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In Janet Lewis’s “The Wife of Martin Guerre”, Bertrande, the protagonist, is a sixteenth century woman who is thrown into a loveless marriage at the age of eleven, at the age of fourteen her mother dies, and once she has finally started developing feelings for this man whom she has been forced to marry, he leaves her in order to save himself from his angry father who he stole seed from. Several years after Martin leaves, Bertrande is introduced to a man who claims to be Martin Guerre, who is really an imposter. While socially and spiritually committed to her husband, she is physically committed and attached to the imposter. The imposter looks remarkably similar to Martin Guerre, but with a much sweeter, more kind disposition. (TEXT EVIDENCE HERE) The imposter is accused, by Bertrande, of not being the real Martin and thus once the real Martin Guerre comes back Bertrande leaves the man she loves and asks for forgiveness of the man who left her. At no point does Bertrande truly question any of it, it is the way customs work and she accepts this. She is a victim of her upbringing, a victim of circumstance, and a victim of social customs
Unfortunately due to the social latter, which Bertrande sits lower then Martin (Tappet), once the real Martin Guerre comes home Bertrande is morally forced to say that the man she loves is an imposter and that the soldier is her cold husband. Thus Bertrande is a victim of social rules and customs. Bertrande is, however, not a heroine because she betrays herself in her act of revealing the imposter. Bertrande is a victim of customs at an incredibly young age. At eleven Bertrande is Married to Martin Guerre, who at the first moment of them being alone together attacks her. Bertrande does not love the m...
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...life for the sullen one is a poor decision, which is what society would have her do. She is already in the eye of the public for accusing the man she has been living with for more than a year of not being her husband. Thus while Bertrande is not a heroine she is still a victim of social and spiritual circumstances.
Works Cited
Asarnow, Herman PH.D.."The Great Chain of Being." University of Portland, Oregon.
Spring 2009. 24 Mar 2009
Jack, Tappet. "The Great Chain of Being." renaissance web reference. Tripod. 10 Mar
2009.
Saltau, Mrgaret. "Text Talk: the Wife of Martin Guerre." The Age. 04 May 2006. The
Age Educational Recourse Center. 22 Mar 2009
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The War Against Boys is the story of our cultural attack on the modern male. Twenty-first century men are looked down-upon, laughed at, and many times emasculated in our day-to-day lives. In her book, Christina Hoff Sommers does an excellent job reminding us that men are responsible for a lot of good in the world: “This book tells the story of how it has become fashionable to attribute pathology to millions of healthy male children. It is a story of how we are turning against boys and forgetting a simple truth: that the energy, competitiveness, and corporal daring of normal, decent males is responsible for much of what is right in the word.” Our culture has promoted a skewed view; most people believe that women are treated unfairly, that
A true war story blurs the line between fact and fiction, where it is neither true nor false at the same time. What is true and what is not depends on how much you believe it to be. In the chapter “How to Tell a True War Story” from the novel “The Things They Carried” by Tim O’Brien, the author provides various definitions to how the validity of a war story can be judged. The entire chapter is a collection of definitions that describe the various truths to what a true war story is. Unlike O’Brien, who is a novelist and storyteller, David Finkel, the author of “The Good Soldiers”, is a journalist whose job is to report the facts. Yet in the selection that we read, chapter nine, Finkel uses the convention of storytelling, which relies heavily on the stories the combat troops tell each other or him personally. Finkel attempts to give an unbiased view of the Iraq war through the stories of the soldiers but in doing so, Finkel forfeits the use of his own experiences and his own opinions. From O’Brien’s views on what a true war story is combined with my own definitions, I believe that Finkel provides a certain truth to his war stories but not the entire truth.
However, what really frames Francine du Plessix Gray’s biography is not so much the “fin du dix huitième siècle” but the “fin du vingtième siècle” and the “reality” material from Sade’s life that made it possible to represent the Marquis, his sons, his wife, mother-in-law, father-in-law, and uncle as so many of the people who populate the running narrative of criminals, deadbeat dads, incestuous relatives, date-raping playboys, and battered women that fill soap operas, day-time talk, women’s magazines, talk radio, and the tabloids. This paper, then, explores Sade’s biography not as a narrative of (the Marquis de Sade’s) his life, but as a narrative that pleases today’s reader because it serves up a voyeur’s view of (in) his “dysfunctional” family life “at home” that we are all too familiar with. This becomes abundantly apparent when du Plessix-Gray’s rendering of the Marquis and the Marquise’s lives are superimposed over the récit of lives that we read about all the time in the popular press and observe in television soaps and other series. Ultimately, we are interested in what such a reading, writing and representation of Sade’s life does to Sade’s persona and status, both in the world of letters, but more importantly, in the world at large.
Being a woman, she is completely at the mercy of her husband. He provides for her a lifestyle she could not obtain on her own and fixes her place in society. This vulnerability stops Edna from being truly empowered. To gain independence as a woman, and as a person, Edna must relinquish the stability and comfort she finds in the relationship with her husband. Mr. and Mrs. Pontellier's marriage comprises a series of power plays and responds well to Marxist and Feminist Theory. Leonce Pontellier looks "…at his wife as one who looks at a valuable piece of property…". He views her as an accessory that completes the ideal life for him. Edna, however, begins to desire autonomy and independence from Leonce, so true to the feminist point of view.
A History of Marriage by Stephanie Coontz speaks of the recent idealization of marriage based solely on love. Coontz doesn’t defame love, but touches on the many profound aspects that have created and bonded marriages through time. While love is still a large aspect Coontz wants us to see that a marriage needs more solid and less fickle aspects than just love.
Also, the rhetoric Chopin uses is full of contradictions from the beginning. not only that, but there are so many contradictions of manner, style, Point of view, and all of these both internal and external of each of the characters. For example, Leonce “Pontellier wore eye-glasses. He was a man of forty, of medium height and rather slender build; he stooped a little. His hair was brown and straight, parted on one side. His beard was neatly and closely trimmed,” whereas his sons are described “sturdy little fellows of four and five.” This suggests that he is rather delicate, and that his wife, after whom they presumably take (ils tiennent de leur mere) is sturdy and strong, and can and will take him at something. Another significant one comes in chapter xxix where her interior monologue talks of her “understanding [as]...that monster made up of beauty and brutality.”
Martineau clearly had a strong political agenda in writing this story, however in doing so, she addresses the fundamental difference she sees in the roles of responsibility in marriage. In her mind, the husband and the wife have clearly defined roles, not so much along lines of production, but rather in terms of the household. That which is in the household, whether it is the domestic duties or financial responsibility, falls to the wife while it is the husband who is responsible for the income stream.
The protagonists, The Marquise de Merteuil and the Vicomte de Valmont, consider it their life’s ambition to sadistically control and dominate those around them through sexual intrigue. These two villains are indeed locked in psychological combat to see who can actually ‘out-do’ the other in stalking, capturing and destroying the souls of others. Taking absolute pleasure in ripping any virtue from the hearts of their prey, Merteuil and Valmont wave their accomplishments in front of each other like spoils of war. The less the chance of surrender, the more relentless is the pursuit.
Louise Mallard is a woman who enjoys freedom and independence. She feels soaring relief and fiery triumph upon realizing that, yes, she is finally free. She is free of the weighted ropes of marriage. She fantasizes of her days ahead, living for herself and only herself. “A kind intention or cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination” (Chopin 234). She views the imposing of one’s will on another person as a crime, no matter the intention behind it. She has a taste of freedom after Mr. Mallard’s death and can finally see days without stress ahead of her. Prior to her husband’s death, young Mrs. Mallard feels tied down and even oppressed. “She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength” (Chopin 233). Despite the typical oppression of women throughout the centuries prior to the 1920s, Mrs. Mallard possesses a free spirit.
In today’s world, men and women are perceived equally by the society. In the past, authority and control define men while women are given the characteristic of helplessness. Men are able to get hold of high positions while women usually are subservient to them. In movies, we would usually see women portray roles that are degrading due to the stereotypical notions they associate with this gender group. Moulin Rouge, a movie set during the 1900s narrates the story of a courtesan woman, Satine, as she undergoes hardships to earn money, experiences love but unfortunately, due to her irrational choices, faces tragic consequences at the end. Satine is a symbol of how women are being treated by the society during the era before post-feminism, where men have superiority over women. As the plot develops, Satine transforms from a worthless prostitute to someone who is courageous and willing to face her fears in order to attain her aspirations. Psychoanalyst theory and feminist analysis are apparent throughout the film. The male gaze, fantasy and feminism are three topics that will be covered in depth in this essay through relating it to the movie.
Léonce appears to be an ideal husband for the turn of the nineteenth century. He adores his wife Edna, buys her affectionate gifts, and cares for her general well being. When other women see his treatment of Edna, they believe him to be a perfect husband. Edna, however, sees him as being distant and reserved. Though he gives her material freedom, he sees her as a possession. He provides little emotional support and cannot fill any of Edna's rising sexual needs. "Her husband seemed to her now like a person whom she had married without love as an excuse" (77). Léonce proves to be the father figure for Edna. He pampers her and takes care of all her physical needs. However, he is unable to rea...
The Friday Everything Changed” written by Anne Hart describes how a simple question challenges the
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
At the beginning of the novel, it is obvious that Edna’s marriage to Léonce is not entirely stable. Like every other woman during this time, she is seen as inferior to him. According to Carol Lasser and Stacey M. Robertson, “Female subordination [was] demanded in marriage, [and] the traditional rights conferred on wives to demand support and maintenance, and the ways in which a single woman might hold independent property and contract as an individual, are known as the feme sole” (4). Léonce pays little attention to Edna and constantly ridicules her for her mistakes: “He reproached his wife with her in attention, her habitual neglect of the children” (Chopin 7). Eventually, Edna grows tired of being humiliated by her husband and obeying his every command. This, combined with her newly-found love for her best friend and confidant, Robert Lebrun, gradually drives Edna Pontellier to completely rethink her life and defy her social rules that came along with, not only womanhood, but with the aristocracy as well. For example, one Tuesday, Edna refuses to participate in the social tradition of staying home to “greet” people and accept cards from friends and acquaintanc...
Catherine Deneuve is famed for not only her acting credentials but her beauty too, having once been the flawless face of Chanel. She has appeared in various films that exploit her sexuality and desirability, but one could claim that her characters are never one-dimensional. Hartman’s assertion that Catherine Deneuve’s characters display both passion and inviolability supports a conception of her roles as multifaceted yet sometimes contradictory; Deneuve has certainly shown passion in her films (as the strong businesswoman of Potiche) and her inviolability cannot be denied (as the inaccessible ice maiden of Repulsion who degenerates into an ‘angel-faced schizophrenic murderess’ to protect herself from men’s advances), but does she demonstrate these two qualities simultaneously through any of her characters? This essay will discuss the validity of Hartman’s argument referring to Deneuve’s performance in Luis Buñuel’s Belle de Jour, with some supporting references to other films in which Deneuve starred.