Analysis Of Women Pray Love

Over the past 200 years sexual liberation and freedom have become topics of discussions prevalent within western culture and society. With the recent exploration of sexuality a new concept of sexual and gender identity has emerged and is being analyzed in various fields of study. The ideology behind what defines gender and how society explains sex beyond biology has changed at a rapid pace. In response various attempts to create specific and catch all definitions of growing gender and sexual minorities has been on going. This has resulted in the concept of gender becoming a multi- layered shifting hypothesis to which society is adapting. Since the 19th-century, philosophers and theorists have continued to scrutinize gender beyond biological and social interpretation. Margaret Atwood 's The Handmaid 's Tale captures the limitations and social implications forced upon a set gender based on societal expectations. Gender is a social construct that limits the individual to the restrictions and traditions of a society, or if it’s an individually formed self-identification of sex and sexuality that is formed autonomously. Evidence of gender establishment can be seen within literary works and supported by various schools of gender and sexuality theory.

The thesis statement above attempts to examine the role that Elizabeth Bennet plays in the novel as she goes against the women’s idealistic views. This article will help justify my thesis statement in how Greenfield expresses the oppression that women go through and how they lack to see the discrimination they are faced with daily.

Throughout American Literature, women have been depicted in many different ways. The portrayal of women in American Literature is often influenced by an author's personal experience or a frequent societal stereotype of women and their position. Often times, male authors interpret society’s views of women in a completely different nature than a female author would. While F. Scott Fitzgerald may represent his main female character as a victim in the 1920’s, Zora Neale Hurston portrays hers as a strong, free-spirited, and independent woman only a decade later in the 1930’s.

“Pride and Prejudice”, a novel written by Jane Austen represents eighteenth century English women as illogical, domestic individuals who economically depend on male members in their household. Major decisions in their life are decided by their fathers and brothers. They perform subordinate roles, and are considered inferior to men. This novel reinforces the sexist stereotypes of women.The female characters in the novel possess these virtues in varying degrees depending on their role. Marriage is considered essential to secure a woman’s future ,they are expected to behave in a certain manner to earn the respect of the society, and are treated unfairly by the social and justice

Does deviating from one’s gender norms inevitably doom one down a spiral of moral corruption? Tim O'Brien, author of “Sweetheart of the Song Tra Bong” and Ernest Hemingway, author of “The Short Happy Life of Francis Macomber”, certainly seem to hold this view, as evident by the fates of the major female characters in their respective works. The deviance of the major female characters in both works appears to corrupt not only themselves, but also pollute their partners, causing them to suffer injury or harm as a result. The degree of injury ranges from negligible, like Fossie’s demotion and broken heart, to fatal, like the bullet that rips through Macomber’s skull. It begs the question, are these stories meant to serve as cautionary tales for their female readers, or possibly for their husbands, so they may recognize gender deviance and stop it in its tracks before their wives transform into Margot Macomber or Mary Anne Bell? This essay will analyze what such characters say about pervading views of women, both in society and in literature.

The naturalized ideologies and categorizations of gender, sex, and sexuality are distorted through physical and genetic modifications. Lilith demonstrates that “to refuse to be a woman, does not mean that one has to become a man” (Wittig 12). Lilith, who is physically altered by the oolois, displays physical and behavioral male character traits; she fights in a way “only a man can fight” and is suspected to be a man (Butler 145). Also, Lilith runs away from her “family,” as only human males are expected to behave. Meanwhile, Butler confronts the idea in Rich's statement, that “sexuality and violence are congruent,” by describing Lilith as “biding her time, waiting for more information or a real chance to escape (Rich 209),” while the male character, Peter, “favored action” (Butler 175). Lilith breaks away from the original ideological gender construction and exemplifies the balance between gender and sexual identity outside of social standards. In doing so, Butler illustrates the development process of ideology through biological deformation of human (Lilith and her offspring) and recreates Wittig's idea of “a not-woman, a not-man, a product of society, not a product of nature, for there is no nature in society” (Wittig

Elizabeth Cady Stanton delivered her speech “The Solitude of Self” in 1892, which presented a definition of being a human being as well as being a woman in the time when males were dominating the society. By analyzing the historical and rhetorical context that the speech was delivered at, I argue that Stanton managed to address her purpose to the targeted audiences.

The concepts of “True Womanhood” can be defined by piety, purity, submissiveness, and domesticity. This novel reflects the concepts of the time, for example, when Winthrop comments to Fletcher, “passiveness next to godliness is a woman’s best virtue” (153). Winthrop reinforces the norm for women to be submissive, which is referred to in the novel as passive. True Womanhood could also be defined as selfless, referring to the concept of piety. We see selflessness reflected within the relationship between Hope and Magawisca, where Magawisca takes a huge risk in coming to tell Hope about her sister’s marriage and how Faith had changed, and in return, Hope risks everything to set Magawisca free

Sexuality has an inherent connection to human nature. Yet, even in regards to something so natural, societies throughout times have imposed expectations and gender roles upon it. Ultimately, these come to oppress women, and confine them within the limits that the world has set for them. However, society is constantly evolving, and within the past 200 years, the role of women has changed. These changes in society can be seen within the intricacies of literature in each era. Specifically, through analyzing The Scarlet Letter by Nathaniel Hawthorne and The Bell Jar by Sylvia Plath, one can observe the dynamics of society in regards to the role of women through the lens of the theme of sexuality. In both novels, the confinement and oppression of women can be visibly seen as a result of these gender roles. Yet, from the time The Scarlet Letter was published to the time The Bell Jar was written, the place of women in society ultimately changed as well. Hence when evaluating the gender roles that are derived from sexuality, the difference between the portrayals of women’s oppression in each novel becomes apparent, and shows how the subjugation of women has evolved. The guiding question of this investigation is to what extent does the theme of sexuality reflect the expectations for women in society at the time each novel was written. The essay will explore how the literary elements that form each novel demonstrate each author’s independent vision which questions the

Presenting literature to the public that is meant to be a commentary on social or political issues, masked under the guise of entertaining and fictional, is a tool implemented by authors and activists for centuries. While not all satire is as overt as Jonathan Swift’s suggestion that we eat the babies, it does not diminish the eyebrow raising suggestions that are conveyed once the meaning has been discovered. In Aphra Behn’s The History of the Nun and Eliza Haywood’s Fantomina, the established expectations of the female role within society are brought into question then directly rejected. These expectations establish that women should be deferential to men, morally unblemished, and virtuous at all times. Men, however, are not held to these expectations in the same way. The masculine roles assumed by Isabella and Fantomina demonstrate a private rebellion against the established patriarchal society as it warns against the under-estimation of women and proves that women exist independently.

American Literature has always been about men and for men. In this essay, we are going to analyze the women’s role in the book, as inferior and weaker gender.

In Sylvia Plath’s The Bell Jar and Alice Munro’s Lives of Girls and Women, Esther and Del try to take control of their sexuality and their sexual lives. These two female protagonists attempt to gain sexual confidence by quietly rejecting the societal images of women. They are able to seduce men and pilot their own sexual lives. These women are also able to ignore the popular beliefs about marriage and motherhood, thus freeing them from the traditional, restrictive female sexual roles. By rejecting the popular notions of womanhood, sexuality, and marriage, Esther and Del become the mistresses of their sexuality and sexual

Throughout the story we see the protagonist struggle with the gender roles placed upon her by her society; specifically the role she is supposed to play as

An example of this notion is shown in Hope Leslie when Governor Winthrop, the landlord, reacts to Hope, the tenant, coming home late and refuses to reveal her reason why: “...Winthrop was not accustomed to have his inquisitorial rights resisted by those in his own household, and he was more struck than pleased by Hope’s moral courage” (184). Evidently, Winthrop’s reaction proves that women with “moral courage” are unladylike because moral courage is a manly trait. On the other hand, Esther Downing, another character in Hope Leslie, embodies the cult of true womanhood. Esther’s mere look at her love interest Everell is described as “a look of...pleased dependence, which is natural... and which men like to inspire, because --perhaps -- it seems to them an instinctive tribute to their natural superiority” (219). So, “Esther’s look … of dependence” confirms that the expectation that all women are supposed to have the same behavior, gestures and personality is meant to not only please men but to also hide their true form. Therefore, the cult of true womanhood presents an internal battle in female writers and Sedgwick presents this womanly struggle through the contrast between Hope and Esther. Society wants women to be quaint housewives but publishing a book defies the cult of true womanhood. Thus, defying the qualities rooted in the cult of true womanhood causes high risk of

According to Judith Butler’s theory, gender is a social concept and not a natural part of being, therefore making it unstable and fluid. Gender identities are produced through what Butler calls “performativity,” the repetitive acts of expression that form and define the notions of masculinity and femininity. These repeated performances are engrained within the heteronormative society and impose these gendered expectations on individuals. In this respect, gender is something inherent in a person, however Butler writes “gender is always a doing, though not a doing by a subject who might be said to pre-exist the deed.” In Olga Tokarczuk’s House of Day, House of Night identity is undoubtedly central to the characters’ stories, specifically the strict social constructs of gender that is snarled with one’s identity. Tokarczuk’s novel presents a mosaic of stories that put into question heteronormative gender roles, while offering an alternative way of existence. Analyzing House of Day, House of Night with Judith Butler’s gender theory demonstrates the characters struggles within the rigid constructions of gender and how some ultimately deal with moving past such restricting expectations.