Emmele's Damning

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.

The Portrayal of the Plight of Women by the Author, In Their Particular Period of Time

One must read this piece multiple times before its true genius can be seen; this story is much like peeling an onion, tear-jerking hard work included. It is revealed in this story that she does not fit the common portrayal of the protagonized woman, as “[she is] thirty-four years old after all…” (Jackson 1), which clearly puts her as an outlier for her nativity and rash decisions.

The pain and trauma that stem from Esther’s illness have warped her view of the world around her. However, this symbol also represents the pressures put on women in the 1950s to be what was considered ideal for women during this era. The bell jar “suggests more than Esther’s inner alienated world”, it also “signifies society which destroys Esther” and “symbolizes ‘scientific punishment’ for non-conformists” (Evans 105). She “must combat the additional alienation of being an aspiring woman in an era of strict limitations for women” which only hinders her further from her goals in life (Axelrod). While many women at the time planned on marrying and settling down, Esther does not view these expectations for women in the same way and instead wishes to be her own independent person. While working as the guest editor of Mademoiselle, a fashion magazine, Esther “suffocates under the bell jar forced on her by a competitive, male-oriented society”(Evans 105). During the fifties women were not expected to have successful careers in general and the male dominant world held a high level of competition; while trying to come out on top in this society Esther ends up cracking under the intense pressure. Representing both the stifling social limits set on women and the protagonist’s dismal mental state, the bell jar is a robust symbol in this novel.

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.

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

In “A Jury of Her Peers” by Susan Glaspell and “A Rose for Emily” by William Faulkner, both authors introduce female protagonists that are confined by men’s authority. By displaying the protagonist's transformation, Glaspell and Faulkner highlight the repercussions of gender roles, to show that when women are trapped, they will go to great lengths to retaliate against their oppressors.

In a man’s world, women who want must suffer. They are turned away from personal achievement and forced down a path that encourages a devotional, misguided love. The desperation derived from this obsessive love inevitably causes destruction to its bearer in Toni Morrison’s Song of Solomon. In her novel, the protagonist Milkman searches for his personal and communal identity against a backdrop of disenfranchised, lovelorn women, and the reader watches as their inescapable desires for affection bring women to ruin. Morrison’s female characters are constantly wanting, propelled by their quest for intimacy. In this novel, female love is all-consuming and obsessive to reflect age-old oppressive patriarchal values; women are primarily defined by the men in their lives and achieving a home and a husband should be paramount for even nonconforming women. This wreaks havoc on the psyches of Hagar and Corinthians and begets endless anxiety over marriage and commitment. Through the consistent disintegration of her female characters, Toni Morrison examines the repressive, traumatic ‘ideal’ path for women and its prevalence in our and her novel’s society.

In every society each gender’s behavioral response is often a reflection of the societal influences that have been instilled since birth. In every society each gender is subjected to certain roles. Males having to suppress their emotions while women are able to be emotional beings. Women being shunned for exhibiting characteristics of the opposite sex. Although, we live in a society that harps on individuality and self-expression, it is clear that this only applies when individuals do not feel inferior. Additionally, self-expression is only situational and accepted based off of certain agendas. In the following story, Porphyria’s Lover by Robert Browning, we are able to analyze how a male reacts to feeling inferior to a woman. In The Yellow Wallpaper, which is written by Charlotte Perkins, we are able to analyze how her husband’s lack of understanding and inability to communicate with his wife ultimately leads to her insanity. In each of these stories, gender roles are being depicted in a negative and positive way. Through the character’s actions were able to learn how society views each gender in the time in which the story takes place.

In her narrative, Jacobs demonstrates her own suffering through the confession of her breaking the “cult of true womanhood” in her escape of her

Lynn Nottage’s Pulitzer Prize winning play Ruined takes place at Mama Nadi’s brothel in the Congo where a civil war is being waged and coltan is the new gold being mined from the earth. Mama Nadi reluctantly takes Sophie and Salima into her establishment to work alongside Josephine as entertainment for miners and soldiers. Before coming to Mama Nadi’s, Sophie, Josephine, Salima all experienced rape. The word rape is so common in our society that it has lost its intensity and heinousness to a person who has not experienced it. Rape is a general term to describe what the women experienced but it does not give any hint to the struggle that comes after the event. For example, what it does to a person’s mind, the lasting scars on someone’s body, and how it can change a person’s personality. Many critics assume that rape is the tragedy in the play, but Nottage’s use of the word “ruined” emphasizes that the real tragedy is the consequences of those soldier’s actions on these women 's lives and how it affected their interactions with society.

As cultural critic Edward Said once wrote, “[Exile’s] essential sadness can never be surmounted.” Mariam, the daughter of an affair between a wealthy businessman and a lowly servant, is exiled from her home of fifteen years into a marriage with someone who she has never met. She is left heartbroken, melancholic, and feeling alienated. Before her forced marriage, Mariam is huddled into her father’s house where she spends a few weeks coping with her mother’s death. The narrator describes the events leading up to her temporary residency with her father Jalil, “Two days before, Mariam has slept on the sidewalk waiting for him. Two days before--when

One’s inner metamorphosis begins with the general disillusionment with one’s surrounding environment. Such a disillusionment can come in quick succession, as with that of Esther Greenwood in The Bell Jar, or more gradually, as that of Antoine Roquentin in Nausea. The Bell Jar begins with the reader experiencing this subconscious disappointment along with Esther as she struggles along her dream internship at a fashion magazine in New York City. “I was supposed to be having the time of my life,” (Plath 2) she quips at one point. Her ideal cosmopolitan life began to reveal its rotten insides to her as she spends her summer in the fashion sphere of New York. Her disdain for this lifestyle begins as she witnesses her fellow interns’ gratuitous exploits, “When I woke up… I think I still expected to see Doreen’s body lying there in the pool of vomit like an ugly, concrete testimony to my own dirty nature,” (24) continues with her sexual experiences that fall far short of her expectations, “…he just stood there in front of me and I kept on staring at

“The Story of an Hour” describes the journey of Mrs. Mallard against the Cult of True Womanhood as she slowly becomes aware of her own desires and thus of a feminine self that has long been suppressed.  While this journey begins with the news of her husband’s death, Mr. Mallard’s unexpected return at the very end of the tale tragically cuts short the journey towards feminine selfhood.  Yet the tale is tragic from beginning to end, for the very attempt to create an identity against the gender constraints of patriarchal society is riddled with a sense that such an attempt can only end in defeat.  “The Story of an Hour” demonstrates that the patriarchal society that defines gender roles which control and delimit women’s experiences deny them a self founded on true feminine desires.  Ultimately, Mrs. Mallard’s journey towards selfhood only serves to reveal the erasure of identity, indeed of being, that women experienced in the nineteenth century.

Her relationship with the wealthy, charming Rodolphe Boulanger is a diversion from tedious country life as well as an intentional subversion of the establishment of marriage and an attempt to undermine her husband’s authority. After her first conjugal transgression, Emma distinctly feels “the satisfaction of revenge” and “savoured [sic] it without remorse, without anxiety, without worry” (161). Though her husband Charles is guiltless of cruelty or vice he is representative of a patriarchy that is entirely neglectful of the emotional, psychological, and intellectual needs of women and assertive of its superiority and power. She is expected to fulfill the duties of a simple-minded, submissive, and sexless creature who is devoted to the comfort of her family and upkeep of the home. By pursuing a sexual relationship with Rodolphe, Emma invalidates the authority of the prohibitive government institution over her actions and demands autonomy in the face of a banal provincial life.