Feminism And Frankenstein

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“Feminism has fought no wars. It has killed no opponents. It has set up no concentration camps, starved no enemies, practiced no cruelties. Its battles have been for education, for the vote, for better working conditions, for safety in the streets, for child care, for social welfare, for rape crisis centres, women’s refuges, reforms in the law. If someone says, ‘Oh, I’m not a feminist’, I ask, ‘Why? What’s your problem?” says Dale Spender in Man Made Language. Throughout literature history, women’s writing is often unremembered and widely unrepresented. For example, it is a misconception that the first science fiction novel was written by a man, Isaac Asimov. However, he was born in 1920, while Mary Shelley penned Frankenstein in 1818. To…show more content…
They are the wives, the witches, the women that further the plot along. In tragedies, though women have an important part to play, they are often morally bankrupt as compared to the women of comedies, or if they are morally sound, they are disenfranchised and ignored, and refused the chance to contribute to the society in which they live. For example, in Romeo and Juliet- the play ends in tragedy because no-one listens to Juliet. She is increasingly ignored and her pleas are refused to be listened to, until the two young lovers kill themselves. Compare to Othello. This is the most horrifying and intimate tragedy of all, with the climax taking place in a bedroom as a husband smothers his young wife. The tragedy here could easily have been averted if Othello had listened to Desdemona and Emilia instead of Iago. The message? This society, built on racism and misogyny and martial, masculine honour, is unsustainable, and cannot regenerate itself. The very horror of it lies in the murder of two…show more content…
Women write stories for girls. Men write Literature. Women write chick lit. Even in a world where women do publish in heavier numbers than men do, they are underscored, underseen, and undervalued. Twilight is and will remain a crucial part of YA’s history — YA’s female-driven history — despite or in spite of the fact it doesn’t garner the same praises that those held up as idols within the community do. Men like John Green become symbols of YA’s forward progress and Seriousness-with-a-capital-s as a category, whereas Stephenie Meyer gets to be a nothing more that a punchline.
Take a look at the New York Times list. Since the beginning of the separate YA list, women have never held the same number of spots as men; the average number of women who appear on the YA list is two to three.
Then take a look at the New York Times list for children’s series fiction. When you look at the YA titles on that list, it is held predominantly by women. Between Veronica Roth, Suzanne Collins, Cassandra Clare, Marissa Meyer, Marie Lu, and Maggie Steifvater, women are ruling. They’re ruling in genre fiction.
Genre fiction, which exists on the periphery of “real”
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