Rhetorical Analysis Of Mindy Kaling 's ' Types Of Women

In the article “Marked Women,” Deborah Tannen addresses how everything a woman does-from choosing her outfit, her makeup, her hair, to even her surname marks her a certain way. As a young woman, I liked this piece because it addressed issues women faced that I typically don’t think about. I chose to write about “Marked Women” instead of “Sexism in English” because I related more to the article with my past and current experiences on the different ways women are marked in society. Women are judged every day based upon their decisions on their outfits and looks. Tannen states in the article, “you couldn’t say the men didn’t wear makeup in the sense that you could say a woman didn’t wear makeup,” which made me realize how even something as

Always “Like a Girl” commercial was not only a hit in the media world, but a hit to the hearts of many women across the nation. In this commercial Always attempts to reach out and inform Americans of the damage caused to a female’s confidence when they do finally hit that age in their lives where insecurities begin to exist. Positively using their credibility and reputation to target a worldwide issue among woman so that it gains enough awareness to hopefully get fixed. Women working their whole lives to break society’s doubt so that they aren’t classified under another demeaning stereotype when asked, “What does it mean to do something ‘Like a Girl?’’’.

Elle Woods was the typical sorority girl while at CULA- she loved shopping; her friends; and her boyfriend, Warner. With her father’s money on her side, Elle never prioritized her education or working. She assumed her future held a marriage to Warner and life as a trophy wife; but when Warner declares Elle a hindrance to his goals of graduating from Harvard University, she becomes determined to do the same. Realizing no amount of money could buy admission to Harvard, Elle works valiantly toward her goal and is accepted. As the movie comes to a close, the scene shifts to three years later with Elle addressing her classmates as she graduates alongside Warner. Though she does not speak excessively, Elle speaks of the passion, perseverance, and determination necessary for success. In her short, yet effective speech; Elle uses ethos and pathos to encourage her classmates to go forth in their law careers with courage and faith, and reminds them to never accept people as they appear on the surface.

In the article, “Types of Women in Romantic Comedies Who Are Not Real”, actor and writer, Mindy Kaling, classifies the women’s roles from classic romantic comedies, while a critical analysis piece over the genre as well. Starting the article, She discusses her inspiration for the piece itself, furthermore expressing her love for romance, as well. Throughout the article, she separates the different types of women in these roles, whether it’s the obnoxious glamour girl, or the girl with an amazing personality, in latent terms, the difference between “The Klutz” and “The Ethereal Weirdo.” By the end of each example, she differentiates how cliche the storyline of the female character

“Speaking to you today, I speak for them, just as each of us speaks for women around the world who are denied the chance to go to school, or see a doctor, or own property, or have a say about the direction of their lives, simply because they are women”(Clinton 1). These words spoken by Hillary Rodham Clinton in her speech, “Women’s Rights are Human Rights,” on September 5, 1995. Hilary pressured the Chinese government and the world to address the problems women face everyday go unresolved because they are ignored. Her speech is one that is still relevant today and has affected the world by inspiring other countries to proclaim their opinions on women's rights. Hillary uses many cases of rhetorical devices that include, parallelism, ethos, pathos,

Television networks are continually expanding their programming slates, and many in the past have switched to a year-round programming schedule that makes the phrase “summer return” basically absolute. On every channel, in every magazine, every darken theater, we see the way pop culture limits women’s role- girlfriends, victims, hookers, corpses, sex bombs, and “teases,” but why? Television, for most women, was the first place where they were able to visually see themselves represented. And for quite a while, they didn’t see much besides the loving wife, the dutiful daughter, gossiping girlfriends, fashion models, and the occasional maid, granny, or nanny. In Where the Girls Are: Growing Up

This article was published in The New York Times in October of 2011. The article illustrates the daily challenges faced by multiracial families. Based on where the article was published, Saulny’s intended audience was the 18-49 year-old demographic as this makes up 64% of The New York Times readers (Mahapatra, 13). Roughly 80% of readers of the The New York Times have had some post-secondary education or graduated from college, indicating a highly educated audience (Mahapatra, 13). Readers also tend to lean more liberal; meaning, readers likely hold the basic liberal ideologies of equality for all and social justice as their core values (Mahapatra, 13). All of these demographics come together to create and audience that is full of young and middle age families in the middle class. Saulny’s goal for this article is to convey the social challenges multi-racial families face on a daily basis and evoke an emotional response. Saulny effectively evokes an emotional response in her audience to help garner more acceptance for multi-racial families by including anecdotes of the families’ experiences. These anecdotes help move the audience emotionally because they show the challenges multi-racial families experience, which doesn’t sit well with a majority of the liberal-leaning readers. However, with all the challenges highlighted in this article, a reader may start to assume that it is un-wise

Michelle Alexander is a professor at the Union Theological Seminary,a civil rights lawyer and advocate and writer that devotes herself to speaking out on racial injustice and that slavery hasn't actually left america or in Alexander’s words, “we have not ended racial caste in America, we have merely redesigned it.” Alexander's book touches a lot of subjects that have to do with America's criminal justice system, such as criticizing past President Richard Nixon's “the war on drugs”, she explains that because of this event our country has lead to mass incarceration, of those being arrested with usually black americans. Thus we have this crucial issue with racial injustice and denying our citizens basic human right by holding them in jail cells

Feminism has been an explored topic since the early 19th century and has remained an important conversation in our society still today. At the time when Roxanne Gay was approaching this topic within her collection of essays, there were some major feminist triumphs occurring. 2014 was a time where Rape on college campuses was finally announced a national issue. In 2003, there were just 74 women in congress, yet 2014 was the year where we finally hit 100 women in congress. With all of the support and the successes of feminism at this time, it was crucial that Roxanne Gay discuss the way in which she fully supports the feminist movement, while staying true to herself. In "Why I am a Bad Feminist," Roxane Gay colloquially portrays how she imperfectly performs feminism in her daily life and how to deal with the constant struggle of trying to achieve "ideal" feminism while also being human. Gay touches on the fact that as a society, we place a high degree of pressure on women to be perfect. Whether the perfection lies in their looks, actions, or personality traits, women are constantly held to unrealistic standards. Gay effortlessly sheds light on this situation using rhetorical strategies to describe how she does not meet these standards. These rhetorical strategies include imagery, to create a picture of what she is saying, as well as a strong use of ethos and pathos, revealed throughout her essay. Instead of being ashamed she shares how to embrace her inconsistencies while still trying to be a feminist and role model.

This genre is typically modern, perky and upbeat, but the common narrative in all of them is that it features a woman who is strong and she overcomes adversity to reach her goals. There is also a message of empowerment that also struggles with a romantic predicament and using comedy to poke fun at the male characters. Industries are still producing soppy romantic comedies for the female audience but the divide between the standard chick flick and romantic comedy is slowly disappearing. Similarly to the beginning of this essay it is evident that institutions are moving in the direction of women’s place in culture in relation to this film genre; women are usually shown as the super power since they are made to appeal to the female audience. However

Stephan Babich 's blog post entitled, "The Fall of the Female Protagonist in Kids Movies", and Richard Lawson and Jen Doll 's article, "The Lies Hollywood Told Us: Love and Romance Edition”, are rhetorical arguments that attempt to support a notion about an explicit aspect of motion-picture theatre. In Babich 's post, he writes about how women are hardly ever the protagonist in kid 's movies. The goal of his argument is to persuade avid animation movie watchers that future films should have a female playing the leading role. The main idea of Lawrence and Doll 's article is to convince men and women who frequently watch romance movies that they should not expect the romantic situations and endings that Hollywood

Most romantic comedy movies fulfil the viewers’ expectations of the perfect love story whilst incorporating comedic elements. Typically there is always a pretty girl who falls deeply in love with a male character, often less popular and less attractive, who makes multiple comedic attempts in winning her heart until eventually they both fall madly in love and live happily ever after, in this case a genre movie is expressed as “those commercial feature films which through repetition and variation, tell familiar stories with familiar characters in

Since the 1940’s, movies have predominately portrayed women as sex symbols. Beginning in the 1940’s and continuing though the 1980’s, women did not have major roles in movies. When they did have a leading role the women was either pretreated as unintelligent and beautiful, or as conniving and beautiful: But she was always beautiful. Before the 1990’s, men alone, wrote and directed all the movies, and the movies were written for men. In comparison, movies of the 90’s are not only written and directed by women, but leading roles are also held by older and unattractive women. In this paper I will show the variations and growth of women’s roles in movies from the 1940’s though the 1990’s.

Since its humble beginnings in the later years of the nineteenth century, film has undergone many changes. One thing that has never changed is the filmmaker’s interest in representing society in the present day. For better or worse, film has a habit of showing the world just what it values the most. In recent years, scholars have begun to pay attention to what kinds of ideas films are portraying (Stern, Steven E. and Handel, 284). Alarmingly, viewers, especially young women, are increasingly influenced by the lifestyle choices and attitudes that they learn from watching these films (Steele, 331). An example of this can be seen in a popular trope of the “romantic comedy” genre in this day and age: the powerful man doing something to help, or “save” the less powerful woman, representing a troubling “sexual double standard” (Smith, Stacy L, Pieper, Granados, Choueiti, 783).

Skinny, blond, ditzy, annoying, un-educated, easy, and considered a typical women. If you’re a women and you hear these words, does it make you think of who you are, or your mother or sisters? I think not…but I do think about the people I see on television and in magazines or in movies. What I want to know is who is writing the scripts for some of the television shows that I watch. I would like to hope that it’s not women putting these stereotypes on their fellow “sisters”.