Rape Fantasies By Margaret Atwood And The Other Place

The first aspect both stories have in common is the fact that both of the women are oppressed by a man in their life.“The

In chapter one, also known as ‘the hurting’, the author focuses on trauma that people have dealt with such as sexual abuse from a father or relative, failed relationships with parents, and difficulty with one’s self-expression. One of the poems in chapter one states that the girl’s first kiss was by the age of five and was carried out in an aggressive manner by the young boy, she assumes that he had picked that up from his father’s interactions with the mother. In the poem it says “He had the smell of starvation on his lips which he picked up from his father feasting on his mother at 4 a.m.” It is insinuated that the father uses forceful actions towards the mother during times that should be gentle and affectionate. In that specific poem she felt as if that was when she was taught that her body is only for giving to those who wanted out of satisfaction but she should feel ‘anything less than whole’. In another poem in chapter one, there is a family setting during dinner in which the father orders the mother to hush. This represents how women are constantly oppressed in their own

She wants the audience to feel as innocent as she did in the beginning, as shameful and disgusted in the middle, and as nostalgic in the end of her article. In the beginning, she creates the image of what she looks like, “… [b]ell bottom jeans and blue peasant blouses and striped knit shirts that clung to my breasts, ” (Wilkinson). By doing so, readers can vividly imagine what she looks like and feel more attached and involved in the story she is creating. In the middle she takes us through all the times she was sexually abused and by using imagery, she makes the reader feel as beaten down and scared as she was. For example, she creates an image of the church where her first sexual assault occurred, “At the entrance to the church was a small vestibule with two white doors. Behind the doors was a dangling rope attached to the church bell,” (Wilkinson). She goes on to build the tension with her words like “groped,” “accident,” “hiding,” and “secret,” (Wilkinson). These make the reader more and more uncomfortable as she describes her experiences, which was the point, to make the reader feel some semblance of what she did. In the end, she describes her older and present self, looking through old pictures: “ Sometimes in old photographs, I see glimpses of that young woman. Corners of my mouth turned down. Staring into the camera with empty eyes where joy should

In “Sex, Lies, and Consent,” Tom Dougherty argues the Lenient Thesis from the substantive account of consent. In this essay, I will discuss and explain Dougherty’s argument. Then, I will present Neil Manson 's objection that Dougherty account of consent mistakenly centralizes the role of scope in determining one’s range of restrictions for consent. Finally, I will present a case that disputes Manson’s opposition to Dougherty and how Dougherty could address Manson’s charge against him.

The narrator is totally crushed by the gender discrimination. She longed to be seen by her mother and her grandma. The narrator is heartbroken that her mother loved her brother more than her and failed to notice her. “When she went into Nonso’s room to say good night, she always came out laughing that laugh. Most times, you pressed your palms to your ears to keep the sound out, and kept your palms pressed to your ears, even when she came into your room to say Good night, darling, sleep well. She never left your room with that laugh” (190). Her agony can be easily seen by the way of her narrating. She does not get the affection that she deserves. She really needs the affection from her own mother, but she is not getting it. She compares the love which her mother shows to his brother and herself. This is gender discrimination can be seen with her grandmother too. She hated her grandma as she would always support her brother and find fault with her. Even though what the brother did, no matter what crime. Her mother and grandmother always supported her brother and never supported or showed interest towards

The narrator is given a sense of oppression from the beginning of the story by keeping a hidden diary from her husband as “a relief to her mind.” Throughout the story her true thoughts are hidden from the readers and her husband, which gives the story a symbolic perspective.

In the story “Killings” by Andre Dubus, a mother has to deal with the heartbreaking, sudden loss of her young son. The story only provides brief glimpses of how Ruth, the mother, copes with this; whereas the film, In the Bedroom, helps provide a much better perspective of how depressed and misguided Ruth is over this loss. In “Killings”, Ruth is a protective mother who only wants the best for her son, she encourages Frank to discontinue fraternizing with Mary Ann, in fear it will interfere with his future. Although in the story Ruth attempts to place responsibility on those around her, the film In the Bedroom sheds light on how she feels she is responsible for her son's death.

“should my son wake up, i have prepared my fabrication. on day he will grow too old to be told that a wandering man is a mirage and that naked flesh is a dream” (p88). the juxtaposition between the mother's lover for her son and the fact that she has to resort to prostitution evokes a feeling of empathy for

The archetypal rape victim flaunts her femininity, clad in skimpy clothing whilst walking through darkened parks. The archetypal rape victim is asking for it. At least, that’s the argument used by Teena Maguire’s neighbors to justify her assailants raping her. In Joyce Carol Oates “Rape: A Love Story”, by aligning Teena with the archetypal rape victim, the author employs the switching between second and third point of view, irony, the progressively dismissive diction, as well as the short syntactic structure to emphasize the raw objectiveness of rape in an attempt to delineate the minimizing of rape, and highlight the injustices committed when rapists evade jail time on the basis of technicalities. Written mostly in third person, with the

Psychologists usually agree that the teenage years are among the most difficult periods in one’s life. Most teens are trying to figure out who they are, what they believe, and how they fit into the world around them. Beginning in the late 1970’s, a whole genre of fiction, referred to as coming-of-age literature, emerged and serves, at least for many teens, as believable presentations of young people learning to navigate the difficulties of their lives, often fraught with feelings of rejection, seemingly unresolvable personal turmoil, social problems, school and family issues, etc. Indeed one value of reading is to see and better understand some aspect of ourselves through studying others. The reading of SPEAK, a somewhat controversial book

There are many companies in the world today that put an idea of this perfect female body into the heads of women. These images lead to a faulty standard men hold of women and their bodies and that women strive to become. Margaret Atwood addresses the issue of the way men view the female body by writing her essay in the viewpoints of a male so the reader can better understand how the expectation men have of the female body is unrealistic. First, she uses an allusive comparison to show the male expectation of the female body and how it is objectified as if it were a doll that comes with accessories. Next, she uses an anecdote with defamiliarization to show how the way the father views a Barbie doll and the way it portrays the female body to young girls is hypocritical. Lastly, Margaret Atwood uses insidious diction to talk about how men not only view the female body as a product but how they also use the female body as a product which can be sold amongst businessmen. In The Female Body, Margaret Atwood uses many rhetorical devices to convey how the female body is viewed through the eyes of men.

When Allison came out to her father about lesbian and the experiences she was having, her father convinced her to read certain books and also he talks about experiencing things. In “Rape Fantasies” the magazines led to the wonders of how the characters in the story would be raped and what the outcome would be. In “Rape

In Atwood’s depiction of Sondra, she draws a comparison between her and the many rape victims that remain silent. Sondra is described in terms of how she plays bridge. “Sondra is not the world's best bridge player” (Atwood 102). This gives Sondra an insignificance to the narrator and the other characters. She is ignored and made to seem silly even though she is the only one who actually knew what rape was. Sondra responds to the notion of rape fantasies by saying “‘You mean, like some guy jumping you in an alley or something,’ Sondra said” (Atwood 102). This is dismissed by the other characters because it doesn’t fit into the setup Chrissy, the woman who asked everyone what their fantasies were, established. Nancy Workman, an English professor

Patricia Lockwood’s The Rape Joke is a risky composition- not because it discloses information about Lockwood’s personal rape experience, but because it does so from a comedic stance, ridiculing the unfortunate event and the events leading up to and after it. While the creation of the poem was prompted due to the sexual assault she experienced, the content and subject are not centered around the incident or the assaulter but around rape culture and the sociological concept of victim blaming, from both society and oneself. There is no such thing as a rape joke-the joke is the incredulous ways society has guided people to respond to it.

The speaker struggles within herself between the love for her father, and her hatred for him. As a child, your parents are your hero, who should provide you with everything a child needs to be successful, but because he had died, she was left on her own with this battle inside her. She hated her father for being a Nazi and torturing the Jews. The speaker was stuck in her past, and her father had created a generation rut, making another generation of evil. Children always search for acceptance and approval from their parents, yet the speaker was only given the voice of her father within her head. She blamed him for the evil within herself, and at the age of twenty, she tried to commit suicide to kill the part of him in her. Unsuccessful in her attempt, she was pulled from the sack and glued back together, never being completely full again. At this time, she had an epiphany: She needed to find a husband. One who thoroughly resembled her father, down to the “love of the rack and screw.” At this time, she was no longer a victim and converted to the predator. She modeled her husband after her father so that she could then, essentially, murder her father finally. Therefore, she had turned into her father.