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Representation of women in literature
Gender role in literature
Representation of women in literature
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Father is outside, in the sun, sacrificing his body and energy in order to attain a comfortable living for his family. Mother is watching Father through the kitchen window as she chops carrots for tonight’s stew. Suddenly, she meets the eyes of her daughter, walking gently through the grass, being careful not to tear her dress. Playfully chasing after the girl is a young boy with scruffy hair who will one day, join his father under the beating sun. This scene highlights the gender roles that humans have duplicated generation after generation. The short story “Boys & Girls” by Alice Munro tells the story of a fox- farming family who exemplify societies set gender roles. THESIS: On the farm, the foxes represent how women are confined, looked down upon and objectified by men. The foxes who inhabit the farm are raised by men, controlled by men, owned by men, skinned by men, and sold for a price- by men. The narrator demonstrates this idea by explaining that “alive, the foxes inhabited a world my father made for them” (Munro 38).Women, compared to the foxes, have lived their lives for men throughout history. For instance, girls have been trained to find the right husband in order to gain self- worth and are often forced to obey a father, brother or husband. To further prove this, the narrator describes “a …show more content…
Our narrator is a classic example of how women and girls are thought of as useless for things of importance when there is a male around to dominate. The dominant examples to this statement that the author gives us are the management and roles of the silver foxes, the escape of Flora and what it symbolizes for the character dynamics and women as an entity, and the change in the narrator’s state of mind. The goal of this piece is to explain what gender roles are and how it forces women into a labelled box created by men and the
Munro, Alice ““Boys and Girls” Viewpoints 11. Ed, Amanda Joseph and Wendy Mathieu. Alexandria, VA: Prentice Hall, 2001. Print.
Kristjana Gunnars suggests that “Canada is an unhappy country. No, better still, the Prairies are unhappy. Canadian women are especially unhappy” (Gunnars 122). In Margaret Laurence’s A Bird in the House, the women are indeed unhappy. In the end, however, it is the women who triumph because of their solidarity. The men, due to their solitary states, are unable to maintain their traditionally powerful roles. In these short stories, the men appear to be the leaders of the household, but the women have the greater but subtler power. The men do not lend each other support, while the women are often willing to lend each other a shoulder to cry on. Thus, because of their bluntness and solitariness, the men in A Bird in the House are dethroned from their traditional seats of power in male-female relations, male-male relations, and in female-female relations where their absence is not missed.
In her story, Boys and Girls, Alice Munro depicts the hardships and successes of the rite of passage into adulthood through her portrayal of a young narrator and her brother. Through the narrator, the subject of the profound unfairness of sex-role stereotyping, and the effect this has on the rites of passage into adulthood is presented. The protagonist in Munro's story, unidentified by a name, goes through an extreme and radical initiation into adulthood, similar to that of her younger brother. Munro proposes that gender stereotyping, relationships, and a loss of innocence play an extreme, and often-controversial role in the growing and passing into adulthood for many young children. Initiation, or the rite of passage into adulthood, is, according to the theme of Munro’s story, both a mandatory and necessary experience.
“Boys will be boys, and girls will be girls”: few of our cultural mythologies seem as natural as this one. But in this exploration of the gender signals that traditionally tell what a “boy” or “girl” is supposed to look and act like, Aaron Devor shows how these signals are not “natural” at all but instead are cultural constructs. While the classic cues of masculinity—aggressive posture, self-confidence, a tough appearance—and the traditional signs of femininity—gentleness, passivity, strong nurturing instincts—are often considered “normal,” Devor explains that they are by no means biological or psychological necessities. Indeed, he suggests, they can be richly mixed and varied, or to paraphrase the old Kinks song “Lola,” “Boys can be girls and girls can be boys.” Devor is dean of social sciences at the University of Victoria and author of Gender Blending: Confronting the Limits of Duality (1989), from which this selection is excerpted, and FTM: Female-to-Male Transsexuals in Society (1997).
The father in the story was a fox farmer. He raised foxes and when their fur was prime, he skinned them and sold their pelts for profit. Growing up, “the girl” sought for attention from her father, therefore, she began to enjoy helping him work outside with the foxes. “My father did not talk to me unless it was about the job we were doing … Nevertheless I worked willingly under his eyes, and with a feeling of pride.” Consequently, she began to dread working in the kitchen with her mother, and thus loss respect for her mother’s subservient position in the household. When describing her mother’s housework it was “endless” compared to her father’s work outside, which was “ritualistically important.” This obvious resentment for society’s womanly duties symbolizes the narrator’s desire to be more than “just a girl”.
In the late 19th century and early 20th century, idea for the equality of women began to ignite a fire within the world. Women wanted to fight oppression and have a chance to experience the same rights as men. However, although suffragettes would not fight fire with fire until a couple of decades later, the idea of escaping societal roles and gain freedom within society and marriage possibly inspired literary works during this time period. These issues of the inequality between men and women in marriage and society plays strong roles in literary works. In “A Doll’s House” by Henrik Ibsen, “Trifles” by Susan Glaspell, and “The Yellow Wallpaper” by Charlotte Perkins Gilman all have something in common: the women are oppressed by the men and society, and ultimately pull away from their societal roles and break free.
Suggested roles of all types set the stage for how human beings perceive their life should be. Gender roles are one of the most dangerous roles that society faces today. With all of the controversy applied to male vs. female dominance in households, and in the workplace, there seems to be an argument either way. In the essay, “Men as Success Objects”, the author Warren Farrell explains this threat of society as a whole. Farrell explains the difference of men and women growing up and how they believe their role in society to be. He justifies that it doesn’t just appear in marriage, but in the earliest stages of life. Similarly, in the essay “Roles of Sexes”, real life applications are explored in two different novels. The synthesis between these two essays proves how prevalent roles are in even the smallest part of a concept and how it is relatively an inevitable subject.
Munro uses a fox farm for the setting of Boys and Girls to bring out many of the social issues between genders. While her father worked outside doing all the labor work, her mother stayed inside cooking and cleaning, “it was an odd thing to see my mother down at the barn” (Munro 12). The girl was very resentful towards her mother, mostly because she did not agree with the stereotypical life that her mother led. Causing the girl to spend more time helping her father around the farm. The girl would help feed the foxes, “cut the long grass, and the lamb’s quarter and flowering money-musk” (Munro 10). Although when she turned eleven, things started to change causing the girl to not only observe gender differences between her mother and father but to experience it between her and her brother Laird when working around the farm. While Laird became more predominant with helping on the farm, the girl became less valuable to her father and was forced to help her mother around the house.
The folk tale of “Little Red Riding Hood” has numerous variations and interpretations depending on what recorded version is being read or analyzed. “Little Red Cap,” by the Grimm Brothers, and “The Grandmother,” as collected by Achille Millien, are different in numerous ways: the depth of the narrative structure, characters involved, length – yet, the moral lesson is largely unchanged between the two versions. One of the more glaring differences between the two versions is the way that the narrator and the actions of the characters are used to describe the young girl, female, and the wolf, male. Being either female or male are matters of biological makeup. The characteristics of femininity and masculinity that are associated with being female or male, however, are socially and culturally defined. How do these different descriptions inform gender construction, and more specifically, how do gender constructions help to naturalize stereotypes within the collective conscience of society?
Society places ideas concerning proper behaviors regarding gender roles. Over the years, I noticed that society's rules and expectations for men and women are very different. Men have standards and specific career goals that we must live up to according to how others judge.
Alice Munro’s “Boys and Girls” is a story about a girl that struggles against society’s ideas of how a girl should be, only to find her trapped in the ways of the world.
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.
The young girl in the story is struggling with finding her own gender identity. She would much rather work alongside her father, who was “tirelessly inventive” (Munro 328), than stay and work with her mother in the kitchen, depicted through, “As soon as I was done I ran out of the house, trying to get out of earshot before my mother thought of what to do next” (329). The girl is torn between what her duties are suppose to be as a woman, and what she would rather be doing, which is work with her father. She sees her father’s work as important and worthwhile, while she sees her mother’s work as tedious and not meaningful. Although she knows her duties as a woman and what her mother expects of her, she would like to break the mould and become more like her father. It is evident that she likes to please her father in the work she does for him when her father says to the feed salesman, “Like to have you meet my new hired man.” I turned away and raked furiously, red in the face with pleasure (328-329). Even though the young girl is fixed on what she wants, she has influences from both genders i...
Traditionally, women have been subservient to men; they are still often subjugated, treated as objects, and are valued for their ability to reproduce. Since the beginning of society dating back to the Paleolithic age, in the hunter-gatherer societal system, men generally hunted and provided for the family, while the women gathered fruit and raised children at home. This brand of society has in a way persisted even until today; often women will stay at home and raise children while the man would be the one to “hunt,” or in today’s context, work and provide for the family. This puts the woman in a subordinate position as they are dependent on the man, often leading to women being treated as objects. These stereotypes contribute to the development of Lispector’s works.
“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.