminine." Literary Theory: An
Anthology. By Julie Rivkin and Michael Ryan. Malden, MA: Blackwell Pub., 2004. Print.
Shaw, George Bernard. Pygmalion. New York: Dover Publications, 1994. Print.
Eliza's assaults against True Womanhood are violations of the virtues submissiveness and purity. When Eliza refuses to ignore the gallantry of Major Sanford in favor of the proposals of Reverend Boyer despite the warnings of her friends and mother, she disregards submissiveness in favor of her own fanc...
...oroform, a sensation-deadening stupor, the ecstasy of pain, and an awakening—mark Edna’s self-discovery throughout The Awakening. Still, in the end, Edna follows through with what she told Madame Ratignolle she would and would not be willing to do: “I would give up my life for my children; but I wouldn’t give myself” (69). She gives up her life because she is unwilling to give up her self—her desires, her cravings, and her passions to do what she wants selfishly and without regard for any other being’s wishes. She cannot escape motherhood, nor can she ever hope to find her idealized lover. Thus, she leaves these dissatisfactions behind her as she enjoys her final moments of empowerment and solitude wrapped in the folds of the sea, the hum of bees, and the smell of pinks’ musk.
Eliza Wharton has sinned. She has also seduced, deceived, loved, and been had. With The Coquette Hannah Webster Foster uses Eliza as an allegory, the archetype of a woman gone wrong. To a twentieth century reader Eliza's fate seems over-dramatized, pathetic, perhaps even silly. She loved a man but circumstance dissuaded their marriage and forced them to establish a guilt-laden, whirlwind of a tryst that destroyed both of their lives. A twentieth century reader may have championed Sanford's divorce, she may have championed the affair, she may have championed Eliza's acceptance of Boyer's proposal. She may have thrown the book angrily at the floor, disgraced by the picture of ineffectual, trapped, female characters.
The most prevalent and obvious gender issue present in the novella was that Edna challenged cultural norms and broke societal expectations in an attempt to define herself. Editors agree, “Edna Pontellier flouts social convention on almost every page…Edna consistently disregards her ‘duties’ to her husband, her children, and her ‘station’ in life” (Culley 120). Due to this, she did not uphold what was expected of her because she was trying to be superior, and women were expected to be subordinate to men. During that time, the women were viewed as possessions that men controlled. It was the woman’s job to clean the house, cook the meals, and take care of the children, yet Edna did none of these things. Her lifestyle was much different. She refused to listen to her husband as time progressed and continually pushed the boundaries of her role. For example, during that time period “the wife was bound to live with her husban...
how quickly women succumb to their "roles", and how easily people can. be shaped to consider a different and all too meaningless set of morals. The sexy of the sexy. Edna is strategically alienated in the novella so as to be the
Her transformation and journey to self-discovery truly begins on the family’s annual summer stay at Grand Isle. “At a very early period she had apprehended instinctively the dual life- that outward existence which conforms, the inward life which questions. That summer at Grand Isle she began to loosen a little of the mantle of reserve that had always enveloped her” (Chopin 26). From that point onward, Edna gains a deeper sense of desire for self-awareness and the benefits that come from such an odyssey. She suddenly feels trapped in her marriage, without being in a passionately romantic relationship, but rather a contractual marriage. Edna questions her ongoing relationship with Leonce; she ponders what the underlying cause of her marriage was to begin with; a forbidden romance, an act of rebellion against her father, or a genuine attraction of love and not lust? While Edna internally questions, she begins to entertain thoughts of other men in her life, eventually leading to sensuous feelings and thoughts related to sexual fantasy imagined through a relationship with Robert Lebrun. Concurrently, Edna wavers the ideas so clearly expected by the society- she analyzes and examines; why must women assimilate to rigid societal standards while men have no such
For centuries women have been perceived as overshadowed figures who remain in a separate sphere from men. The term “separate spheres” refers to the distinct, conventional characteristics associated with gender differences. The public sphere of men is associated with commerce whereas the domestic sphere for women is linked with the household. However, there is more than just one perspective on feminism. The feminist view is influenced by three main voices: the French, American, and British. French feminists focus their attention on language; American feminists analyze the literary aspects; and British feminists examine the historical processes (Murfin 296-299). Using these perspectives, we can see the oppression of women conveyed in many different texts throughout literature and in history. Mary Shelley’s Frankenstein, for instance, exhibits not only a feminist view in the text, but also in society during Shelley’s time period as displayed by her negotiations with the separate spheres. Voltaire’s Candide also conveys powerful gender differences and reveals the oppression of women throughout the novel. Therefore, a correlation can be seen between the view of women in the two novels and how it reflects the culture and time period in which the novels were written.
context out of which a work of literature emerges molds the interpretation of gender in that work.
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.
Rice, Philip. and Patricia Waugh, eds. Modern Literary Theory. 4th ed. New York: Oxford UP,
Irigaray, Luce. “That Sex Which is Not One.” The Critical Tradition: Classic Texts and Contemporary Trends. Ed. David H. Richter. Boston: Bedford Books, 1998. 1467-1471.
Through the society imaginations of genders, the society character can be depicted and captured in this imagery. This virtual representation, the study of an enduring public attitude deceptive in the widespread images of a gender and the ways of representing gender, has proved a productive and enlightening field of research. The stylistic dynamics at work in the genesis and propagating of gender images in the linguistic discourses, and their explicit function, and how they are received is a crucial source in forming a base for the female status in any society. Simone De Beauvoir (2011) addresses the ambiguous imagined femininity by saying “to be considered [as women] she must share in that mysterious and threatened reality known as femininity”. Such ‘mysterious and threatened reality’ is indeed independent of facts as this paper shall revel, and they neither mirror the female reality nor provide a truthful reflection of the female, but purely part of the cultural imagination.
...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 the history, women were considered below men. Then it led to believe that only men can write but not women. However, women managed to enter literature world like men did. However, most people believed that only writing style that exists in literature is men’s style not feminine. Almost to the point, people believed that there is no feminine style of writing. Helene Cixous is a writer of The Laugh of The Medusa. This book is about women’s writing from Cixous’s view and explanation of feminine writing. Cixous believed women should write their own style in order to break and destroy male dominated society.
In the beginning, Mills discusses theoretical elements and has labeled this section as “General Theoretical Issues” and the second part is comprised of analysis having three sub chapters. The main section of the book examines feminist models of the text and investigates language typologies. According to Sara Mills, language is a form of social communication, a tool to transfer information and a set of mutually decided linguistic choices in any system (Crystal: 1995, 18). Language functions as sharing of thoughts in a framework where options are equally exclusive. Mills criticizes the traditional method to deal with legendary writings which often neglect the fact that the writer has no command over the stuff, being delivered by him or her. Another drawback of this conventional approach is that only the texts which have literary worth are selected for analysis (e.g. the works of Shakespeare, D.H. Lawrence, Beckett and so on) and women’s writings for stylistic analysis are often overlooked. TorilMoi (1985) and Elaine Showalter (1978) are of the view that “women’s writings have frequently been barred from standard status, by the procedure named phallocentric