Analysis Of The Play ' Latins ' Of La De Land By Migdalia Cruz

Quite clearly, male sexual performance was a major key to being male. It was a man's sexual organs that made him different and superior to the woman. But maleness was somewhat fragile, and it was important for a man to keep demonstrating his maleness by action and thought, especially by sexual action. It was part of his duty to keep his female partners happy and satisfied, and unless he did so, he had failed as a man. (41)

Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these

In “Imitation and Gender Insubordination,” Butler ridicules normative cultural expressions and performances and encourages us to resist the power structures which regulate our lives and gender identities. She uses key terms that denote both conformity and ownership to expose the control society has on our way of thinking about gender.

Butler’s overarching idea throughout her essay is that becoming a gender is not done through linguistics but rather action – specific focus to the body. From the beginning of the essay, Butler makes the distinction between gender and sex very clear. Gender is plainly a social construct and the gender you choose to associate with is developed through repeated actions. Sex rather, is anatomic; your internal bodily organs and reproductive systems define it.

How is gender constructed and how useful is the term ‘performance’ for understanding this process? Illustrate your answer drawing on ethnographic examples from at least two societies.

In William Shakespeare’s tragic play Othello there are numerous instances of obvious sexism aimed at the three women in the drama -- Desdemona, Emilia and Bianca – and aimed at womankind generally. Let us delve into this subject in this paper.

The construction of gender that Butler explains is a mixture of performative actions that create a gender constitution defined by physiological characteristics, social interactions and phenomenology. Phenomenology in this context explains the formation of gender identity due to the

The article focuses on the role delegated to women in the plays by William Shakespeare. The author of the article examines how the Feminism philosophy perceives the way of depicting women in the plays by Shakespeare. The article deals with a range of questions concerning the patriarchy, gender roles, and the conflict of ideologies. One part of the article is devoted to the play Much Ado About Nothing where a woman “succumbs to the patriarchal values” (Jajja). Here, the researcher also draws attention to the issue of the men's power over women, and the inability of women to defend themselves. The source provides a well-developed analysis based on the plot of the play in terms of the roles delivered to women. The goal of this article was to examine

There are several characters who are present in this play and who have played an important role in shaping the lives of women’s. Though the society which we live today forces women to do things and acts which may be oppressive to them. This is the things which go against the gender rules and which lead to assimilation which in our case, we are discussing the

Butler puts focus on the myth of heterosexual integrity and breaks with the traditional concept of sexuality within society (Salih 93). According to the myth of heterosexual integrity, people are born with a biological sex which automatically constitutes their gender (Loidolt) . Furthermore, it is natural that the object of desire is the opposite sex. The famous feminist denies this view and argues that we are not born with a certain gender, but it is socially constructed by society and especially through media and cultural practices (Salih 91). Hence, the role of men and women in society is not predetermined but their behavior is made up and intensified by society. Butler defines gender as “the repeated stylization of the body, a set of

If something is ‘performative’ it constructs a series of effects (Butler 2013). Identity and topics of representation are based on these “performances” that builds what it means to be male or female, or man or woman. These roles are unconsciously performed every day with most people not even realising that they even do it. The most important role performed daily is when people dress to leave the house; fashion has for decades played a very important role in people’s lives. Two of the main writers to have discussed about this role is Judith Butler and Diana Crane. Both writers analyse the performance of gender identity and fashion roles in society. Butler’s difference between “performed” and “performative” is not fully concretized, and this

The pronounced blurring of gender boundaries can be explained by one of Judith Butler's gender definition, which states that “the body become its gender through a series of acts which are renewed, revised, and consolidated through time” (523). This theory allows gender to be understood as an aspect of subjectivity that is socialized but repeated so often that at a point it becomes one’s identity. The role of the culture as an end in the developing process of gender along with the act of ‘doing’ is very important, since “the act that one does, the act that one performs, is, in a sense, an act that has been going on before one arrived on the scene” (526). Women from the 20th Century who cross dressed were able to adopt and embody a masculine

Given that men traditionally portrayed Shakespearean women, the character of Viola playing Cesario was essentially a man playing a woman who was playing a man. This aspect of cross-dressing has historically depicted as a source of arousal, especially in comedy. Shakespeare uses dramatic irony to comically show that that the act of Viola dressing as Cesario and the fact that the audience knew that these clothes were not appropriate for her gender was very sexual and titillating. Even to this day, the act of a woman wearing a man’s clothes is depicted in movies and experienced in real life as being heavily erotic. However, in addition to the erotic nature of cross-dressing, Shakespeare uses this to denote the flexibility of gender. He raises a question about what truly constitutes gender: an action, a piece of clothing, an accessory, or merely

J. L Austin claims that all the statements we make are performative. He thinks that language is not simply there to describe things we see or we want to say, but the language is itself a performative utterance. For instance, when we say “I apologize”, we perform an act or when we get married and say “I do “, we perform an act. This means that some words in language do not exist outside of the language world. So, when we actually say those words that have no meaning outside of the language world, we already do (perform) something and for that, we do not specifically need gestures or movement. Therefore, what Butler claims and Austin claims are combined, it is possible to say that gender is itself a performative act when a woman says “I am a

Correspondently to breaking down gender roles, feminism plays an important role in Chicana/o literature. In Lopez’s Real Women Have Curves feminism is defined in accordance to the Chicana/o community and differently from 60s and 70s white feminism that did not considered intersectionalities (Ruiz, Lecture, 4/5/16). In the play Ana tries to empower the women by preaching about the power of taking control of their bodies, sexuality, and ultimate their destiny; however Estela harshly stops her with: “Ya, ya, Norma Rae, get off and get back to work!” and is supported by Panchas’s comment “Mira, all those gringas shouting about liberation hasn 't done a thing for me…” (Act 1, Scene 3). This reflects of the little affect or no affect at all of the liberation movement to women of color. This scene testifies that in order to have real women liberation that would benefit all women, feminism should be take a holistic approach and take inconsideration class, race, sexually and gender. At the same time, the play is a work of women of color feminism as it deconstructs the traditional idea of beauty (white, tall and skinny women) and highlights the importance of learning to love the drown body. In Act 2, Scene 3: the women undress and stop feeling ashamed for their stretch marks or for being what society considers oversized. Real Women Have Curves raises awareness of the importance to look at feminism from a holistic and cultural relativism approach without ignoring women of color