Analysis Of ' Tipping The Velvet ' By Sarah Waters

More so than any other Shakespearean play, Macbeth functions the most vividly as a psychoanalysis of the state of humanity's development of a sense of sexual self. Now, in a time where terms such a transgendered, pansexual, or heteroflexible are integrated into daily conversation as much as articles of political dispute or details of the latest Yankees outing, the play is all the more fascinating because it validates both Shakespeare's breadth of genius and our developing notion of what it means to be a sexual human. The play functions in essence as a looking glass for any age into which one might peer to observe the manner in which we have grown or perhaps not grown; it is an honest reflection of society and socio-sexual prescriptions in all

Hillary Chute’s essay “‘The Shadow of a Past Time’: History and Graphic Representation in Maus” addresses the praise and criticisms of Spiegelman’s choice to represent his father’s experiences in the Holocaust as a graphic novel. The author contrasts other critic’s views of the novel with her own, stating that “... Maus, far from betraying the past, engages this ethical dilemma through its form.” (Chute, 201) The ‘ethical dilemma’ in this case, being the potential trivialization of Vladek’s Auschwitz experience by showing it in pictures.

Erauso’s action in cutting her hair symbolizes her entrance into a new world of masculinity, as she “cuts ties” with the female gender. By transforming the way the outside perspective views her outward appearance, Erauso is able to persuade her audience of this new identity. Whether she partakes in transvestism as the act in itself or as a way to express her new identity, Erauso convinces those around her that she is a Spanish man simply by altering physical aspects. This is significant in that one’s hairstyle and dress are associated with a particular gender and each serve a purpose in the sphere they associate with. Dressing in breeches, a doublet, and a hose as well as sporting short hair supports the theory that men primarily focus on the public sphere, engaging in physical activity. Their clothing and hairstyle serve a purpose of the daily life of Spanish men during the 17th century.

When you read a poem you can come from it with an overall feeling and figure out by context clues how the author’s feelings were of the subject as well. “It’s a Woman’s World” written by Eavan Boland goes through the struggles and restraints society hold to being a woman. The speaker had a complex with it being a “Women’s word” and you can see that through diction, imagery and symbolism.

In “Taking the Least of You”, Rebecca Skloot combines medical stories from different people and how they were either positively or negatively affected by allowing researchers to use their bodily samples for research. She discusses the use of consent, ownership, legality, and ethics. In each individual case she discusses. One man named Ted Slavin allowed his blood samples to be used for research to create a Hepatitis B cure. He signed a consent form that gave his blood to research, but he also made sure that he could get legal compensation from the research. However, a man named John Moore was different. He allowed the researchers to use his samples for research, and when he found out they were worth billions of dollars, he tried to get awarded

Though its primary function is usually plot driven--as a source of humor and a means to effect changes in characters through disguise and deception—cross dressing is also a sociological motif involving gendered play. My earlier essay on the use of the motif in Shakespeare's plays pointed out that cross dressing has been discussed as a symptom of "a radical discontinuity in the meaning of the family" (Belsey 178), as cul-tural anxiety over the destabilization of the social hierarchy (Baker, Howard, Garber), as the means for a woman to be assertive without arousing hostility (Claiborne Park), and as homoerotic arousal (Jardine). This variety of interpretations suggests the multivoiced character of the motif, but

Jacobs ' short sexual orientation change through cross-dressing, trailed by her long "withdraw" into aggregate physical disguise, is telling confirmation of how contrastingly a subjugated man and an oppressed woman reacted to the difficulties of their lives as slaves and additionally autobiographers.

In “Strapped,” author Tamara Draut explains why today’s young adults have trouble getting financially ahead. Along with student- loan debt, today’s college graduates also leave with a higher risk of credit card debt than previous generations. Draut argues that college campuses aren’t regulating the card companies on campuses, therefore not protecting their students. She reasons that a problem on college campuses across the nation, credit card debt, has spun out of control by credit card pushers leading students into debt and feeling financially held back.

These physical expressions through “processes of non-traditional literacy production, gender/race/sexuality articulation,” is presented in ways that outside of these spaces, would be “definitionally obscene,” much like the harassment and violence that transgender and gay individuals, along with drag queens, often encountered in 1980s hegemonic spaces (Gregory 28). “The irony is that the very real experience of difference, the heightened awareness that it brings, should help to create a disguise so immaculate that nothing remains but the in-joke of one 's private knowledge,” proving that successful gender performances are not innate nor natural, arguments that 1980s heteronormativity argued to justify oppressive power hierarchies (Hentzi 36). These performances exposed the truth of outside society’s discomfort and defensiveness of their beloved and seemingly meaningful gender, race, sexual, and class boundaries. This is because “if men can be women, blacks can be white, the poor can be rich, and gays or lesbians can be straight (and vice versa in each of these examples), then the necessity and inevitability of these boundaries become suspect,” and these boundaries can indeed be crossed and ceased (Schacht 148). 1980s balls ultimately could prove that “hierarchical borders that previously demarcated superiority and subordination would lose their omnipotent meaning” and these

I think that what Deborah Owens meant by "Cash is King" is that if you pay with cash it is easier to track how much money you have to spend and how much money you have left. I personally feel that only paying with cash is a smart way to save money. This is because you can physically see how much money you have left, if you were to pay with a debit card you would have to check the balance in order to see how much you have left. An all cash society would help benefit the people, but not necessarily the economy. This is because people would be willing to spend less money on things. According to Money Mozart, " If people started paying for things with cash they would only buy things they can physically afford, they would rent or buy smaller house

In William Shakespeare’s Merchant of Venice, gender roles are explored, culminating in two distinct scenes of cross-dressing. The men of Elizabethan society enjoy a prominent status based solely on gender, to which women are clearly outsiders. This is particularly evident in Jessica’s newfound freedom when dressed as a pageboy in Act 2 and Portia’s and Nerissa’s immediate elevation in social standing when they take on male personas in Act 4. Through these two instances of cross-dressing, Shakespeare presents class not in terms of socioeconomic status but in the benefits of being male. Although the three women all partake in cross-dressing as a means of undermining patriarchal constraint, the consequences vary as there are several

In this paper, I will explain how the article “The Lady and the Tramp (II): Feminist Welfare Politics, Poor Single Mothers, and the Challenge of Welfare Justice” by Gwendolyn Mink relates to the thematic focus of working women and the Marxist and socialist branch of feminism. In Feminist Thought: A More Comprehensive Introduction, Rosemarie Tong explains that Marxist and socialist feminists understand women’s oppression as a labor issue. Women’s work is not viewed as a productive contribution to society. One of the ways Marxist and socialist feminists sought to improve women’s oppression was through the wages-for-housework campaign of the 1970s, which fought for work done in the domestic sphere to be paid and respected by society. In this same vein, Mink’s article can be viewed as a continuation of sorts of the wages-for-housework campaign. Mink suggests that poor single mothers have the right for their work to be recognized by society and supported economically like the Marxist and socialist feminist in the 1970s.

Victorian literature is a literature written in England during the reign of Queen Victoria, or roughly from 1837 -1901. It is largely characterized by the struggle of working people and the success; of right over wrong. It happened to be in the Victorian era (1837–1901) that the novel became the leading classification in English. Women played an important part in this rising popularity both as authors as well as readers.

In Twelfth Night Shakespeare uses gender roles and cross dressing to create disguise. This creates a sense of gender ambiguity and this is what makes the audience laugh - but although it creates a sense of fun and liveliness it also examines

“He starts a rumor going round to the effect that he has become a eunuch; …wives, he trusts, will be intrigued” (2288). Horner’s conclusion is logical and clever, considering the fact that masks “were a widespread item of Restoration fashion[;]…they were worn both by ‘virtuous’ women and by prostitutes, with the tantalizing effect of rendering those two human categories not quite distinguishable from one another” (2288). From this social climate, he discerns that if he wears a metaphorical mask, or a unique social label, this mask might have a similar “tantalizing effect” on women; it might make discerning female wits want to discover whether the man behind the mask is truly asexual or erotic.