Gender Stereotypes In The Ordeal Of Gilbert Pinfold

Arthur Miller was both mindful and precise when developing the characters for his plays. The female characters of The Crucible were created deliberately to express certain stereotypes in order to symbolize the role and treatment of women at the time. The women of Salem were property in the eyes of men, which was the common mindset of the people in 1692. Women are stereotypically thought to be irrational drama queens as angsty teenagers, but are expected to turn into well mannered, loyal, obedient wives by full adulthood. If this fails to happen, it wouldn’t be so unusual for someone to just start a rumor saying that the woman in question was a witch. This would most likely end in her getting killed, even though she’s more than likely to be innocent. Needless to say, the 1690’s were quite a difficult time to be a woman.

Vic Lang, one of the central characters, is arguably most affected by the constraints society places on gender — succumbing to romanticised ideologies.

Throughout literature women are often displayed as idealized characters. Women in the eyes of society are plagued with the stereotype of being kind, nurturing, and tender individuals while men are established as ambitious, assertive, and tough. However, when the time comes for women to possess the qualities of men and men of women, a turnaround of events can occur. Women were the individuals that then shape the males into their ending personna. Shakespeare's Macbeth, George Orwell’s Nineteen Eighty-Four, and F. Scott Fitzgerald’s The Great Gatsby demonstrated the reversal of gender roles through portraying women as the instigator of the male character’s ultimate demise.

An expecting couple awaits to discover the gender of their baby. The nurse announces that it’s a girl. The couple is extremely excited, but do they truly grasp the weight of what this implies? Gender is not simply a physical trait, as it affects nearly every aspect of a person’s life. Stereotypes repress the potential in all men and women. The same stereotypes are found throughout literature such as Medea by Euripides, Chaucer’s “The Wife of Bath’s Tale”, “Sonnets” by Shakespeare, “The Yellow Wallpaper” by Charlotte Perkins Gilman, and Frederick Waterman’s “The Best Man Wins”. A common thread between these pieces is that power can be gained by those who are suppressed by defying gender stereotypes and social hierarchies.

‘We are victims of matricThroughout Chief Bromden’s journey rediscovering himself in One Flew Over the Cuckoo’s Nest by Ken Kesey, he witnesses and recalls recurring conflicts between male and female characters, such as between Nurse Ratched and McMurphy, or between his parents. Through the his or other patients’ narration of these conflicts, female characters are often tagged with detrimental characteristics, and therefore are depicted as demeaning antagonists.

In the preface to “Doubt: a Parable,” John Patrick Shanley describes a significant factor to consider when reading his play: “I’ve set my story in 1964, when not just me, but the whole world seemed to be going through some kind of vast puberty” (Shanley viii). During that period in time, America experienced vast growth across all areas of life- from the home, to schools, to politics. Even the Catholic Church seemed to be embrace this time of change with the new attitudes developed from the Second Vatican Council. The Church set out to break from the old, rigid structures of the past and take on a more relatable and approachable presence for its surrounding community. In spite of welcoming these

Sexualizaton and objectification in the advertisements we see and the media we watch has become a very strong issue in our society. With the idea that “sex sells”, consumers don’t even realize that they’re not viewing the advertisements for what they are, but for the women (or men) that are being portrayed in a very erotic way, posed with whatever product they were hired to sell. Many articles have been written so far to challenge and assess this problem, but one written by Jean Kilbourne (1999), “”Two Ways a Woman Can Get Hurt”: Advertising and Violence” holds an extensive amount of authority. Using her personal experience with the subject, as well as studies she has conducted herself on the topic of sexualization, she talks about how the amount of sexualization in advertising affects how society views the culture and products consumers buy. She also notes that because of the quantity and prevalence of these ads, the rate of all forms of sexual assault, specifically rape (mostly towards women of all age), increase, as well as other forms of assault. It is important to examine Kilbourne’s use of rhetorical devices, such as ethos, pathos, and logos, and how effective these devices make her article. This way, it can be examined for its validity and her understanding of her own research. Kilbourne’s article is very effective through her uses of pathos and ethos, but at the same time, it loses its effectiveness through her absence of a counter-argument, as well as a lack

Gender stereotypes are things that have been around for a very long time. But they are not always the same. Over time, they will change and evolve, either for better or for worse. The gender stereotypes in the past were very different than the ones that now revolve around people today. A stereotype that used to be for women was that they should wear dresses, cook and clean, raise the children, maintain a great figure, and remain pure. This is different than today’s stereotypes in many ways. The first way is that women today are not required to wear dresses, or are even always expected to wear them. Women have a choice. But in the past, that was part of the image of a woman. It was nearly a rule that women could not wear pants because then they would not be like other women. Another way the stereotypes were different was because women had to do all of the housework alone. The men were not expected to cook, clean, or always take care of their children. They were allowed to, but it was unheard of back then. So the way that women were expected to maintain things in the past is nothing like it is now.

Women have been experiencing gender discrimination for years. Gender stereotypes for women are formed by unfair beliefs that all men and women are the same. This discrimination leads to certain effects such as how men expect women to do housework, take care of the children, and take on a passive role. Similar gender stereotypes are seen in “A Jury of Her Peers” by Susan Glaspell. In this short story, the murder of Mr. Wright was investigated by a group of men and women in Mr. Wright’s home. As the men search for evidence of a motive upstairs, the women stay downstairs and accidentally find the evidence needed to solve the murder. In Glaspell’s short story, “A Jury of Her Peers”, and in the article “Philosophical and Political Issues Surrounding Gender” it is made clear that gender stereotypes lead to gender discrimination. This discrimination causes men to assume women’s opinions are not as important as theirs and expect women to do all the house chores.

An example of this notion is shown in Hope Leslie when Governor Winthrop, the landlord, reacts to Hope, the tenant, coming home late and refuses to reveal her reason why: “...Winthrop was not accustomed to have his inquisitorial rights resisted by those in his own household, and he was more struck than pleased by Hope’s moral courage” (184). Evidently, Winthrop’s reaction proves that women with “moral courage” are unladylike because moral courage is a manly trait. On the other hand, Esther Downing, another character in Hope Leslie, embodies the cult of true womanhood. Esther’s mere look at her love interest Everell is described as “a look of...pleased dependence, which is natural... and which men like to inspire, because --perhaps -- it seems to them an instinctive tribute to their natural superiority” (219). So, “Esther’s look … of dependence” confirms that the expectation that all women are supposed to have the same behavior, gestures and personality is meant to not only please men but to also hide their true form. Therefore, the cult of true womanhood presents an internal battle in female writers and Sedgwick presents this womanly struggle through the contrast between Hope and Esther. Society wants women to be quaint housewives but publishing a book defies the cult of true womanhood. Thus, defying the qualities rooted in the cult of true womanhood causes high risk of

At a young age, we are taught to adhere to norms and are restricted to conform to society’s given rules. We are taught that straying away from stereotypes is anything but good and encouraged to build our lives upon only these social rules. Recently, stereotypes based on genders have been put into the limelight and have become of high interest to a generation that is infamously known for deviating from the established way of life. Millennials have put gender roles under fire, deeming it a form of segregation and discrimination by gender. Researchers have followed suit. Mimicking millennial interests, numerous studies have been published that detail the relationship between gender, stereotypes, and the effects of the relationship between the two. Furthermore, gender roles have been used as a lens to study socialization; tremendous amounts of interest have prompted studies on the inheritance and dissemination of norms, culture, and ideologies based on the stereotypes that cloud gender. For sociologists, determining the extent of the impact of gender stereotypes on socializing our population has become a paramount discussion. Amidst many articles, the work of Karniol, Freeman, and Adler & Kless were standouts and between the three pieces, childhood served as a common thread; more specifically, these researchers studied how gender roles impact socialization from such a young age.

There is no doubt that certain books children read are made especially for boys or for girls. Like any developmental form of entertainment, from toys to movies, children's books are often littered with hints that dictate whether they were originally meant for male or female enjoyment. Sometimes these hints can be as simple as the specific gender of the main characters, for example Carolyn Keene's Nancy Drew series calls for a female audience while the extremely similar yet sexually opposite Hardy Boys mysteries fall into the hands of boys, yet other times more important factors decide who the book will best be suited for. Gary Paulsen's Hatchet and Katherine Patersons's The Great Gilly Hopkins are books for a boy and a

As I walked out of my nine-story apartment complex, I saw an interesting array of faces. Mixed genders, some male, some female, all very different deep down inside. I study their faces, wondering what it'd be like to walk a day in their shoes. Some people are like open books, you can look at their facial expression and instantly guess what their emotions are, yet others are like locked diaries. You can't tell what they're thinking and you'll probably never know. I shake the thought out of my head as I rummage through my pathetic excuse of a handbag, pulling out my most recent bank statement. Thirty-two cents to my name. How do I live like this? My train of thought is lost as my mind ponders elsewhere. Do you think people can tell I'm a broke

The novel demonstrates both popular and familiar gender roles in the 19th century. Catherine Earnshaw, breaks through the stereotypes, and has a mesh of both feminine and masculine qualities. In the Victorian Era, men are seemed as superior to women. Her gender roles are beyond the social norm, as well as her husband Edgar, who is portrayed as more feminine. Catherine holds many masculine qualities such as being adventurous, extroverted, and determined.

In 1990 Judith Butler first published her book Gender Troubles, where she questions gender roles. Butler theorizes that gender, as in male and female, is a type of societal/gender colonialism created to keep people who do not fall within the gender roles from being part of the mainstream society. In her 1999 preface, in which she addresses the impact her book had in the decade since its original publication, Butler expresses the concern she had with the “heterosexual assumption in feminist literary theory (61).” Butler utilizes the works of other feminist philosophers to further demonstrate the inconsistency, and disconnect between fighting for women rights and fighting for human rights. Judith Butler makes an interesting argument on the failure to recognize the spectrum of gender, however, she makes a compelling argument on the use of language perpetuating a patriarchal society.