Posing A Threat Summary

Throughout the ages women have been stricken with often male-made oppression in many forms on the long, difficult road to their eventual initiation into equal rights. Some aspects of women’s rights today were obtained by questionable means in the past. One such act of liberation by questionable means was the introduction of a class of women in the 1920s known as flappers. These flappers were the beginning of a new wave of sexually and intellectually liberated women. Women of this age wore short skirts and revealing clothing in addition to cutting their hair into bobs and smoking and drinking publicly. These women were also outspoken in many areas,

During the late 19th and early 20th century in America, the rise of Feminism challenged the traditional gender roles. The female authors of this time period represented realistic aspects of women’s struggles, which often reflected limitations from society and their own lives. The three female authors who advocated women’s struggles in their writings were Sojourner Truth, Willa Cather, and Edith Wharton. In the speech to the American Equal Rights Association, Truth reveals that women do not have rights to present their voices in the court. Cather addresses women’s devastating labor life after the marriage in “A Wagner Matinee.” Likewise, in “April Shower”, Wharton portrays men’s criticism upon economically successful women. American female authors of the late 19th and early 20th century demonstrates the ideas of Feminism by men objecting to representation in politics, prohibiting career over marriage, and criticizing economic self-sufficiency.

As the United States was continuing recovering from the Civil War and embracing the expansion of the West, industrialization, immigration and the growth of cities, women’s roles in America were changing by the transformation of this new society. During the period of 1865-1912, women found themselves challenging to break the political structure, power holders, cultural practices and beliefs in their “male” dominated world.

The flapper was the harbinger of a radical change in American culture. She was a product of social and political forces that assembled after the First World War. Modernization adjusted the American life. Flapper: A Madcap Story of Sex, Style, Celebrity, and the Women Who Made America Modern by Joshua Zeitz analyzes the people who created the image of the flapper. This work is an incorporation of narrative, statistics, and scholarly work that provide a distinct insight on the “New Woman.” Joshua Zeitz asserts the flapper was not a dramatic change from traditional American values but reflected the “modern” decade under mass media, celebrity, and consumerism.

The chapter, From Rosie to Lucy, by James West Davidson and Mark Hamilton Lytle, is about how the feminine mystique changed drastically from the era of WWII to the era of the baby boom. The shift was attributed to men’s influence on the women through fashion trends, magazines, and TV shows. The main purpose of the chapter is to show that the propaganda through TV and society affected individuals, and more specifically the feminine mystique.

Many of the trends from the Roaring Twenties were set or seen at the parties thrown by the rich such as Gatsby did in the novel. Many of the trends were fashion, especially women, music, and dances. Fashion had changed a lot after and during the war. Dress making and custom styles were beginning to break out. New textures and patterns created the 1920’s style. For women many more options were now acceptable. A daring new style of skirts and dresses worn above the knee were popular. “1920's Dresses were lighter and brighter and shorter than ever before” (1920's Womens Fashion). Jewelry and many other embellishments were added now more than ever. “An increased sense of freedom was expressed in simple yet elegant designs, with carefully selected fabrics, and an intelligent use of color” (1920's Womens Fashion).

Let’s take a look at the women’s of the 1920’s, the changes that took place in fashion and the roles of women in society. Women’s fashion will be compared from early days up until the 1930’s, with a brief comparison of the roles of women before and after the 1920’s. A discussion of the different avenues that opened up for women after 1920 and the impact that it has had on modern day women will also be covered within this paper. you need a stronger introduction

The Roaring Twenties and the Jazz Age describe an era of prosperity and entertainment. With fancy parties, cars, houses, and a multitude of wealth, people go about their day with frivolity. However, not all were willing to accept the social changes that goes with the 1920s. One such novel that addresses the liberal era and some reluctance is Eudora Welty’s novel Delta Wedding. Beginning with Laura McRaven travelling to visit her extended family, the Fairchilds, at their plantation in the Mississippi Delta, she experiences the turmoil surrounding her departed mother’s family: the uproar of the oncoming wedding, the tension between her aunts, and the difficulties one must face in becoming a Fairchild. Despite Laura playing the main role of the novel, Welty uses her minor character Robbie Reid to explore the compact Southern family and the polarity between precedent archetypes and the liberal woman of the 1920s.

The chaperone and her gender identity often conflicted with the fast paced consumer culture of flapper America, causing much friction in the areas of personal appearance, hetero-social behavior, and a woman’s

Social change in 1920s America was fundamental to the era earning the name the ‘Roaring Twenties’. It quickly became the societal norm to enjoy lavish parties, excessive alcohol despite the prohibition laws and dancing to new rhythmic jazz music. The social change was most evident in the roles of women. Before the First World War, women were restricted to being homemakers. Few, if any, women were employed and they never attended parties without a chaperone. During the war, however, women had enjoyed new freedom as they worked in factories while their husbands and fathers were at war. This sort of work in heavy industry encouraged freer behavior and women began smoking and drinking in public and going out unchaperoned. Fitzgerald’s depiction of Jordan Baker and Daisy Buchanan reflects the new woman of the 1920s. Indeed, even Jordan Baker’s name is unisex, reflecting the changing roles of women as they defy society’s expectations and enjoy more masculine pursuits. This new found freedom slipped into decadence, allowing parties such as Gatsby’s to be much less reserved as Nick observes women falling back upon men

Anything Goes: A Bibliography of the Roaring Twenties by Lucy Moore and The Modern Temper by Lynn Dumenil are two books that wonderfully captures the essence of the 1920s, with two different texts that hold a different point of view of the era to effectively highlight the important events and characters of the time. Moore focused on the icons that made up the decade, giving her subjective survey of the principal occurrences and characters of the time that depicts The Roaring Twenties as the age of iconic events and people, of talismanic names and episodes that which she openly explores. She gives her perspective on the fascination of the 1920s rather than the catastrophes of it, which is exactly what Dumnil highlights in her own book. The

Frederick Lewis Allen, in his famous chronicle of the 1920s Only Yesterday, contended that women’s “growing independence” had accelerated a “revolution in manners and morals” in American society (95). The 1920s did bring significant changes to the lives of American women. World War I, industrialization, suffrage, urbanization, and birth control increased women’s economic, political, and sexual freedom. However, with these advances came pressure to conform to powerful but contradictory archetypes. Women were expected to be both flapper and wife, sex object and mother. Furthermore, Hollywood and the emerging “science” of advertising increasingly tied conceptions of femininity to

In her essay she relates the rise of feminist consciousness in the 1960s to numerous changes in American society, especially the rise of other protest movements. Echols said, “On September 7, 1968, the sixties came to that most apple-pie of American institutions, the Miss America Pageant” (Echols, 308). The reason she said this was because one hundred women’s liberation activists descended upon Atlantic City to protest the pageant’s promotion of physical attractiveness as the primary measure of women’s worth. From there, the protestors set up a “Freedom Trash Can” and filled it with high-heeled shoes, bras, girdles, hair curlers, false eyelashes, typing books, and representative copies of Cosmopolitan, Playboy, and Ladies Home Journal. They wanted to burn the contents but couldn’t because of the laws for bonfires on the boardwalk. Also, word had been leaked to the press that there would be a symbolic bra-burning. However, there were no bras burnt that day. But the image of the bra-burning, militant feminists remains part of our popular mythology about the women’s liberation movement. The Miss America demonstration represents an important moment in the history of the sixties as well as the women’s movement (Echols, 309-310).

Published in 1925, F. Scott Fitzgerald executes the Roaring Twenties through his famous novel, The Great Gatsby. During the 1920’s, the economy was booming, the Jazz Era arrived, and people became spiritually free and wealthy. But on a different approach, crime, prohibition, and the fight for women’s rights were provoking. Depending on background, wealth, and morals, women were challenged to be equally accepted and venture the Roaring Twenties. The main feminine characters; Daisy Buchanan, Jordan Baker, and Myrtle Wilson all strive to succeed in the American dream, but they are each limited in different ways.

Douglas eschews writing a purely objective history of postwar women’s relationship with mass culture; rather, she presents her own perspective. She readily admits her own bias as an educated, Northeastern, white, middle-class woman when she states, “Like all histories, my account . . . is neither objective nor exhaustive; rather, it is idiosyncratic and replete with the sorts of biases that come from my having been raised in a particular place and