With the implementation of the Comics Code Authority and its domination of the comic field, Marston’s creation that subverted gender norms had become problematic. The Code called for comics to conform to the social conservative ideals currently held in society and the original Wonder Woman flew in the face of that. Though Marston’s widow begged DC Comics to be given the reins of the Wonder Woman series after Marston’s death, the company handed over control of the series to Robert Kanigher, who they knew would conform and adhere to the regulation of the Comics Code Authority. The Code called for an emphasis on “the value of the home and the sanctity of marriage” and Kanigher absolved to honour and submit to the symbolic power of the Code. All gender subversion was wiped out of the series. Wonder Woman conformed and under Kanigher’s run, feminine gender performativity became evident. Lepore best describes it: “In the 1950s, Wonder Woman followed the hundreds of thousands of American women who had worked during the war only to be told, when peace came, that not only was their labour no longer needed, but it threatened the stability of the nation by undermining.” The following sections will examine how Butler’s concept of gender performativity was present in Wonder Woman series under the height of the Comics Code Authority’s power in the comic field.
Before we discussed the data collected from examination of the gendering within the Wonder Woman series in the height of the
Pallas Athena and Wonder Woman have shaped up history and influenced women throughout generations due to their power in defending justice. These strong, independent women have shown many similarities that have given women the confidence to stand up for themselves leading to the opportunities today’s women have. They both liked to settle battles and fights by peaceful means. These two women, symbolized fortitude, wisdom, and intelligence. Pallas Athena, the Greek patron goddess of the Amazons and Diana Prince the modern heroine of Wonder Woman (2017) both demonstrate a feminist
The woman’s role in society had many changes during the era of WWII to the baby boom era. It went from the strong independent woman that can work in a factory to a house wife that takes care of the family to the final slightly dominant, but still dependent female. All of these different feminine mystiques were changed because of society and through indirect propaganda in TV shows and
Feminist ideas are used throughout this story in both explicit and implicit ways to help describe the gender roles placed upon females in the 1950s. “That figure was a garish blond showgirl, a Hollywood ‘sexpot’ of no interest to intellectuals”. (Page 79) The author explicitly includes the
In the span of our history, women have always been outcasted as “something else,” to put lightly. Cultures tend to see women in different lights, usually ending up being the assumption that all women are home goers and weak, and not as strong and willed as their male counterparts. Not to say many women do not follow this assumption. Nonetheless, women can be perceived in many more lights than only one simple assumption. The Odyssey views women as strong, but ruthless and snake-like. Wonder Woman views women as strong, but weak and useless as well. Both these pieces of literature show women in the many limelights society has seen over the years. Both The Odyssey and Wonder Woman show women in different ways, together as strong, and separate in their own ways.
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
The nineteenth century is popularly known for its traditional view of gender roles, especially regarding women. The term “True Woman” refers to what society at that time thought to be the ideal woman, carrying qualities of “modesty, submissiveness, physical weakness, limited education, and complete devotion to husband and home” (White, 2009, p. 1). Women were restrained in terms of sexuality, dress, language, and economic decisions. In Amy Gilman Srebnick’s The Mysterious Death of Mary Rogers, Mary rebels against these standards by being a single women that is also sexually active, however, her actions are what seemingly lead to her demise. Similarly, Fanny Fern’s Ruth Hall also goes against gender norms. In her case, she earns her own economic independence through her writing and lives a more unconventional life as a mother, but faces repercussions from her family. Through the novels Ruth Hall and The Mysterious Death of Mary Rogers, the main female characters revolt against being “True Women” through their daily actions and behaviors, however they’re each punished with consequences for trying to deviate from society’s path.
Women were raised to fit into gender roles, but that would not translate into a “man’s society”. The only solution was to make a hybrid role. As seen with Rosie the Riveter, “she is strong and at the same time beautiful.” (Hall, Orzada, and Lopez-Gydosh) This was a major distinction of the time- there was a mental image of elegant women, but also a hard reality that required women to abandon traditional views. While the definition of women had to change, so did their outward appearances.
Who doesn’t love a good superhero? The perfect figure, the spandex suit, the flowing cape, flawless looks, and the powers we can only dream of having. Superheroes have been around for ages now, leaving an everlasting imprint on our hearts. It is no secret that males dominate the superhero industry; both the heroes themselves and those who create them. Superman, Batman, Ironman, and Spiderman have become the top heroes of all time; there is nothing wrong with them holding the spotlight, but female heroes are underrepresented. There are notable female heroes, but they tend to be drawn with a busty figure that few women are naturally blessed with, and show little emotional rational in fights. Take Black Widow (Marvel) for example, anyone would love for her figure and kick-ass moves. Wonder Woman is our hero of the hour, she has made her way onto the big screen; casting her into the spotlight more than ever. She screams fights for love, promotes peace, is a beacon of hope, and screams feminism. What’s not to love? The new movie released on June 2, 2017, has called more attention to the American-spirited, Amazonian woman than ever before. The movie is the first fully female directed movie, Patty Jenkins brings a great female to the big screen. Although the movie is great and supports feminism, is the movie the depiction of Wonder Woman that should be idealized?
The presence of media is prevalent in our technology savvy lives. Yet with inequality shown in media, we are constantly bombarded with sexist concepts. This issue was specifically exemplified in the movie “The Avengers” where a bunch of superheroes get together to collectively defeat an enemy.
This book features a collection of Judith Butler’s essays and her primary intention with this collection is to “focus on the question of what it might mean to undo restrictive normative conceptions of sexual and gendered life” (12). These essays look at the construction of gender and the way certain conceptions of it are normalized and reproduced in potentially harmful and limiting ways. Butler uses a feminist poststructural framework to critique the normalizing/marginalizing views of gender that exist because the “terms that make up one’s own gender are, from the start, out-side oneself, beyond oneself in a sociality that has no single author (and that radically
Throughout the world women are depicted to be oversexualized among forms of media such as video games and comic books. The idea of oversexualization towards female characters is that they have been often drawn and animated in hypersexual ways. Even going as far as viewing them as a sex object, their revealing body images are eye candy through the eyes of men. Hence women found in comic books and video games are frequently emphasized by their excessive physical appearances, objectification, portrayal, and character role.
Children always looking for a positive role model to have, and many end up choosing superheroes they see in their favorite comic books or ones they have seen in the media. Since children are so easily affected by things they see in their childhood, having discriminatory elements in these influential characters may be problematic. “The Wonder Woman Precedent: Female (Super) Heroism on Trial” written by Julie D. O’Reilly, was published in the Journal of American Culture in 2005. O’Reilly is a professor of communication and women and gender at Heidelberg University. In “The Wonder Woman Precedent”, she writes about the hardships that female superheroes in the media must face that male superheroes do not go
“Wonder Woman is a walking- and sometimes flying- paradox of attributions and images. She is, at once, a female sex symbol and feminist icon: physically vulnerable, morally virtuous, financially independent, self-determining, and, in tune with her womanly ways, self-sacrificing” (Wright 6). Wonder Woman was created by William Marston in order to show and achieve women empowerment. At the time that Wonder Woman was assembled, there were no women superheroes. The only superheroes that were created at the time were powerful, strong, fully-clothed, white, males. Even though Wonder Woman is just as powerful and important as other male superheroes, she is often easily centered out from other superheroes because of her physique, lack of clothes,
Author and civil rights activist Maya Angelou once said, “How important it is for us to recognize and celebrate our heroes and she-roes!”. When one thinks of comic books, it is very likely that the subjects that come to mind are Marvel’s Spiderman or DC’s Batman. Although comic books are stereotypically thought to be mainly about super heroes, there are a wide variety of subject matter they could be written about, such as romance. In the 1950s – 1960s, it was common for these romance comics to exploit the social norms of that time and emphasized the subject of gender roles. While the men in comic books were usually illustrated in a brave heroic manner, the women would be portrayed to be what would now be considered a stereotypical “trophy wife”. As a young child reading these comics and taking in these images, they are slowly molding their ideals to believe that what they are reading and seeing is what is accepted and normal in their society. By coding gender norms into the texts, authors are helping mold the ideology of its readers to believe that it is acceptable for both genders to follow specific rules that accommodate to the believed social norms of the time.
Frequently, most superheroes in cinema are portrayed by male characters rather than women, creating a distinction between gender roles. Indeed, through the passage, “These results may suggest to viewers that women are less important, knowledgeable, and capable than men – and less likely to be a hero” (Miller et. al) women are much less likely to be featured as the hero within the film, and more likely to be featured as the “damsel in distress” of the story. Furthermore, women are much more likely to be depicted in a sexualized fashion, even when displayed in the role of hero. This feature of women with a lack of dominance defies feminism, as they lack roles in superhero films and they are portrayed with the sole purpose of boasting