Runon Memory: A Personal Narrative Of My Life

Furthermore, in spite of women gaining independence they started to shock society by their rebellious fashion styles and attitudes. Their rebellious attitudes were shown mainly through fashion choices: hemlines got raised, more jewelry became worn, makeup got heavier and hair became shorter.1 According to the 1920’s Vanity Fair, these magazines allowed people to stay updated on Women’s Suffrage and fashion ideas. In the light of, 1920’s Vanity Fair, many of the images shown were of women’s fashion which consisted of ‘Flappers’ who were the progressive, sexually liberated woman of the 1920’s.45

14-15). The narrator’s reverence is emphasized through the use of words such as “so” and “even” highlighting that it is unusual and extraordinary of a child of five to be “so” physically confident. The narrator is not the only one who looks up to Gail, “Other little girls might admire the ringlets and the dresses with smocking on the yokes, and the white socks that stayed up…” (ll 22-24). In the second paragraph we read that the narrator eventually becomes friends with Gail, “In fact, she did become my very best friend, years later,” (ll 9-10).

Housekeeping magazines for ten years but she could not dare to go to El Norte. They are dressing

Growing up in the 60’s wasn’t necessarily the easiest time for a young woman to publish books. While Hinton was growing up, women didn’t have as many rights or opportunities as they do today. Young women, and girls in particular, were expected to behave according to a set of expectations established by society at that time. The 60’s, known as a

Society is often seen to have different biases or perspectives on topics such as the role and perception of women. The short story, “Girl” by Jamaica Kincaid, consists primarily of a catalog of commands and instructions, the purpose of which is to make sure that the mother’s daughter is constantly in check and not getting into any trouble. Jamaica Kincaid utilizes a wide range of techniques such as symbolism and diction in order to showcase the theme of how the depiction of women rely mainly on how they present themselves in the public and how they are so easily described as impure or filthy.

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.

Joyce Carol Oates intrigues readers in her fictional piece “Where Are You Going, Where Have You Been” by examining the life of a fifteen year old girl. She is beautiful, and her name is Connie. Oates lets the reader know that “everything about her [Connie] had two sides to it, one for home, and one for anywhere but home (27). When Connie goes out, she acts and dresses more mature than she probably should. However, when she is at home, she spends the majority of her time absorbed with daydreams “about the boys she met”(28). This daydreaming behavior is observable to the reader throughout the story. From theories about dreams, theories about

Although the daughter’s shame in her mother is evident, she is also prideful of her as well. The strong love that the mother and daughter share is pervasive throughout the story. The story is being told by the daughter after she is all grown up. The fact that Jones uses such vivid detail on the mother’s preparation for her daughters first day of school shows that the daughter loved her mom and all that she did for her. The daughter recalls that her mother spent a lot of time preparing her when she says, “My mother has uncharacteristically spent nearly an hour on my hair that morning, plaiting and replaiting so that now my scalp tingles.” (Jones) She also remembers that her “pale green slip and underwear are new, the underwear having come three to a plastic package with a little girl on the front who appears to be dancing.” (Jones) The daughter having remembered details like these illustrate that she has an immense love and takes pride

A number of the stories, graphic memoirs and poems we discussed in class have introduced us to women who have been trapped in some way in their lives. Henrik Ibsen’s A Dolls House (1879) and Charlotte Perkins Gilman’s “The Yellow Wallpaper” (1892) both demonstrate women being trapped by men in a patriarchal society in the nineteenth century. However, Joyce Carol Oates’ “Where are you going, where have you been?”(1974), Jamaica Kincaid’s short story “Girl” (1978) and Marjane Satrapi’s graphic novel Persepolis (2005) are about social norms and girls being sexualized at a young age in the 20th century.

Connie is a fifteen year old girl who is confident and proud of herself, and almost feels as if she’s invincible, until she has a rude awakening when an unwanted visitor appears at her doorstep. The stories, "Lust" by Susan Minot, "ID" by Joyce Carol Oates, and "Where are you going, Where have you been?" also by, Joyce Carol Oates, describe the female coming of age. The female sexuality of these three young girls is that they didn’t understand their own reality, but yet wanted independence. The authors get across the message by using vivid symbols.

Magazine became a great relief to all feminists by giving them a sense of self-determination and hope for the women’s movement.

“To Wong Foo, Thanks for Everything! Julie Newmar”: Finding a Little Catwoman by Intertwining the Male and Female Gender Turning on the television of 1960’s

In Lives of Girls and Women, people grow out of reading. As the protagonist Del says, reading “persisted mostly in unmarried ladies, would have been shameful in a man” (Munro, 117). As in The Bell Jar, women in Lives of Girls and Women who are educated and who are professionals are seen as masculine and immature. Mature and marriageable women learn to use make-up and to flaunt their physical beauty. Del overturns this rule by memorizing poetry and doing well academically. Both Esther and Del feel that academic achievements best define and express their sexuality, though not necessarily enhancing their sexual lives. While the bored, rich girls in The Bell Jar spend most of their time painting their nails and getting a tan, Esther feels out of place among the idle and the fashion-conscious. Her friend Doreen admits that at her college, all the girls “had pocket-book covers made out of the same material as their dresses”(Plath, 5). The night that Doreen returns drunken from the apartment of a stranger named Lenny, Esther closes her door on her friend but does not have the heart to lock it. Thus, Esther successfully shuts out the false societal values of female sexuality for a while, but acknowledges that her form of sexuality must co-exist with that of Doreen and of other females in her society.

puberty bring with it a complex tradition of restrictions and behavioral guidelines. Kincaid’s poem reveals the rigidity and complexity of the social confines the girl is expected to operate underl. A girl is an induction into the women community as well as an orientation into the act of womanhood (Walkerdine et. al.). The lectured instructions given to the silent girl child vary from the housekeeping, “this is how you sweep a whole house”, to dealing with intimate relationships, “this is how a man bullies you; …how to bully a man” to medicine, “this is how to make good medicine (to abort)” (Kincaid).The inane patriarchal society expects gender stereotypes to prevail. The mother is tasked to give her daughter instructions on how to be a good woman in the stereotyped society. The advice the mother gives to the daughter cements the gender stereotype and portrays limitations on a woman (Bailey and Carol 107).

What do Betty from "Pleasantville," June from "Leave it to Beaver," and Donna Reed from "The Donna Reed Show" all have in common? They all represent the image of the perfect housewife in the 1950s. They represent women who gladly cooked, cleaned, dressed in pearls and wore high heals while waiting for their all-knowing husbands to come home. They represent women who can only find fulfillment in male domination and nurturing maternal love. Tillie Olsen, as a single mother with four children (204), provides readers with another view of women. Through the representation of the narrator in I Stand Here Ironing, Olsen contradicts the image of the 50s ideal woman, a happy housewife and a perfect mother.