Analysis Of Shakespeare's The Rape Of Lucrece

Does being a female put every woman at a disadvantage in a patriarchal society? In The Marquise of O, Heinrich von Kleist tells the story of a woman named Giulietta who lost her husband, but continues to take care of her children. This almost perfect life of hers came to an end when she was raped and found out she was pregnant without any knowledge of the incident. As a woman living in the 18th century, she was put at a disadvantage because she now had to now find a father for the child in order for her and the child to avoid public scrutiny in the patriarchal society where having a father figure or more so his name was crucial. In this paper, I will be looking at the problem of feminine passivity in the Marquise of O and how this is shown

“Rape is unique. No other violent crime is so fraught with controversy, so enmeshed in dispute and in the politics of gender and sexuality… And within the domain of rape, the most highly charged area of debate concerns the issue of false allegations. For centuries, it has been asserted and assumed that women “cry rape,” that a large proportion of rape allegations are maliciously concocted for purposes of revenge or other motives.”

While on the way to venerate Saint Thomas Becket’s remains, the entertainment of Chaucer’s Canterbury pilgrims falls upon the requiting of stories between the different estates. However, this requiting quickly turns malicious, the Host’s simple proposition evolving into an aggressive show of social dominance that includes the boasting of both literal and metaphorical rape. The normalization (or, borderline reverence) of aggressive manliness contributes to the creation of both rape culture and compulsory heterosexuality. Consequently, when a man does not dominate a woman—or, does not use his masculinity to humiliate another man—he is seen as weak or effeminate, subsequently placing his sexuality under scrutiny. Such is the motive behind John and Aleyn’s rape of the miller’s wife and daughter—to make Symkin seem weak, and to gain a reputation of superior masculinity. Thus,

Feminist critical lens examines certain texts with a primary focus on both gender’s relationship with each other and how such relationships demonstrate effects towards beliefs, behaviors, and values. This critical lens also examines a patriarchal-centered society and how such society define and interact with women with an emphasis on stereotypes of both genders that are present and evident in the text being analyzed. William Shakespeare’s Othello can be scrutinized through the feminist critical lens. A deep analysis focused on feminism of the play Othello paves way for the judgement of different societal status of women in the period when the play took place, the Elizabethan society. Othello is a best fit that demonstrates how men were

Twenty-eight states fall under the category of “true non-consent states”, where the prosecution is not required to show that the offender used “force or threats of force against the victim”, and the defendant can be convicted of a sex offense by showing that the victim did not consent (Decker, 2011). While the majority fall under the first category, nine states can be identified as “contradictory non-consent states”, where the prosecution must prove either “the use of forcible compulsion or a victim’s incapacity to consent”; according to Decker, “requiring force or a lack of capacity to consent” completely counteracts the point of having a non-consent provision (Decker, 2011). The third category, “force states”, includes states that do not have non-consent sex offenses. Although the initial impression is that the majority of states have adopted non-consent standards, it is misleading because the number of states that are true to that definition shrinks as the statutes are examined more concisely (Decker, 2011). With that being said, in addition to defining consent and force, the concept of “rape” has also been clarified and developed.

As the perception of women changes constantly, society is the only factor in creating their ideal image. These societal views are the basis of their treatment, with the expectation that it is beneficial for them. However, societal expectations of women in the Elizabethan and Victorian eras severely limit their freedoms and rights. William Shakespeare’s Othello and Mary Shelley’s Frankenstein portray most women in their typical roles. Both authors depict the level of injustice in society’s treatment of women through the passivity of women causing their deaths, the silencing of vulnerable women and the portrayal of women as more humane than men.

Suzanne Edwards states the tale “refuses the ambiguities of the medieval regulation of sexual violence” there was no difference in a violent attack where a woman was raped by a stranger or acquaintance and the forced sex of her marital partner (3). However, there was a legal difference since a woman was the property of her husband; he could do whatever he wished to her short of murdering her.

This national best seller can relate to the opinions expressed by Peggy Reeves Sanday in The Socio-Cultural Context of Rape. Sandy investigates the characteristics of a rape-prone, and rape-free society. Jon Krakauer was interviewed by NPR books, where he stated, “The upshot was most rapists walked away without any punishment, any accountability” (NPR 1). The response from Krakauer correlates to Sanday’s research in The Socio-Cultural Context of Rape. Reeves Sanday writings examine, “When men discovered that they could rape, they proceeded to do it” (Reeves Sanday

“The courtly lady…possesses a curiously hybrid gender. While maintaining stereotypically female sexuality, she also holds, in principle at least, the status of a feudal lord.” Burns’ statement insinuates a reversal of power dynamics between man and woman in the courtly love lyric, implying that the woman’s stereotypical beauty and sexuality in courtship, is a gateway to subverting and overpowering the lovesick male, making her a superior lord. The Amour Courtois lyric is deemed inconsistent with the representation of woman as an empowered “feudal lord” due to the sheer objectification of femininity and beauty. Poets such as Geoffrey Chaucer and William Dunbar commend a woman’s aesthetic appeal or satirise the lack of it, thus elevating medieval misogynistic expectations of physical beauty as a feminine necessity that objectifies women under the control of man’s advances. Throughout courtly love lyrics female beauty is a purely frivolous and superficial trait lacking predominant depth, to render woman as a “lord” would be poetically conflicting as the only power exemplified by female subjects in courtship is through the idolisation and sexual lust of the male devotee.

The acceptance of rape myths and sexual scripts are also major contributors to the thriving rape culture. Rape myths are the false but commonly-held beliefs about rape, and they are closely related to sexual scripts, the culturally established prototypes for how sexual encounters should proceed. Both of these elements support the act of rape and promote the victim blaming and normalization that rape culture entails. Key rape myths include: 1. Husbands can’t rape their wives, 2. Men must engage in sex once sexually aroused 3.Women ask to be raped 4. Rapist are different from most other men 5. Women enjoy rape 6. Women lie about being raped. These incorrect principles can be traced to the patriarchal system that accepts and fosters rape as an

The term ‘rape culture’ was coined by feminists in the United States in 1970. The term itself was designed to illustrate the ways in which society blamed victims of sexual assault, and how the normalization of male sexual violence was acceptable. Rape culture can stem from the acceptance of rape as a daily occurrence, manifested as a male prerogative. There is a hesitation by the authorities to go against the patriarchal cultural norms, hence linking nonconsensual sex to the cultural disposition of society. The patriarchal perspective of rape culture, embedded with gender inequality and misogyny are passed through generations which ultimately leads to the extensive institutional and social acceptance of rape. Actions which advocate sexist ideals are utilized to justify and validate normative misogynistic perceptions. Rape culture sexualizes violence inflicted upon women, as it serves as a continuum of a society which views a women’s body to be sexually available by default, deriving from the overall domination and objectification of a female. The underlying cause of rape culture is localized as it based upon the social aspects of culture. For example, countries with a prolific ‘war culture’ tend to emphasize violence and masculinity, and therefore rape is viewed as a normal facet of society. I intend to parallel the element of rape culture to the enforcement of social rules and the conditioning of gender roles. I plan on analyzing the notion that within the encompassment of

The manifestation of Chaucer’s perceptions lie in the actual tale as well as the prologue of The Wife of Bath when power is no more than momentarily relinquished to a man non-consensually through rape. Power is hastily regained by women when the rapist’s fate is put

The opposition is apparent between the two constructs of gender, ‘man was glad a blithe’, (joyful) (155) whereas the princess ‘siked an sorewed swithe.’ (sickened and sorrowed) (156) This disparity underlines the attitudes that permeate this text, considering the atrocity that has occurred, it is sickening to comprehend. Alluringly,

The future conditions of the woman’s potential marital worth were much poorer than any punishment the violator could have received. Once a woman was raped, her virginity was no longer available for her husband to have. “‘Virginity is the ornament of morals, the sanctity of the sexes, the peace of families and the source of the greatest friendships.’ Its existence was a precondition for marriage. To publicly breach it was to compromise honor, rank, even life; a ‘deflowered’ girl inevitably became a ‘lost’ girl. . . ‘The ravishing of virginity was the worst rape of all.’” (Cite Book 1) An innocent woman had now completely lost her worth to society and her own dignity due to a man’s egocentric and merciless actions.

The views of women have altered over time, but have always had objectifying tendencies. During the 18th century, cosmetic alteration to natural beauty peaked and materialism heightened throughout societal views. Authors such as Alexander Pope and Jonathan Swift vividly spew these views throughout their writings. Pope’s Rape of the Lock exposes the materialism used in objectifying women, mainly in the upper-class societal levels. The whole plot of the story centers around a cosmetic appearance creating an objectified view, as since the lock of hair was cut from a woman's head, the missing lock became, so called, evidence of a man’s sexual conquest. Other sexual conquests, forced or not, are spoken with anything but love and only those of