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Gender role stereotypes in literature
Gender role stereotypes in literature
Gender stereotypes in literature
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While Fefu and her Friends portrays gender as a fixed idea in terms of women fulfilling the role of being biologically and having indifferent behavior in front of men and women, and men being dominating and strong, Cloud Nine portrays gender as an unstable idea thinking of gender being a spectrum which is constructed by the type of performance one gives depending on his or her opinion and not the society’s norms which is having the idea of gender as one either being a man or a woman innately and keeps imposing the same.
The play Cloud Nine strongly critiques the societal standards of a person being a man or woman by birth and portrays the radical idea of gender to be different from the biological sex with the help of cross-gender casting. The play begins with the introduction where different characters are introduced by Clive. Clive introduces his wife Betty, a submissive housewife, who is played by a man in Act 1 but by a woman in Act II as mentioned in the stage directions (Cloud Nine 6). Furthermore, Clive introduces his son Edward, who is played a woman in Act 1 and a man in Act II as depicted in the stage directions (Cloud Nine 6). Thus, with this cross-gender casting, the play is deconstructing the traditional ideas of a biological man and a
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In the beginning of the play, the role of Edward is played by a woman who says, “What father wants I’d dearly like to be, I find it rather hard as you can see” (Cloud Nine 6). This cross-gender casting is to show that gender is an artificial construct and even though Edward is biologically a man, he may possess the traits which may resembles the traits which is feminine according to do the societal norms, but is the true identity of Edward. Eventually with time, Edward is represented as a homosexual as Harry
The way M butterfly shows gender can very clearly be seen as the play moves on. When song Liling and Comrade chin are discussing about how men play women parts Liling says” No, its because only a man knows how a woman is supposed to act”. A statement that says that the man knows a real women one that is submissive to him and that is what liling gave song take the time when Gillard and song were talking and liling says “ its one of you’re favorite fantasies isn’t it? The submissive oriental women and the cruel white man”. By this Liling is pointing out the gender difference’s between men and women during that time white women were considered more outgoing than Chinese women thus when galliard finds liling he thinks he has found a women of his fantasies a women h can have as a mistress but she will not tell his wife only be submissive to him. Rene Gillard fantasied of being a true man because they did not consider Chinese men, Real men or masculine during the scene when song and the judge are talking songs says “Her eyes say yes but her mouth says no, the west thinks of itself as masculine big guns big industry while the east is feminine weak d...
She has us see someone with the same mindset as us, in regards to gender, enter an androgynous world and interact with the inhabitants to establish relationships. We share his reactions and can realize how much gender dictates within our society and restricts our views to understand other’s interpretations. Social norms have been shaped by the way we perceive gender in a way we’ve become blind to the issues it creates. We’ve become desensitized to the serious issues that gender has affected like gender roles, job inequality, politics, and much
Through the actions of the male hegemony and the mother figure, both plays show the different perspectives both sexes have towards homosexuality. The patriarchal figures, show an intolerant and abusive perspective whereas the mother figures show a more understanding way of coping with the identities of their sons. By seeing the reactions of both males and females, it is to say that the maternal figures of the play show a more comprehensive attitude towards the struggles that the male protagonist undergo. Both plays are related to today´s society, because there are still families in which homosexuality is not accepted. People are still
perspective on the concept, arguing that gender is a cultural performance. Her careful reading of
This paper will look at the different conceptions highlighted by Bulman in his article through the use of different methods used by the actors in the play. Twelfth Night, by William Shakespeare captures the different conceptions of gender identity and different sexualities within the Elizabethan period.
Power, especially in the hands of females, can be a force for immense societal changes. Director Sciamma plays with the role of power in the lives of the four girls, predominantly in the character of Lady. Lady’s sense of control, stems from winning hand on hand fights, but the opinion of the men around her lays the foundation of this empowerment. The more fights Lady wins, the more the men appear to respect her, yet as feminist Simone de Beauvoir explains “[n]o matter how kindly, how equally men treated me when I tried to participate in politics, when it came right down to it, they had more rights, so they had more power than I did (Simone de Beauvoir - The Second Sex- ix),” the “power” Lady obtained was provisional. Lady’s power was directly tied to the opinion of the men around her, in this scene, a portion of the boys sits on stairs physically higher than Lady, invoking a sense of power hierarchy and control. The boys only valued Lady when she successfully participated in the their world of violence, but this participation came with boundaries as “[w]omen can never become fully socialized into patriarchy- which in turn causes man to fear women and leads then, on the one hand, to establish very strict boundaries between their own sex and the female sex (Feminist theory 142).” The men had never truly incorporated Lady into their group, she had just
In Gender Trouble, Judith Butler discusses complications with constructions of inner and outer worlds of the body. She argues that “internalization of gender”, as common linguistics describes it, is a part of the heterosexual hegemonic binary of gender conformity which distinguishes inner and outer worlds. Gender, in the commonly accepted model, is innate and through a process of bringing out the inner gender is expressed. Butler proposes, instead, that “the gendered body is performative” and “has no ontological status apart from the various acts which constitute its reality” (173). Thus, gender does not exist within a person, a part of the body itself, but is a performance constructed through many displays. Gender is not explicitly connected to identity because it is not internal but rather on the body. Butler says that drag “reveals the distinctness of those aspects of gendered experience which are falsely naturalized as a unity through the regulatory fiction of heterosexual coherence. In imitating gender, drag implicitly reveals the imitative structure of gender itself – a...
First, no matter what is represented on stage, the fact that boys are actually playing cross dressing men and women is insistently metaphorical; the literal fact of trans-vestism (that is, the boy actor impersonating either a woman, a woman cross dressed as a man, or a man cross dressed as a woman, not the represented character) is divided between the homoerotic and the blurring of gender. On the other hand, the represented female character who cross dresses functions literally to relieve the boy actor, at least for a time, from impersonating a woman. Represented characters who cross dress may pre-sent a variety of poses, from the misogynist mockery of the feminine to the adroitly and openly homoerotic. In the case of the title character of Jonson's Epicoene, the motif is utilized as disguise intended to effect a surprise ending for Morose and his heterosexual audience, for whom the poet also pr...
Edward’s detachment from society is the result of a floozy’s lie, a deranged woman’s religious claims, and a teen with an inflated ego that all seem to hate Edward because of his differences and because they cannot tell what he is and what his intentions are. Edward is a good person and he is not even a real human being. He is more kind and uncorrupt then the real human beings who live in the community. It matters to Joyce, Esmeralda, and Jim that Edward be definable and that they can recognize him as something with emotions and motives. However, Edward does not make any sense to any of them at all and their prejudices continue to exist because they do not and will not take the time to figure out that Edward’s differences are actually not as horrific as they make them out to be.
...ve been suffering mental abuse by their husband. This play presents the voice of feminism and tries to illustrate that the power of women is slightly different, but can be strong enough to influence the male dominated society. Although all women are being oppressed in the patriarchal society at that time, Glaspell uses this play as a feminist glory in a witty way to win over men. Mrs. Hale and Mrs. Peters solve the crime by reflecting on Minnie Wright’s unhappy marriage that leads her to murdering. Using the relationship between female and male characters throughout the play, Glaspell speaks up to emphasize how the patriarchal society underestimated women’s rights and restricted women’s desires.
In this play, the men and women characters are separated even from their first entrance onto the stage. To the intuitive reader (or playgoer), the gender differences are immediately apparent when the men walk confidently into the room and over to the heater while the women timidly creep only through the door and stand huddled together. This separation between genders becomes more apparent when the characters proceed in investigating the murder. The men focus on means while the women focus on motive: action vs. emotion. While the men...
The masculine and feminine are how we view all things in life. There is a superiority of one over the other, and it cannot be confined to the likes of one’s mental state. The masculine is hardened, or what is outwardly described as tough, rigid, strong and basic. The feminine is at best described as the antithesis of masculine, softer, kindler, weaker, and to be protected. When I have to define the traits between the two, both masculine and feminine, I am relegated to speak based on perception of the two definitive aspects of male and female and none else.
In 1979, Caryl Churchill wrote a feminist play entitled Cloud Nine. It was the result of a workshop for the Joint Stock Theatre Group and was intended to be about sexual politics. Within the writing she included a myriad of different themes ranging from homosexuality and homophobia to female objectification and oppression. “Churchill clearly intended to raise questions of gender, sexual orientation, and race as ideological issues; she accomplished this largely by cross-dressing and role-doubling the actors, thereby alienating them from the characters they play.” (Worthen, 807) The play takes part in two acts; in the first we see Clive, his family, friends, and servants in a Victorian British Colony in Africa; the second act takes place in 1979 London, but only twenty-five years have passed for the family. The choice to contrast the Victorian and Modern era becomes vitally important when analyzing this text from a materialist feminist view; materialist feminism relies heavily on history. Cloud Nine is a materialist feminist play; within it one can find examples that support all the tenets of materialist feminism as outlined in the Feminism handout (Bryant-Bertail, 1).
...ns of gender, and anxiety surrounding his newly “female” position and its implications. His newfound identity is rendered entirely dependent upon his portrayal of the role he formerly attempted to flee, and its finality is reliant upon Bertram’s capability as an actor – which, as has been demonstrated throughout the play, is as tenuous as the masculinity he seeks to embody. When made to reconcile the relationship between performance, gender, and the blurring of a social order, Bertram becomes disoriented, and relies ultimately upon the conventions of theatre: he falls back into his prescribed role, and, as such, may finally begin to portray his journey into manhood.
... Critical Interpretations, ed. Harold Bloom (New York: Chelsea House Publishers, 1987) 43. For further discussion on renaissance gender performance and identity politics among Shakespeare's cross-dressed heroines, see Michael Shapiro's Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages (Ann Arbor: The University of MIchigan Press, 1994).