Gender Roles In Fun Home

Alison Bechdel’s memoir, Fun Home, is a compelling narrative in which Bechdel takes the reader through her life and gives insight into her relationship and the complex lifestyle her closeted homosexual father, Bruce Bechdel. However, her serious topic is told through the narrative of comics, images that literally put the readers into the moments of her life with her. Even though, the graphic images provide visual insight, Bechdel makes a conscious decision to include a multitude of literary allusions because, as Bechdel describes, “I employ these allusions to James and Fitzgerald not only as descriptive devices, but because my parent’s are most real to me in fictional terms.” (Bechdel, Page 67) Her continued use of literary allusions can be seen as an insight to her life. The particular works of The Great Gatsby by F. Scott Fitzgerald and Oscar Wilde’s plays An Ideal Husband and The Importance of Being Ernest because of their content concerning facades and the lengths one person goes through to keep a part of their identity or life a secret. TRANSITION Bruce Bechdel was the master of secrecy, hiding a part of his sexuality behind his heterosexual marriage in order to keep his idea of an acceptable livelihood. It is clear that Bruce Bechdel had a few infidelities with males throughout Bechdel’s childhood, infidelities that she did not know until later in life. This creates a whole new perceptive for Bechdel. The father who she thought as a controlling, stern, literary fein

In Alison Bechdel’s Fun Home, the author enlightens us with her struggles in determining her gender identity and sexuality. She does this in a very unique fashion. Alison, throughout the novel, uses specific pieces of literature and writing in order for the reader to decipher her true emotions and feelings toward her sexuality. On top of that, Bechdel writes her story in order to show how these objects play a much deeper role between not only comprehending her sexuality, but her understanding of her choppy relationship with her father. The end result is a series of connections that bring the two closer together than they ever were.

Gender roles are a set of societal norms that dictate the different types of behavior which are generally considered acceptable for people based on their actual or perceived sex or sexuality. In the graphic novel “Fun Home: Old Man, Old Artificer” by Alison Bechdel and the story “Shiloh’ by Bobbie Ann Mason the main characters switch gender roles. These stories use irony to convey the gender roles men and women are supposed to have; however Old Man, Old Artificer reveals what happens when you try to cover up your secret by switching gender roles while “Shiloh” reveals that changing gender roles can cause a marriage to end.

Fun Home: A Family Tragicomic is a 2006 graphic memoir written by American cartoonist and memoirist Alison Bechdel. Alison began her career by illustrating and writing comic strips for Dykes to Watch Out which debuted in 1983. Alison Bechdel was an LGBT activist who tells her unraveling story recalling her early years about struggling with self-identity while coming to understand her father 's enclosed identity as well. Contrary, Rape Fantasies was written and published by Margaret Atwood. Atwood is an Canadian poet and novelist who gained public attention by a collection of poems called Double Persephone in 1893. Many of Atwood 's poems are inspired by myths and fairytales that sheds light on women

In today’s society, there are many guidelines of how one should act and be. Gender socialization is the process where people take on notions of gender roles, gender ideas and gender behaviours. At an early age, boys and girls are told how to behave and act according to societal norms of gender behaviours and roles. The comparison of Jane Smiley’s article “You Can Never Have too Many” and John McMurty’s , “Kill ‘Em! Crush ‘Em! Eat ‘Em Raw!” provides an insight about how gender socialization is conditioned through toys and sports at an early age. Also teaching and reinforcing stereotypical gender roles through traits, appearances and occupation. (this is an incomplete sentence and it doesn’t flow

The musical adaptation of Fun Home introduces a new element to the original story; Alison’s present self is no longer just a footnote to the text, but instead they brought her to life as an omnipresent observer of these memories transforming her into a character of her own story. Her presence in every scene of the stage adaptation is a visual replication of the authorial presence readers discern throughout the graphic novel. Similarities of the two “characters” are present from beginning to end, even if not always blatantly identical. In her text Bechdel writes, “I was Spartan to my father’s Athenian. / Modern to his Victorian. / Butch to his Nelly. / Utilitarian to his aesthete” (Bechdel 15); similarly, in Fun Home: The Musical, Bechdel’s character

In the past few decades, Lego has grown into one of the most prominent brands of children toys worldwide. Unfortunately, the success Lego continues to endure is accompanied by disapproval and accusations. The new Friends line of Lego has attracted criticism as some find it to be too gender specific and sexist. Despite the popularity of the Lego Friends sets, individuals found the sets to be offensive and discriminating towards females. The pink and purple colours with the fairy, princess or family figurines were said to be supposedly stereotyping girls. When compared to the boys Lego sets which incorporate themes such as super heroes, doctors and firefighters, the Friends line appears inferior.

Alison Bechdel’s comic book “Fun Home” is narrated by none other than herself who builds the narrative around her family and her life growing up. Then, years later, her father dies in a car accident, and despite not knowing if it was really an accident or a suicide, she occupies herself with finding a justification for his death. Now imprisoned with the task she put herself to, the narrator blames her father 's shame and lack of happiness due to him being a homosexual, which she also discovered herself being at the age of 19. The story touches on several themes including happiness, identity and honesty. More specifically, “Fun Home” suggests that happiness is unattainable if one conforms to society 's norms by suppressing their true identity. This is demonstrated through the comparison made with the character Jay Gatsby from "The Great Gatsby" by F. Scott Fitzgerald and Bruce Bechdel, as well as the narrator’s depiction of herself.

Fun Home is a retelling of Alison Bechdel’s life through the lens of her relationship with her father. However, because of what she considers to have been his suicide, Alison is left with an incomplete picture of who he was in life. By calling Fun Home an autobiography, Bechdel enters an autobiographical pact with the reader that ensures that what Bechdel is telling us is the truth. However, elements out of her control leave Bechdel unable to provide certain objective facts necessary to her narrative. As an attempt to remedy these absences and in turn maintain the validity of her story, Bechdel uses intertextuality to fill in the gaps of in her retelling. By overlaying masterplots of fictional narratives over her own, the reader is able to get at an understanding of the kind of person Alison’s father was. In this way Bechdel is able to reveal things about her father that she can 't prove to be true, but are reflective enough of his life to become true.

In Fun Home, Alison Bechdel demonstrates how myth and stereotyping contribute to the construction of prejudice. Alison’s father, Bruce Bechdel, lived a false life by denying his sexual orientation and created the illusion of a “normal” family life. By marrying a female and creating offspring, he perpetuated the public illusion that he had the perfect home and family. Despite this myth of perfect domestication, the true private life of the Bechdel family could be described as dysfunctional. Bechdel “witnessed only two gestures of action between” (Bechdel 68) her parents, which consisted of her father giving her mother “a chaste peck before leaving on a weekend trip” (Bechdel 68) and one time when her mother “put her hand on his back” (Bechdel 68) as they watched television. Bechdel writes how on both occasions, she “was astonished and discomforted” (Bechdel 68) and suggests that both her mother and father preferred “fiction to reality” (Bechdel 85). Both Bruce Bechdel and his wife, lived in a world where they did not acknowledge reality; it was easier for them to live a lie then to come to terms with Bruce’s homosexual identity. The conflict within the family could be attributed to Bruce’s suppression of his sexuality, which in turn, could be attributed to growing up in a time period when it was

The issue of gender inequality is a prominent motif in The Joy Luck Club by Amy Tan. Throughout the plot, a majority of the female characters face pressure to conform to gender roles and expectations. Those around them, even close family members, expect and remind them to be submissive towards their husbands and to constantly serve their elders; often times, they are hypnotized into selflessness. While some manage to hold on to their identity, others are impacted in such a way that they lose their individuality and become silent. This effect ultimately influences their daughters.

The House of Mirth was written by Edith Wharton, a successful Pulitzer prize winning author. Wharton grew up enjoying the comforts of the privileged upper class during the late eighteen hundreds and early nineteen hundreds. This unique background is what enables her to write the raw truth behind the social atmosphere among the upper class. This is evident through The House of Mirth because the novel illustrates the life of Lily Bart as she navigates through the elite social jungle. Wharton’s personal experience with the privileged upper class society allows her to eloquently depict the luxuries Lily Bart enjoys, such as extravagant vacations, elaborate events, lavish gowns, deluxe meals, and fine wine.

The book “Fun Home: A FAMILY TRAGICOMIC” is a captivating autobiography that entertains readers as well as engages audiences. The content provided in the book challenges views on normative stereotypes while offering a unique perspective. The book impresses upon readers a stir of emotions while conveying messages effortlessly. The memoir focuses upon uncomfortable subjects such as death, homosexuality, and coming of age offering a candid look into aspects of the Bechdel’s life. The book is an interesting read, the subject matter produced is relatable to readers and unique in its format. Additionally, the content produced in the book relies on her relationship with her father, which aids in entertaining audiences because of their strange kinship.

1. Gender is being male or female, but in a social sense instead of a biological one, like sex. Gender roles are the expectations that society creates for each gender to act like and behave. In the film Parenthood, there were many different examples of gender roles. One of the major one examples that stood out to me was in the instance of Helen and her two children. At the start of the film, Helen let her son, Gary, walk out of the house being disrespectful and go do whatever he wanted, however she told her daughter, Julie, that there were people coming over later tonight and she needed her to help clean the house. Another major example of gender roles that stood out to be was the constant showing of the woman having to take care of the

Gender roles, the public image of being a particular gender that a person presents to others (gender roles, n.d.), have seen many changes through the years, especially in families. The changes can be seen in many aspects, including television shows, from the traditional family in the I Love Lucy sitcom of the 1950s to the plethora of shows about women and men who balance working and family life of the 2000s. A traditional family can be defined as “… the ‘natural reproductive unit’ of mom, pop, and the children all living under one roof… (Ball, 2002).” The 1940s, a period dominated by this type of family, were primarily a time of single-income families where the father was the ‘breadwinner’ and the mother the ‘homemaker (Hayghe, H.V., 1990).’