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Gender and roles of women in literature
Gender and roles of women in literature
Gender and roles of women in literature
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Over time, the image of men has changed. This is due mostly to the relaxation of rigid stereotypical roles of the two genders. In different pieces of literature, however, men have been presented as the traditional dominate figure, the provider and rule maker or non-traditional figure that is almost useless and unimportant unless needed for sexual intercourse. This dramatic difference can either perpetuate the already existing stereotype or challenge it. Regardless of the differences, both seem to put men into a negative connotation. Sandra Cisneros’s coming of age novel The House on Mango Street, is a good example of an instance where the ‘macho man’ stereotype is extenuated. Esmerelda, the narrator, is growing up in a very traditional patriarchal culture. In this environment, the men are seen as the head of the family, often controlling what his wife and family can do. In the chapter, “Alice Who Sees Mice” Esmerelda tells about a girl, Alice, who was forced to take her mother’s role and care for her younger siblings and father. When she attempts to go to school to escape the life, her father berates her sections and tells her that her …show more content…
Where many novels focus on the men and how they are the dominant figure in the society, Sula has the entire focus on the women, with men coming in only as sexual objects. Throughout the novel, the two main girls did not have male figures in their lives. Nel had a father but he was often away on trips, leaving her mother to raise her. Sula did not even have a father. The men she saw in the house were often there to have sex with her mother, Hannah, or exchange in flirtatious conversation with her grandmother, Eva. The man in this story is not the type to stay with his wife or to be faithful. Sula’s grandfather left, her father died, Nel’s father is never around. Hannah often slept with recently married men, and Sula sleeps with Nel’s husband, Jude, causing him to leave
Modern society believes in the difficult yet essential nature of coming of age. Adolescents must face difficult obstacles in life, whether it be familial, academic, or fiscal obstacles. In the House on Mango Street, Esperanza longs for a life where she will no longer be chained to Mango Street and aspires to escape. As Esperanza grows up on Mango Street, she witnesses the effect of poverty, violence, and loss of dreams on her friends and family, leading her to feel confused and broken, clinging to the dream of leaving Mango Street. Cisneros uses a reflective tone to argue that a change in one’s identity is inevitable, but ultimately for the worst.
Sandra Cisneros uses personification and symbolism to affect the theme of the struggle self-consciousness and loss of innocence in a book full of short stories, The House on Mango Street. A young Hispanic preteen named Esperanza, uses a fortune of five dollars to buy a flimsy bicycle. Along with these two other young girls named Lucy and Rachel. The sense of owning a bike is a luxurious dream to them since they live near the poverty line. So, when they receive their bike, Esperanza loves riding it until she rides past her house, which is “sad and red and crumbly in places” (Cisneros 16). The author uses personification to bring down Esperanza to the reality of her situation by portraying her house negatively, which is a reflection of her
In the society that Esperanza and her friends live in, love takes a back seat
The short story, “The House on Mango Street” is a fiction writing focused on a family as they move from house to house. The story is written by Sandra Cisneros. This paper will focus on three literacy elements that are significant in “The House on Mango Street.” Literacy elements are important, in fiction writing, because the different components allow the author to become more creative within their writing. The first literacy element that will discussed in this paper is the point of view, the second element will be the theme, and the last element will describe important symbolism throughout the story.
“Home is where the heart is.” In The House on Mango Street, Sandra Cisneros develops this famous statement to depict what a “home” really represents. What is a home? Is it a house with four walls and a roof, the neighborhood of kids while growing up, or a unique Cleaver household where everything is perfect and no problems arise? According to Cisneros, we all have our own home with which we identify; however, we cannot always go back to the environment we once considered our dwelling place. The home, which is characterized by who we are, and determined by how we view ourselves, is what makes every individual unique. A home is a personality, a depiction of who we are inside and how we grow through our life experiences. In her personal, Cisneros depicts Esperanza Cordero’s coming-of-age through a series of vignettes about her family, neighborhood, and personalized dreams. Although the novel does not follow a traditional chronological pattern, a story emerges, nevertheless, of Esperanza’s search to discover the meaning of her life and her personal identity. The novel begins when the Cordero family moves into a new house, the first they have ever owned, on Mango Street in the Latino section of Chicago. Esperanza is disappointed by the “small and red” house “with tight steps in front and bricks crumbling in places” (5). It is not at all the dream-house her parents had always talked about, nor is it the house on a hill that Esperanza vows to one day own for herself. Despite its location in a rough neighborhood and difficult lifestyle, Mango Street is the place with which she identifies at this time in her life.
... E Glenn, and Nancy B Sherrod. The psychology of men and masculinity:Research status and future directions. New York: John Wiley and sons, 2001.
Sandra Cisneros' strong cultural values greatly influence The House on Mango Street. Esperanza's life is the medium that Cisneros uses to bring the Latin community to her audience. The novel deals with the Catholic Church and its position in the Latin community. The deep family connection within the barrio also plays an important role in the novel. Esperanza's struggle to become a part of the world outside of Mango Street represents the desire many Chicanos have to grow beyond their neighborhoods.
In the novel, The House on Mango Street, Sandra Cisneros describes the problems that Latino women face in a society that treats them as second class citizens. A society that is dominated by men, and a society that values women for what they look like, and not for what is on inside. In her Novel Cisneros wants us to envision the obstacles that Latino women must face everyday in order to be treated equally.
Throughout history, time has created and shaped the ideal type of men, while society chooses what it means to be a real man..The ideal real men needed to be strong, provider of his family, decision maker, economically, educationally, physically, and politically dominant (Myers). The difference between the masculinity of the 20th century and the 21st has changed significantly. The ideal men status in 1900’s was rich, educated, powerful, and successful. In today’s perspectives, men needs to be strong, tall, handsome, capable, and unemotional. The contrast of these two centuries are mostly about men’s social status and appearances. Before, it was all about what a man is capable of doing and how powerful he could be compared to today’s ideal,
Through the negative experiences that she has had with motherhood, Sula does not want to become a mother. She sees Hannah’s sadness and frustration with Eva and recognizes her poor relationship with Hannah and does not want to repeat it. Sula’s insufficient relationship with her mother is exposed when Sula watched her mother burn and die. Sula does not attempt to help her mother, she only stands silently and watches her mother die. Eva notices this but, “remained convinced that Sula had watched Hannah burn not because she was paralyzed, but because she was interested” (78). This shows her lack of care for motherhood. She does not have kids and dies without having any. But during her life, she ends up in a similar situation as her mother She focuses only on men and people begin to hate her for this. She begins to take friends’ and neighbors’ husbands the same way Hannah did. Sula even turned on her only friend, Nel, and took her husband too. She is the reason that Nel’s husband left her. Sula adopted the same principles as her mother, and Hannah was shaped by Eva.
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.
Theodore Roosevelt once said “We need the iron qualities that go with true manhood. We need the positive virtues of resolution, of courage, of indomitable will, of power to do without shrinking the rough work that must always be done” (qtd. in Art of Manliness). Resolution, courage, will, power, and determination, these are all qualities that society has determined a “real man” must possess. They have molded what, throughout time, has been accepted as the abiding image of manhood- an image of predominance, invulnerability, and vigor. Men opted to pursue this vision of what they should be and in this journey pushed aside women.
The personalities of Nel and Sula form as a result of their childhood family atmosphere. Sula's unusual exorbitance results from an eccentric upbringing that openly accepts and welcomes transience. The narrator describes Sula's house as a "throbbing disorder constantly awry with things, people, voices and the slamming of doors . . ." (52), which suggests a family accustomed to spontaneous disruptions and fleeting alliances. Sula decides that "sex is pleasant and frequent, but otherwise insignificant." (44) Sula grows up in the atmosphere of an emotional separation between mothers and daughters in her family. The mothers provide only the physical maternal support but lack in the emotional attachment to their children. Sula overhears her mother, Hannah, say, "I love her [Sula]. I just don't like her, that's the thing." (57) Hannah's words act as a determiner of Sula's defiance. Hannah and Eva, her mother, are also alienated. "Under Eva's distant eye, and prey to her idiosyncrasies, her own children grew up steadily." (41) This dissatisfaction causes Hannah to ask Eva, "Did you ever love us?" (67) "I know you fed us and all. I was talking 'bout something else. Did you ever, you know play with us?" (68) Eva leaps out of the window to "cover her daughter's body with her own" (75) to save her from a fire; she raises her children single-handedly and even sacrifices her leg to get an insurance because she does not have enough money to feed her children. Proud of keeping her children alive through the roughest times, Eva does not re...
Society set a standard many years ago that in a relationship, the woman depends on the man. In The House on Mango Street, woman tend to trust and not have power in relationships. Sandra Cisneros develops the theme that women are inferior to men. This is based on men’s view on power and women accepting their role through the motif of gender roles throughout the novella The House on Mango Street.
First there is the presence of the old stereotypical woman character, a woman split between the conventional and nontraditional roles of women. No differences are apparent initially between Morrison's Sula and any other women's literature in the past. Women are depicted either as docile servants to men, like Nel, or ball-busting feminist monsters like Sula. The hidden aspect of the novel lies underneath these stereotypical surface roles, in the incomprehensible and almost inappropriate bond of the two women. In the final scene of Sula, Nel comes to the realization that the emptiness inside her is due to the loss of Sula, not Jude (Morrison 174). Her friendship with Sula is all that matters.