Anthony Browne's Piggybook

Although Milkman was too young to fully understand the implications, it set forth a feeling of confused shame that would be rehashed at a later age and that would have him questioning his mother’s actions as a ‘traditional mother’. Freddie looked upon the situation through the eyes of his own experience of manhood, ideals and thought process and insinuated “Milkman” as being a ‘boob man’ instead of a child receiving nourishment and bonding with his mother. In doing so, he also placed a subconscious learned idea of the expectation of manhood in the boys’ head at a very early age. Another result of Freddie’s interaction and comments that day placed a label on the young child as the “milkman” that would follow him all the way through to adulthood and indeed a perception of him being a ‘boob man’ and also as Ruth being inappropriate in her traditional role as a mother.

Women are primarily objects of sexual pleasure for the male protagonists. Their characters are always filtered through the men's perspective, with the exception of the maid Bertha, Charlie’s maid, who at times makes fun at either of the brothers. (Perspectives on How Women Internalize the Ideal Beauty Standard, Year Unknown).

Besides, Margaret as the maid to Hero, is under the deceptive appearance that veiled her witty nature. When she is with the woman, her true self is shown through the use of sexual innuendo when she refers woman as ‘maid and stuffed’ with the idea of pregnancy. She can have bawdy talk just like man when she responds to Hero by saying ‘heavier by the weight of a man’. In a patriarchal society, though women are suppressed, they are not totally submissive and innocent as their true self is veiled by the deceptive appearance.

However, Susan Glaspell uses the kitchen in the plot as another theatrical metaphor for a domain of gender identification because it is a women’s domestic territory where women’s life is revealed through common kitchen items. Throughout the play, we can distinguish the roles given to women in that era. In this era, women’s roles were generally reproductive, so they have been relegated to the home with less interaction with the outside world. Because kitchens have often served as work spaces, women have found a sense of empowerment through domestic tasks such as cooking, food knowledge, and efficiency of the kitchen. These conditions reveal the state of mind of women in the play. Minnie Wright’s “gloomy kitchen” (Glaspell 443) is “left without having been put in order—unwashed pans under the sink, a loaf of bread outside the breadbox, a dish towel on the table—other signs of incompleted work” (Glaspell 443). She lost her motivation to do housework chores, which represents that her mind is battered and leads to Mr. Wright’s murder—he has distorted her life.

To ease into her poem, Harwood creates a vivid image for the reader about a zookeeper’s daughter coming daily with their “special bowl.” This refers to how the lion has the notion that the woman is forming a relationship with him through their mealtime together. In reference to this, the lion, which is the man, believes he is caged due to his belief that the zookeeper refuses to accept his feelings towards his daughter. Contextually, during Harwood’s time, women were expected marry men who were of their social class and who were believed could take care of them. Assuming the man’s persona is drudging and he is seen as filth in relation to depicting him like a lion, the daughter cannot marry or be seen with him because it may affect or shun her reputation. The poet chooses to include the connotation of a “special bowl” instead of explicitly stating how they share a meal together to signify how the man and woman are forced to hide their feelings until they are alone together at mealtimes. She leaves no doubt in the reader that the man is feeling this way because she refers to their meal as their “love feast,” highlighting how interconnected these two people are with one another. Furthermore, the man’s predicament refers back to Harwood’s time in that women were expected to act in a certain prim manner, and to be a lover to a man in a status below her would taint her reputation

‘The characters Gail and Enid reinforce the idea that a woman’s place is in the home, and men make all the decisions’

      If it is ironic that the women find the clues, it is even more ironic that they find them in the mundane household items to which the men attribute so little significance. "Nothing here but kitchen things," the men mistakenly think (287). Because of their weak intuition, they do not see the household as indicative of John's and Minnie's characters. They do not see beyond the cheerless home to John Wright's grim nature, nor do the dilapidated furnishings provide

In the late ninetieth and early twentieth centuries women were thought of as dolls, puppets, or property. In many cases, they weren’t allowed to make decisions for themselves. Women were only good at worrying about frivolous housework and lighthearted pleasantries. In the two plays “A Doll House” by Heinrich Ibsen, and “Trifles” by Susan Glaspell, there are several exploitations of this way of thinking.

In the world of One Flew Over The Cuckoo’s nest women are generally considered less superior than men, however in the middle of feminists movements in the workforce and general equality it was becoming an occurrence to see more women in higher positions of power with higher salaries within their workforce. R.P McMurphy is presented with contrasting character views of this change in preference for the traditional ‘housewife’ perspective of women. Characterising women as either “Ball Cutters” or “Whores”, McMurphy's perspective is said to be archaically inappropriate. “Ball Cutters” are defined as women who take control and aim to dominate over men exposing a particular vulnerability and hence creating a sense of weakness within men. “Whores” are defined as women who serve as pleasure tool for men, powerless and submissive

I have chosen to focus this paper on the portrayal of gender stereotypes and expectations as seen in the book Ethan Frome written by author Edith Wharton. Before I proceed with this topic, allow me to highlight the ingenious writing style of the author and her subtle discussion of unhappiness, which opened the door to adultery in the marriages of both Wharton and her main character in the book Ethan Frome.

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.

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

In Fun Home, Alison Bechdel demonstrates how myth and stereotyping contribute to the construction of prejudice. Alison’s father, Bruce Bechdel, lived a false life by denying his sexual orientation and created the illusion of a “normal” family life. By marrying a female and creating offspring, he perpetuated the public illusion that he had the perfect home and family. Despite this myth of perfect domestication, the true private life of the Bechdel family could be described as dysfunctional. Bechdel “witnessed only two gestures of action between” (Bechdel 68) her parents, which consisted of her father giving her mother “a chaste peck before leaving on a weekend trip” (Bechdel 68) and one time when her mother “put her hand on his back” (Bechdel 68) as they watched television. Bechdel writes how on both occasions, she “was astonished and discomforted” (Bechdel 68) and suggests that both her mother and father preferred “fiction to reality” (Bechdel 85). Both Bruce Bechdel and his wife, lived in a world where they did not acknowledge reality; it was easier for them to live a lie then to come to terms with Bruce’s homosexual identity. The conflict within the family could be attributed to Bruce’s suppression of his sexuality, which in turn, could be attributed to growing up in a time period when it was

Wendy’s father, Mr. Darling, sets the prime example for adult male stereotype. Barrie characterizes him as the breadwinner of the Darling family and a proud businessman. Throughout Barrie’s insight into his character, the reader observes him insist upon respect and obedience from his children and wife; and even the family dog. In one instance, Mr. Darling even boasts to Wendy that his wife, Mrs. Darling, not only loves him, but more importantly, respects him. This attitude as displayed by the character of Mr. Darling as the most prominent adult male influence can be argued to be associated with the male stereotype in many ways. Mr. Darling’s character in the text supports the culturally stereotypical view of the male gender as the

At first glance, J. M. Barrie’s Peter Pan appears to be an innocent literary depiction of a young boy who wishes to never grow up—thus, remaining a child. Peter Pan, the story’s main protagonist, poses as the mischievous and youthful boy who spends his eternal life seeking adventures and leading the Lost Boys through the make-believe island, Neverland. Peter acquires the company of a young British girl by the name of Wendy Darling and her two little brothers, John and Michael Darling. In the company of the British children, Pan travels back to Neverland to primarily utilise Wendy for her motherly-expertise. Further inquiry and literary analysis of the 1904 novel leads readers to believe there is more to the story than what can be seen at first glance. Peter Pan is one of many novels subject to feminist literary criticism; the novel displays an array of male characters with very few female characters to contrast. Furthermore, female characters can be seen as passive, and frequently submit to paternal authority. In Peter Pan, women are assigned specific roles that mirror the responsibilities of those in the Victorian Era. The demeaning and gender-stereotypical interpretation of women coupled with the encouragement of male dominance places the story under criticism for its subjugation of women. In essence, the female characters are subject to the gender stereotypes and societal norms of the Victorian era in which they are