By way of literary expression in Women in Love, D.H. Lawrence successfully conveys personally held beliefs on the subjects of progressive sexuality, gender roles, instinctual actions, and the putrefaction of society due to industrialization. Written in a post-war society, Women in Love, a sequel to Lawrence’s earlier work, The Rainbow, follows the lives of Ursula and Gudrun Brangwen and their quest for genuine freedom (MacDonald). As the unfolding stories of Ursula and Gudriun are told, various other main characters are introduced. Along with Ursula and Gudrun Brangwen, Rupert Birkin and Gerald Crich are both central characters in Women in Love.
Containing innumerable sub-themes, Women in Love holds a singular theme to which all others may be tied: sexuality. Opposed to employing subtleties, D.H. Lawrence opts for uninhibited writing when defining the sexuality of his characters. There are a variety of methods by which Lawrence is able to achieve a novel which exemplifies full disclosure on a topic generally viewed as not only private but indecent. These methods include the following: analysis of animals in the natural state, study of art, and graphic description of a variety of encounters. Sex, being considered an animalistic encounter by Lawrence, can be explored through the study of the utilization of the following animals in the story: Gerald Crich’s horse, Birkin’s cat Mino, and Winifred’s rabbit Bismarck. In the instance of Gerald’s horse, Gerald asserts his power over his horse in order to break the horse of its immediate instinct to enter into a panicked frenzy when hearing loud noises. While dining with Birkin, Ursula witnesses Birkin’s tomcat Mino physically dominating a female stray cat with who Mino wishes t...
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...n in Love in the early 1900s, Lawrence effectively parallels the actual changes in English society to the changes in character of Ursula and Birkin.
Amidst war, censorship, and persecution, D.H. Lawrence channeled his resulting emotions into his writing and emerged a visionary author. Wholly misplaced with regards to the century in which it was constructed and gifted to the populace, Lawrence’s Women in Love was met with criticism for its sexual implications. However, with proper deconstruction of the novel and psychoanalysis of the principal characters, it is apparent that Lawrence’s genuine intention in his creation of Women in Love was to set concepts of new complex philosophies concerning the rituals of marriage, definitions of love, rapidly increasing modernization, and the negative effects of excessive industrialization within the minds of his audiences.
In the eighteenth century, the process of choosing a husband and marrying was not always beneficial to the woman. A myriad of factors prevented women from marrying a man that she herself loved. Additionally, the man that women in the eighteenth century did end up with certainly had the potential to be abusive. The attitudes of Charlotte Lennox and Anna Williams toward women’s desire for male companionship, as well as the politics of sexuality are very different. Although both Charlotte Lennox and Anna Williams express a desire for men in their poetry, Charlotte Lennox views the implications of this desire differently than Anna Williams. While Anna Williams views escaping the confines of marriage as a desirable thing, Charlotte Lennox’s greatest lament, as expressed by her poem “A Song,” is merely to have the freedom to love who she pleases. Although Charlotte Lennox has a more romantic view of men and love than Anna Williams, neither woman denies that need for companionship.
Throughout history, women have struggled with, and fought against oppression. They have been held back and weighed down by the sexist ideas of a male dominated society which has controlled cultural, economic and political ideas and structure. During the mid-1800’s to early 1900’s women became more vocal and rebuked sexism and the role that had been defined for them. Fighting with the powerful written word, women sought a voice, equality amongst men and an identity outside of their family. In many literary writings, especially by women, during the mid-1800’s to early 1900’s, we see symbols of oppression and the search for gender equality in society. Writing based on their own experiences, had it not been for the works of Susan Glaspell, Kate Chopin, and similar feminist authors of their time, we may not have seen a reform movement to improve gender roles in a culture in which women had been overshadowed by men.
Society continually places restrictive standards on the female gender not only fifty years ago, but in today’s society as well. While many women have overcome many unfair prejudices and oppressions in the last fifty or so years, late nineteenth and early twentieth century women were forced to deal with a less understanding culture. In its various formulations, patriarchy posits men's traits and/or intentions as the cause of women's oppression. This way of thinking diverts attention from theorizing the social relations that place women in a disadvantageous position in every sphere of life and channels it towards men as the cause of women's oppression (Gimenez). Different people had many ways of voicing their opinions concerning gender inequalities amound women, including expressing their voices and opinions through their literature. By writing stories such as Daisy Miller and The Yellow Wallpaper, Charlotte Perkins Gilman and Henry James let readers understand and develop their own ideas on such a serious topic that took a major toll in American History. In this essay, I am going to compare Gilman’s “The Yellow Wallpaper” to James’ “Daisy Miller” as portraits of American women in peril and also the men that had a great influence.
This twentieth-century tradition of dystopian novels is a possible influence, with classics like Aldous Huxley’s Brave New World and George Orwell’s 1984 standing prominent. The pessimism associated with novels of this genre—where society is presented as frightening and restrictive—exposes the gender inequality between men and women to be deleterious. An aspect of the way male/female relationships are presented in both texts is the repression of female sexuality by men, possibly stemming from a subliminal fear of women attaining power in a male-dominated society. Brocklehurst—a possible reflection of Bront’s Evangelical minister at Cowan Bridge, her own poorly run school—is a male authoritative figure whose relationship with the girls at Lowood is one of imposed tyranny. He means to “tame and humble” them through deprivations and restrictions, but such removal of liberties like cutting off the girls’ hair, consequentially robbing them of female attributes, can be interpreted as the male repression of feminine sexuality.... ...
From the beginning of fiction, authors have constantly exploited the one topic that is sure to secure an audience: love. From the tragic romance of Tristan and Isolde to the satirical misadventures in A Midsummer Night’s Dream, literature seems obsessed with deciphering the mysteries of affection. The concept most debated is the question of where the line falls between lust and love and what occurs when the two are combined, and few portray it more clearly than Edmund Rostand in his French drama Cyrano de Bergerac. The influence of fickle physical attraction and deep romantic love on each other are explored by the interactions of the four main characters: De Guiche, Christian, Roxane, and Cyrano.
...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).
156. The 158. Driscoll, Kerry. A. The "Feminism" - "The 'Feminism' American History Through Literature, 1870-1920. Ed.
Wolff, Cynthia Griffin. "Un-Utterable Longing: The Discourse of Feminine Sexuality in The Awakening." Studies in American Fiction 24.1 (Spring 1996): 3-23. Rpt. in Twentieth-Century Literary Criticism. Ed. Janet Witalec. Vol. 127. Detroit: Gale, 2002. Literature Resource Center. Web. 19 May 2014.
Women in Literature: Reading Through the Lens of Gender. Westport, Conn.: Greenwood Press, 2003. Print. The. Bailey, Carol. "
Throughout history, women have struggled to become equals with men. Henrik Ibsen’s A Doll’s House and John Steinbeck’s “The Chrysanthemums” share a theme to their readers: feminism. The two authors placed their female protagonists in male dominated worlds of the 19th Century Norway and 20th Century America. They used these characters to rebel against the passive role of woman during their time. This theme is promoted through the narration of Nora and Elisa’s marriages, an epiphany that arose from initial disappointment in a male dominated society, and the use of symbolism throughout both 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.
In this essay I would like to emphasize different ideas of how love is understood and discussed in literature. This topic has been immortal. One can notice that throughout the whole history writers have always been returning to this subject no matter what century people lived in or what their nationality was.
I am writing a new introduction to the English edition (1987) of Reading the Romance (1984), in which I study the particular nature of the relationship between audiences and texts. My theoretical claim to be doing something new will seem odd to a British audience. Nevertheless, my book takes up questions that British feminists and cultural studies scholars have tackled. I would like to discuss those questions, and so say something about the political implications of Reading the Romance (p. 62).
Throughout literature’s history, female authors have been hardly recognized for their groundbreaking and eye-opening accounts of what it means to be a woman of society. In most cases of early literature, women are portrayed as weak and unintelligent characters who rely solely on their male counterparts. Also during this time period, it would be shocking to have women character in some stories, especially since their purpose is only secondary to that of the male protagonist. But, in the late 17th to early 18th century, a crop of courageous women began publishing their works, beginning the literary feminist movement. Together, Aphra Behn, Charlotte Smith, Fanny Burney, and Mary Wollstonecraft challenge the status quo of what it means to be a
As a twentieth century novelist, essayist, and poet, David Herbert Lawrence brought the subjects of sex, psychology, and religion to the forefront of literature. One of the most widely read novels of the twentieth century, Sons and Lovers, which Lawrence wrote in 1913, produces a sense of Bildungsroman1, where the novelist re-creates his own personal experiences through the protagonist in (Niven 115). Lawrence uses Paul Morel, the protagonist in Sons and Lovers, for this form of fiction. With his mother of critical importance, Lawrence uses Freud’s Oedipus complex, creating many analyses for critics. Alfred Booth Kuttner states the Oedipus complex as: “the struggle of a man to emancipate himself from his maternal allegiance and to transfer his affections to a woman who stands outside the family circle” (277). Paul’s compromising situations with Miram Leivers and Clara Dawes, as well as the death of his ...