A Streetcar Named Desire And Zhang Yimou 's Film Raise The Red Lantern

Poverty and hardship are shown to create vulnerability in female characters, particularly the female servants, allowing powerful men to manipulate and sexually abuse them. Kent illustrates how poverty perpetuates maltreatment and abuse in a society like Burial Rites using the characters of Agnes’ mother Ingveldur and Agnes. Agnes’ mother is forced to make invidious choices as her children are “lugged along” from farm to farm, where she is sexually exploited by her employers. In spite of these circumstances, Agnes’ mother is commonly referred to as a whore in their society which abhors female promiscuity yet disregards male promiscuity as a harmless character trait; as in the case of Natan, who is merely “indiscreet” despite all his philandering. Born into poverty, Agnes experiences similar sexual coercion and manipulation from her “masters” and yet is labelled “a woman who is loose with her emotions and looser with her morals”. The severe poverty of Agnes is explicitly demonstrated to the reader by Kent through the intertextual reference of her entire belongings - a very dismal, piteous list to be “sold if a decent offer is presented”. Furthermore, Kent contrasts the situation of Agnes, a “landless workmaid raised on a porridge of moss and poverty”, to the comparative security Steina has experienced using a rhetorical question from

The Portrayal of the Plight of Women by the Author, In Their Particular Period of Time

In his plays, A Streetcar Named Desire by Tennessee Williams uses different ways to show in the play of social realism. It show each of individual character and focusing on how particular way of viewpoint contrast with men, and the perspective of looking at women. The play explores struggle of two character Stanley and Blanche, between appearances and reality which made the play’s plot more affected reality. Throughout this play, it show the symbolize of the gender roles and the power of men over women in the 1940’s in New Orleans.

Desiree?s words show that her life depends on the race, notions, and social class of her husband and consequently, she feels obligated to obey his every desire. Desiree is presented as vulnerable to whatever Armand wants and tells her to do when she says, ?Do you want me to go?? (177). Desiree displays through her actions that in many ways, her happiness only comes from pleasing her husband. Therefore, Desiree must decide whether to live completely separate from Armand, or to live with him in constant fear and unpleasantness. Desiree achieves personal freedom and independence from Armand when ?she disappeared among the reeds and willows that grew thing along the banks of the deep, sluggish bayou; she did not come back again? (177). It is not even an option and is unheard of that Armand, being a male holding a respectable background, could possibly be black. Consequently, Desiree feels compelled to leave because she wants to please him. When Desiree decides to kill herself and her child, she shows that she is sensitive and vulnerable to her husband?s thoughts and actions.

Men used to take major initiative in most households during the early 20th century therefore, making wives, female siblings, or basically women in general highly dependent for a man’s authority. The theme of dependency for men continuously occurs throughout A Streetcar Named Desire and most noticeably when Blanche DuBois claims how Stella and her needs a man like Stanley Kowalski who can take command in terms of bravery and fearlessness. Literary features such as foreshadow, indirect characterization and metaphor creates the theme of dependency for men that Blanche significantly shows. She suggests through the use of metaphor that although Stanley is “just not the type that goes for jasmine perfume” by claiming Stanley’s unsophisticated traits such as the ignorance to appreciate poetry or scents like a “jasmine perfume” doesn’t cope with the DuBois’ traditional act of being refined and courtly which is currently what the DuBois family desperately need in their family in order to “survive”

During the nineteenth and twentieth century there was a number of changes made in America. Woman were looked at as less than back then and to a certain degree they still are today. There was a number of women that died or went insane because of the standards that they had to meet in order to be considered good women. In this research paper I will talk about the experience of the narrator of The Yellow Wallpaper and Blanche DuBois from the story A Streetcar Named Desire. It will be shown within these pages how the moral and societal standards for women were far different than they were for men, and how the standards changed over the years. Furthermore it will be shown how this effected the women of those two stories.

Blanche’s desire for youth links with her desiring her past where she had money, a man, security and a good reputation, before it was sullied by desire. We learn of her youth and past being tainted by desire

The role of women in the 1950 was seen to be repressive and constrictive in many ways. Society placed high importance and many expectations for these women on behavior at home as well as in public. Women were supposed to fulfil certain roles, such as a caring mother, a diligent homemaker, and an obedient wife. The perfect mother was supposed to stay home and nurture so society would accept them. In fact, even if a woman wanted to voice an opinion, her lack of education would not allow it . The play A Streetcar Named Desire is set during the late 1940’s and early 1950’s period where it describes the decline of a fading Southern belle named Blanche DuBois. The women in this play are represented to be dependent and submissive in nature and in addition they are also seen to be manipulative. However, Williams has also portrayed these women to be independent and taking control of the situation. This can be seen through the use of the main characters

Lastly the dependence of men plays an extremely large role in this book. Williams uses Blanche’s and Stella’s dependence on men to expose and critique the treatment of women during the transition from the old to the new South. Both Blanche and Stella see male companions as their only means to achieve happiness, and they depend on men for both their sustenance and their self-image. Blanche recognizes that Stella could be happier without her physically abusive husband, Stanley. Yet, the alternative Blanche

The interaction of men and women in a city poses opportunities and limitations. The ideas about gender and how female and male characters are depicted in a story, together with gender behaviour, that have shifted over the years in different cities, positions and literary work. The Dubliners (1914) by James Joyce (1882-1941) demonstrate individuals trying to contest or escape paralysis in Dublin. A contrast from Langston Hughes (1902-1967) with 'Pushcart Man ', and Jack Kerouac with the 'The Town and the city ' in the city of New York. Their work is central to demonstrate the sense of the mix of cultures, perceptions of segregation, and the restriction and possibility of the city. This essay will discuss the 'ways in which relations between the sexes are depicted in the set texts, and consider the literary techniques the writer used to create a particular portrayal.

In the play “A streetcar Named Desire” it centers on a women named Blanche Dubois. She travels from the railroad in New Orleans to a street formally known as Elysian Fields, where she meets her pregnant sister Stella and her husband Stanly Kowalski. Having lost her homestead, husband and fortification, Blanche turns to her only close relative for support. Reaching middle age, Blanche emotionally is unhinged and is in financial crises with the loss of her southern bell life. After explaining the bad news of the loss of Belle Reve, the family mansion. Stanly quickly accuses Blanche of cheating Stella’s share of the family’s land/profits; intern starts a conflict with her. To Blanche it was clear that her sister was happy with Stanly, but notices how abusive and ape like he can be. Although Stella and Stanly fight, their physical relationship is strong. Therefore Blanche takes it up on herself to break the two up in fear of her sister’s wellbeing, the attempts only enrage Stanly further. He latter deeply investigates Blanche’s past and discovered that she has been living off the road and has had an affair with a 17-year-old student that attended the same school she worked. Using this newfound knowledge Stanly quickly alters the playing field and slowly reviles Blanches flaws and un-southern bell actions, which leads blanche into a dismay between her imaginary life and reality. Flustered and unstable, Blanche is abused physically and mentally by Stanly, he confronts

Both Ernest Hemingway’s Hills Like White Elephants and John Steinbeck’s The Chrysanthemums portray oppressed female characters in the early 1900s. In Hemingway’s short, Jig is oppressed by her lover known only as “The American,” whereas, the main character in The Chrysanthemums, Elisa Allen, feels the weight of oppression from society (male dominated) as a whole. Although the driving force of the two women’s subjugation varies slightly, their emotional responses to such are what differentiate the two.

The novel The House on Mango Street is filled to the brim with women who are unhappy and unsatisfied with their lives. Readers meet wives who are destined to spend their lives in the kitchen, mothers who waste away cleaning up after their kids, and girls who are stuck in a hole that they can’t escape. Through Sandra Cisneros’s use of literary devices such as motifs, symbolism, and imagery, we are able to learn that the women end up in these situations by conforming to femininity, and we find the theme of women are often held back by their own gender roles.

Lori Freshwater interprets both plays, Death of a Salesman and A Streetcar Named Desire, as being primarily optimistic plays that make meaning out of the meaningless, but Freshwater’s reading does not account for the darker, lonelier, hopelessness that is seen throughout both plays. She writes, “Hearts that Refuse to Burn: American Existentialism in the plays of Arthur Miller and Tennessee Williams,” to further her point that the authors, Miller and Williams, had optimistic views when writing their plays, but just how optimistic are they? Both of their characters live in a dark, unforgiving world that is filled with obstacles. When they think they find light there is a shadow cast right behind it. Their lives are formed by the overcoming

All characters in the novel are living in a man’s world; nevertheless, the author has tried to change this world by the help of her characters. She shows a myriad of opportunities and different paths of life that woman can take, and more importantly she does not show a perfect world, where women get everything they want, she shows a world where woman do make mistakes, but at the same time they are the ones that pay for these mistakes and correct them.