Luce Irigaray’s philosophy focuses on women’s identities and the symbolic order. In relation to women’s spirituality, Irigaray recognizes that women cannot become divine women as theorized through her framework of the mirror and how one’s god is imagined in relation to one’s own identity (67). In addition, women and their relation to the media is tied to spirituality and Irigary’s philosophy through normative injunctions surrounding beauty and divinity. As well, women’s literature, poetry, and short stories are essential in dismantling phallocentric language within the existing symbolic order. Women and the media and women writers exemplify Irigaray’s theories that women’s identities are based on men’s ontological certainty through a male …show more content…
Firstly, in Brandt’s poem “missionary position (2),” she writes “there was a great crashing in my / ears the day God became man & the / last heavy link of the great command / came tumbling to earth i became my / own mother” (29). This connects to Irigaray’s ideas that because man is separate as a gender to women, he and God are not defined by the female. Moreover, because there is no woman God, women’s connection to the infinite is tied to the virgin mother and that she can only become divine through her son’s inherent perfection (Medd, March 20). Furthermore, Sawai’s short story, “The Day I Sat with Jesus on the Sun Deck and a Wind Came Up and Blew My Kimono Open and He Saw My Breasts,” explores the imagination and what is seen to be impossible in the world as a possibility in a fictive text. That is, words have multiple meanings and truths (Medd, March 24). Irigaray discusses how the imaginary stage is essential in how women define experiences. While the symbolic stage – the law of the father – centres male-embodied experiences into language, the imaginary stage emphasizes the body and experimenting with the impossible (Medd, March 17). As well, this narrative redefines the self within the existing symbolic order, adding a shock factor with the beliefs that we have internalized (Medd, March 27). For example, Sawai writes Jesus with sexually charged imagery and with intertextuality of Christian verses, such as “He kissed me on my mouth. Then He flicked my nipple with His finger” (31). This shock, utilized with other literary techniques, demonstrates that Irigaray’s ideas of the symbolic order and the imaginary stage are crucial in order for women writers to project their identities and
Throughout my selected text, Johnson focuses on the church along with the subsequent androcentric image of God, and how it impacts woman around the world. She explains that throughout history, with the help of the church’s patriarchal nature and society’s values as a whole, woman have been seen “as a ‘defective male’…that must live in obedience to her [male counterpart,]…[ and who are often also referred to as the] ‘second sex’” (Johnson 92). This
A voice is given to the mother in this poem, who is representative of all women who have suffered under the churches morals and values and still hold a high regard for religion, in this case, Christianity. It is clear from Heaney’s depiction of suffering that the mother does share a maternal bond with
Fictional characters are persons that, when enlivened through careful, skillful writing and articulate literary elements, are incredible and relatable figures in any thoughtful novel. In Under The Feet of Jesus, the vibrant and distinct character of Estrella is thoroughly expressed as a young and passionate girl who struggles with her understanding of things that aren’t familiar— such “foreign alphabets” and Perfecto’s tools. Estrella is consumed in these emotions towards things she doesn’t understand, or know for sure, and expresses her moods without restraint. Helena María Viramontes, the author of Under The Feet of Jesus, uses selection of detail and figurative language to further develop this same iron-willed and impassioned character
“I’m a woman…Phenomenal woman, that’s me.” This quote from Maya Angelou’s poem “Phenomenal Woman” characterizes the common theme between the novel, Their Eyes Were Watching God, by Zora Neale Hurston, the speech, “Ain’t I a Woman”, by Sojourner Truth, and “Phenomenal Woman”. The common theme between these three different pieces is the idea of a strong, independent woman, which ties into feminism and the concept of being equal to men. Even though these three pieces are each diverse genres, they are all conveying the same general theme in their own way. Throughout any of these texts, it is evident that the authors are pushing the idea that a female is not inferior to any man just because they have a different body structure or a different gender.
The extent and degree of information and detail written in this article about each represented author and their contributing works can ultimately be seen as one of the articles main strengths. However, although this article gives a vast amount of information on the women’s opinions and beliefs the article at times seems disassembled and erratic. The flow of the article is somewhat hard to follow, and without an increased measure of concentration, the ability of the reader to comprehend and decipher whom the author is speaking of can be lost. Also, with the extensive amounts of information and detail that each female author contributes to the argument, readers are bombarded with data to interpret and distinguish upon. With the author of the article not decisively choosing the strongest points of argument from each author, the information becomes overwhelming and possibly confusing at times.
In her essay “Transfiguration”, Annie Dillard demonstrates the complexities of being an author and describes the journey she takes to rededicate herself to writing. She explains that being an author is a tough choice, and not to be taken lightly as it comes with many restraints on social and economic life. Dillard expresses extra attention to the fact that writing is her religion and is not short of sacrifice. In order to present the audience with a thought provoking piece, Dillard utilizes allusion to refer to religion and mythological creatures and give a greater context to even two word phrases. Dillard’s use of narration is used to create different stories within her story and add a shift in timelines as the piece progresses. Although satire
The video is about a boy named Bruce Reimer who was born as a normal healthy male but that changed on August 22, 1965, when they went to get a circumcisions but it went wrong during the operation and during it, the penis was burned off during the circumcisions and it got removed accidently. After that he was sexually recast as a female after his penis was accidentally removed during a circumcision and they said it was the electrical equipment fault and none of the doctors who were doing it. Every since that day, Bruce Reimer began living as a male with no penis. After several months later, the mom finally met a doctor named Dr. Money on a television programme that give her some hope that he can turn Bruce into a daughter. After couple months later, Dr. Money told them to treat Bruce as a girl and don’t tell him that he was ever a boy or else the progress will fail. So the family calls him Brenda and treat him like a girl. This also helps Dr. Money because this will give him more practice so he can change more people’s sex.
In Saiving’s article, The Human Situation: A Feminist View, she exemplifies the issues of viewing religion through a male-only lens. Saiving brings to light what oversights are made to women’s issues when theology is only focused on the male perspective. In Plaskow’s article, Setting the Problem, Laying the Ground, she similarly points out problems she finds in the male perspective of theology and how we should fix them. Both authors focus a great deal on unearthing women’s experiences and valuing women has fully human, rather than simple objects in men’ narratives.
Now the relationship that God appears from the literary-feminism criticism, portrays a God that is completely stagnant to the valuable lives of these women with no redemption available. On the other hand, the non-vulnerable characters seem to possess all the favor and blessing they could
By using humor to comment on the misogynistic views of women, they make light of a truly absurd situation of women living to marrying, birthing, and wifing to conform to societal norms. Since Eve was responsible having humankind removed from the Garden of Eden, women have been portrayed as temptresses and lustful but women were also depicted as “instruments of divine salvation.” The pamphlets them self as artifacts are symbols of women’s resilience throughout history and determination to fight for
Robert the Bruce was born on the 11th of July, 1274. Bruce was born into Scottish nobility although his family was originally from Normandy. He lived in a time where people resorted to violence when faced with problems and it was accepted as a normal thing.
Imagine being the one responsible if a car breaks down, or if a fatality happens due to an automotive malfunction, or being the cause of a company going into debt and eventually going bankrupt. All of these factors were reoccurring fears in Lee Iacocca’s life, but he never backed down. He continued moving about life strong and living off of his own saying, “If you can find something better, then buy it,”! If he had any doubts, he sure didn’t show it. Lee Iacocca should be entitled to a national day of recognition on April 17th for his leadership skills, his expertise in the business world, and his innovativeness.
In Stations of Desire, by Michael A. Sells the idea of gender and mysticism can be uniquely seen throughout the small novel. The majority of his writing being love poems, examines several relationships, person to person, creator to creation, and object to object. Specifically we focus on one reading in particular ‘Hadith of Love’. Through the several love based texts, it creates a definite picture of the specific gender roles and rankings of the time, both for female and male. In Hadith of Love we see the relationship between God and Arabi. In reading the text, we see that it is a narration of the self, from Arabi’s point of view, describing his overwhelming amount of love for his God. Although not frankly stating that Arabi is male, we can
Such expression is seen in early Christianity, when Jesus as the incarnation of God has become a crucial model for the saviour of the human race.86 In the work of Ruether who argues for “misappropriation” of the saviour figure in the early Christian thought, the discussion on such gender limitation takes the most dramatic turn: “Who is this saviour, and from what does he save us? This saviour of men comes to free men from birth, from women, from earth, and from limits. This saviour can only come in the image of the male. As God can only be imaged as male, as the male is the proper image of God, so the saviour too must be male....”.87
As a Professor of Comparative Literature and Program of Critical Theory, Judith Butler received her Ph.D. in Philosophy from Yale in 1984 and has received nine honorary degrees since then. Her work has an air of postmodern thought, focusing not on whether cultural practices are correct or not but goes in depth on the use language and its effect on how “gender” limits or even hinders women and those that don’t identify as either. In the 1990’s when Butler wrote this book during a time of great change in the portrayal of the female role. Women started having more empowered roles, no longer simply