Analysis Of My Sweet Audrina

This literary study will define the historical construction of submissive female gender roles in the domestic sphere in Simone de Beauvoir’s “The Existential Paralysis of Women” and in Jane Austen’s Sense and Sensibility. Beauvoir’s article defines the suffering that women endure as servants in the home due to the overarching construction of submissive gender roles in the “masculine world.” This construction of gender role relies on male-based institutions that have educated women to believe that are inferior as an innate biological fact, yet these

In her book she challenges the government of France and their ideas that women should not be exposed to the same education as men. She gives warning that women will not forever be satisfied with only domestic concerns, and she demands justice for the female race.

In the beginning of the play the girls are put into an eight-year mourning period by Bernarda because of the death of their father. She

She states that `to pose woman is to pose then absolute Other' (821). `The other' is referred to women who are classified as being different to men even though both share a human body. Women are also not seen as `a subject, a fellow human being.'(821). This is caused by men who believe a myth of females through experiences of which Beauvoir states as feelings and thoughts, rather then the reality of women themselves. Men see women as what they think they see because of the way they feel about women. Men have opinions in ways of physical or knowledge of women. These opinions created are myths which men believe to be the true women. These men usually belong in the western patriarchal society. Men hold myths against women and "placed women beneath men and held them to be the property of men" (Guerrero). Being "placed beneath men" can show that women are treated unequally in a patriarchal society where they are not respected. This is the woman in a patriarch world.

These literary writings address how women were influenced by a “hermeneutic” belief system that placed women mutually in unity to abide by a societal “patriarchal” power (King and Morris 23). Again, women could not communicate their feelings receptively likewise, their values and conceptions were a reflection from their husbands. Essentially, the essay

Set in the Victorian era of the 1800’s Madame Bovary by Gustave Flaubert exemplifies society’s views on the established gender roles of this time. Flaubert utilizes Emma Bovary’s masculinity to accentuate Emma’s desire for control. Her desire for control extends from the social pressure of the period, revealing her envy towards men. Flaubert undoubtedly depicts Emma’s characteristics to have a masculine undertone and throughout the novel her femininity deviates as her priority shifts. Emma’s lack of femininity translates to her relationships by maneuvering an interchanging role of a girlfriend or boyfriend.

Gender roles are undeniably a fundamental topic of critique in literature, particularly since expected gender roles have evolved in recent years. More importantly, the transcendence of these gender expectations indicates the possibility for transformation and increasing liberation in society. History explores many different stages for the sexes and their respective roles, from traditional anti-feminist times in which certain roles were strictly enforced, to more modern beliefs entailing free will and a lack of restrictions. In spite of this progress, there are always those who expedite the process while there are others that hinder development from occurring, even when it is necessary. Literary works in particular serve as a showcase

Throughout history, it has generally been accepted that women are of a lesser standard than that of their male counterparts. There has always been an opposition to this theory that believes that the reverse is true, or at the very least, that the sexes are equal. While some authors place women within their works solely as a filler character, or as support of their male lead, there are some that have written with the intent of the females offering a distinctive viewpoint than that of what the readers might be used to. The roles of women in literature have never been forced to be monotonous, yet that’s how they’ve been perceived. However, there are examples of female characters who have been written with the express purpose of breaking that

In the article “The Autonomous Female Self and the Death of Louise Mallard”, Mark Cunningham clearly states that “the story portrays the position of women in late nineteenth-century American society as so bleak that the attempt to break from the life-denying limitations of patriarchal society is itself self-destructive” (49). It evaluates Louise’s death as the tragedy of losing independence in marriage and being controlled by society’s denying perspective to female, as well as demonstrating the desire of the woman to live in an autonomous life at that time period. Upon this point, he emphasizes if Louise, representative of all women in the society, “break free of patriarchal definitions (wife, widow, lover) in her own mind, she will find no other social system to accept her: women have been unable to create a system of their own.” (Cunningham 49). It points out that the role of women which is only associated with domesticity and often tends to be undervalued. If Louise stops inhibiting her appetence of independence and develop a strong voice, it is like standing in the position that is gaining the whole social system. When Louise is there on her own, she fails to control the forbidden joy of being “free! Body and soul free.” (Chopin 3), which is actually contradicted to her death as her husband

Simone De Beauvoir in The Second Sex suggests that to resolve the tension between bad faith and authenticity, people must regard women as subjects and not objects. They must also collectively fight against the idea of womanhood in order to remain authentic to themselves.

Portia is a bachelorette in Belmont, the heiress to her dead father’s fortune, which attracts men from all over the world. ‘In Belmont is a lady richly left; And she is fair, and fairer than that word...For the four winds blow in from every coast renowned suitors’ ( I, i, 161 – 169). Portia loves her recently deceased father and this is shown when she decides to carry on with the casket challenge for her suitors that her father started. The men that arrive, wanting Portia’s hand in marriage are all drunk and boisterous and she isn’t particularly attracted to them but she is obliged to, because of her father’s wishes. The way Portia acts towards her father shows how much she loved him, unlike Jessica’s attitude towards her father.

In Christina Rossetti’s poem Goblin Market, Laura is saved from death through the bond of Sisterhood: a female power that embodies both traditionally feminine and masculine characteristics and values. Ross Murfin’s essay “What is Feminist Criticism?” feminist criticism, in the study of literature, is described as a criticism that examines how the values and attitudes of patriarchal societies affect the portrayal and expression of women in text (186-194). French feminists have focused on analyzing the way meaning is produced and have concluded that a gender binary is formed by language (186-187). Meaning is created by what a thing is not; for example, men are men because they are not women. The gender binary determines what things are masculine and what are feminine. This essay will adopt a feminist perspective and examine the gender roles (the behaviours, expectations, characteristics and values assigned to each gender by a society’s gender binary) depicted in Goblin Market. The primary focus will be on how gender roles affect the actions and decisions made by Laura and Lizzie throughout the poem and how sisterhood, a construct that blurs the gender binary, is the means that saves Laura’s life.

In the chapter of her book The Second Sex entitled “the Woman in Love,” Simone de Beauvoir characterizes the romantic ideal of the relationship with a man as a woman’s purpose as a form of self-deception (translated here as “bad faith”). The self-deception de Beauvoir describes is based in the thesis of The Second Sex. This is the idea that women have been deceived into believing that they are second-class humans. Western culture, according to de Beauvoir, teaches us that women are missing some elusive element of the self that endows men with freedom- a concept essential to the existentialist definition of the conscious being. Therefore, a woman can never find fulfillment as a thinking person as

Therefore, it is evident that literary techniques are utilised to exploit the Beauvoirian idea of women “denying [their] feminine weakness” in order to justify their strength, while the “militant male... she wish[es] to be” however, Marlene accepts femininity and only wears a skirt to work.

Lastly, “femininity” refers to behavioural activities or interests that are assigned to the female sex, such as cleaning and cooking (Beauvoir, 617). Although many critics have read her text and become confused due to her stylistic choice to fuse her voice with the voices of famous men, it can be said that the text ultimately leads the reader to begin to question what society sees as a woman (Zerilli, 1-2). Despite Beauvoir’s The Second Sex appearing to recognize the oppression of women throughout the world without giving an actual solution, I will argue that Beauvoir’s evaluation of each “natural” aspect of female oppression allows readers to recognize that the only thing holding themselves back as a woman is society’s unnatural definition of their body, relation to men, and personal freedoms. Of course, when it comes to one's freedom, it is difficult to obtain when your body feels like a