Fleur Research Paper

The narration of the mother lecturing her daughter with commanding diction leads to the theme of women conforming to domesticity and if they don’t conform then they will lead a life of promiscuity that will affect the way people perceive them. Women in the past believed that a woman’s role was that of a domesticated housewife. The narration of the third point of view in this story and the commanding diction of it places an importance in the reinforcement of this idea, that if a woman doesn’t follow social norms, she will eventually turn to a “slut” one that her family will be ashamed of. She must set the table for lunch and for breakfast that is “how to behave in the presence of men who don’t know [her] very well, and that it the way they won’t recognize immediately the slut that [the mother has] warned her against becoming.”(Kincaid 485) through her commanding diction, the mother is telling her daughter how to set a table, how to cook, she

When Claudia learns that Frieda had been molested by Mr. Henry, there was no trace of concern written in her face. Instead, she stated that she “had nothing to pinch,” thus developing envy towards her sister. Then, she continued on with how she had grown tiresome of receiving everything last. Claudia wished that such action had been performed on her and not her sister. She pays more attention to her breasts and how unappealing they were to other males instead of being horrified at the prospect of being molested. Thus, this shows how important it was to Claudia to be viewed as attractive to males. She wanted something they could pinch on, and was distraught when she didn’t have the materials needed-- she didn’t care about anything else. Therefore, this shows how a woman’s sole purpose is to be an outlet for a male’s sexual

In the 1700s women were supposed to play the role of doting woman standing by her man virtuous and loving. However, one can say that gender power dynamics could easily be turned when the idea of sex and prostitution in placed in the dynamics. The two texts to support this thesis will be Eliza Haywood’s short story Fantomina: Or, Love in a Maze. Being A Secret History of an Amour between Two Persons of Condition, and Lady Mary Wortley Montagu’s poem “The Reasons that Induced Dr. S to write a Poem called ‘The Lady’s Dressing Room’”.

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

Prostitution looms large in the Victorian consciousness. The image of the fallen woman reflects the Victorian upper classes' ideas about sexuality, gender and class. The prostitute is a staple of 19th century fiction. Debate about prostitution is also a reflection of cultural anxiety about urbanization.

Haywood’s cautionary tale warns lower class women to beware of sexual misconduct as their bodies are more available to men. Carrie Shanafelt explains in her essay “Vicarious Sex and the Vulnerable Eighteenth Century Reader” how specific people risk more in reading pornographic novels: “namely, young, female, and lower-class readers” in the eighteenth-century (262). For example, Celia, one persona, is a young countrywoman who works as a maid at the inn where Beauplaisir lives during his stay in Bath. Haywood creates this low class character to warn readers of the potential for sexual assault because of their class and gender. Celia notes that: “Fortune in this Exploit was extremely on her side; there were no others of the Male-Sex in the House,

In Marguerite de Navarre's work The Heptameron, ten travelers share stories with each other while taking refuge in a monastery. Inspired by the work of Boccaccio, Marguerite’s work closely parallels the structure of The Decameron, but with three significant departures: within the group of travelers there is equal representation between men and women, the travelers promise each other to tell only true stories, and the travelers comment on the ethical ramifications of each story that is shared. Through these three stylistic departures from the traditional frame tale, Marguerite is able to challenge her audience with a distinctly proto-feminist dialogue. Because of her proto-feminist ideas, Marguerite and her self-inspired character Parlamente act as what Lewis Hyde would call a trickster, for as Hyde notes, “every group has its edge, its sense of in and out, and trickster is always there.” Within the context of gender roles and sexuality in Medieval European society, Marguerite is pushing against the edge of what is considered acceptable by casting an eye on the hypocrisy of her contemporary society’s view of adultery, making her a boundary crosser through her authorship. Specifically, by analyzing the consequences of adultery for men as opposed to the consequences for women, Marguerite’s trickster nature is revealed through her proto-feminist narrative as she points out the hypocrisy of traditional gender norms in regards to adultery.

Women at Vixens face many emotional challenges in order to raise their children in an environment that doesn’t reek of poverty, in order to do this they had to work as a stripper. Working as a stripper had “many believe that their families failed to provide a strong system of support by setting positive examples” (Dewey 104). These women who have to raise children while working as a stripper have it rough when they are trying to raise their children so they won’t be working as a stripper when they grow up. In the book Cinnamon has a hard time showing her daughter Melanie positive examples of herself therefor her daughter wanted to dress like her mother. As Cinnamon tries to justify to her daughter why she is dressed like this she says “I started doing this kind of work so you could eat! (Dewey 100). Women like Cinnamon struggle to show their children their attempts to be good mothers but their occupation as a stripper makes it hard to demonstrate positive examples to their children. Dirty money is something the women refer to as the money they make at Vixens which is money they are not proud of telling people how they made it. In the book Vixens dancers splurge their children in goods, “Star celebrated her son’s fourth birthday with a party she had planned three weeks in advance. Surrounded by presents…” (Dewey 100). Women at Vixens

Virginity and sex are common themes in popular media. Whether a direct discussion of the social expectations of virginity are expressed in a movie, the norms and expectations will surface indirectly nonetheless. The French film À Ma Soeur challenges the media’s lack of direct discussion of virginity and sexuality in youth, especially young girls. The story of À Ma Soeur follows two sisters on vacation, one who is attractive and thin and the other who appears overweight and plain-looking. The attractive older sister begins a relationship with an older man, and both sisters express their perception of virginity during the film. From Catherine Breillat’s forthright discussion and presentation of society's double-standards and taboos surrounding

This statement shows the condescending attitude of city dwellers toward the supposedly less refined tastes of the inhabitants of rural England, who are easily entertained by a simple play. Madame Duval also comments several times that Evelina is “a foolish, ignorant country-girl” (149) showing that she believes that the term “country-girl” is synonymous with ignorance and foolishness. On another occasion, Madame Duval actually uses the word “country” as an adjective, “considering what a shame it was to see [Evelina] such a poor country, shame-faced thing, when [she] ought to be a fine lady” (101). Here, the prejudiced lady essentially defines “country” as lowly or common, implying that fine ladies do not come from the countryside but can only be found in the more sophisticated realm of the city. A reputation of wealth and success is the most important thing to these city dwellers, and in their opinion, that cannot be found in the country.

Marcel Marceau is a pantomime he was born on the 22nd of March 1923, in France. He died on the 22nd of September 2007 in France. Marcel Marceau has a promoting communication style he measures progress in applause. Friendly people, new opportunities, and attention are motivating him. The last fact of why Marcel Marceau has a promoter communication style is that his most effective environments are social changing,youthful and optimistic. That is why Marcel Marceau has a Promoter communication style.

With each letter in Les Liaisons dangereuses, Choderlos de Laclos advances a great many games of chess being played simultaneously. In each, the pieces—women of the eighteenth-century Parisian aristocracy—are tossed about mercilessly but with great precision on the part of the author. One is a pawn: a convent girl pulled out of a world of simplicity and offered as an entree to a public impossible to sate; another is a queen: a calculating monument to debauchery with fissures from a struggle with true love. By examining their similarities and differences, Laclos explores women’s constitutions in a world that promises ruin for even the most formidable among them. Presenting the reader glimpses of femininity from a young innocent’s daunting debut to a faithful woman’s conflicted quest for heavenly virtue to another’s ruthless pursuit of vengeance and earthly pleasures, he insinuates the harrowing journey undertaken by every girl as she is forced to make a name for herself as a woman amongst the tumult of a community that machinates at every turn her downfall at the hands of the opposite sex. In his careful presentation of the novel’s female characters, Laclos condemns this unrelenting subjugation of women by making clear that every woman’s fate in such a society is a definitive and resounding checkmate.

Angela Vicario must navigate through the very thin line between being a respected, pure woman and an abhorred, raunchy “whore” because she is powerless in the judgmentally sexist village.

The fictional, based on true story, book tells the story of lacey, a child prostitute in Las Vegas. She has been manipulated into the sex life while still a preteen. The book opens with lacey who happens to be the right-hand lady to the pimp, Bobby, and the women under his control. Lacey was in the midst of helping Bobby groom another lost soul into the dark life of teen prostitution. The story follows the down, up, and the dangers of

While Pamela’s upstanding virtue provides the model behaviour for young ladies of the time, Cleland’s heroine sustains herself through the socially unacceptable act of prostitution. Although Fanny Hill is a pornographic novel intended to arouse its male readership, Cleland’s text is essentially anti-Pamelist in its account of Fanny’s life. Richardson offers his heroine multiple opportunities to flee the unwelcome advances of Mr B from Mr William’s proposal of marriage to Mr B’s offer to take Pamela as his mistress, both of which she refuses. Fanny, on the other hand, is forced out of poverty into the line of sex work. She relinquishes her hold on virtue, telling the reader that