A Juxtaposition Of Sex In Arcadia

The capacity of sexual feelings within the individual is central to both the development and fundamental basis of any significant character. As observed in both 'One flew over the cuckoos nest' (AKA Cuckoo's nest) and 'A Street car named desire' (AKA. St. car) sexuality emerges as a principal device used in defining a character to the audience.

While reading “Gender,” an essay by Jack Halberstam, the topic of sexism was brought to the forefront of my mind. It has been brought up more often in conversation in the modern era, issues such as how a few cruel insults pertain to female reproductive anatomy and, in a sense, degrade females and ultimately identify them, as well as femininity, as inherently “bad”. Such a thought stemmed from how Halberstam touches on the “problematic stabilization of the meaning of ‘women’ and ‘female’”: meaning there is no room for argument when it comes to your gender—you’re either a girl or not. You either fit into a strict mold, or you do not.

The Victorian Age was a time of moral behavior and ideas. Sexuality had no place with the norms and mores of society, yet as it is part of human nature, it continued to exist. With sex being a topic so repressed during the period, people took anything not specified in sexual connotations. Realizing this, the authors of the time used this to their advantage and laid a heavy underlying sexual atmosphere as a basis for their stories. Henry James does just that in his Turn of the Screw. Though never directly stating so, his main character suffers from sexual repression that came along with her position in the Victorian age and eventually acts upon it, while the ghosts in the story then serve as protection for the children she acts out

The documentary Middle Sexes: Redefining He and She sheds light on the difficult lives of individuals who identify with the opposite gender. The writer Anthony Thomas uses biology to prove to the audience that intersexual’s didn’t necessarily make that choice for themselves. Thomas says that on in every hundred people is born with unidentifiable genitalia (Thomas). This is referred to as intersex. The beginning of the film focuses on a young boy named Noah who takes interest in the stereotypical “girly or feminine” activities. This movie has lead me to realize that society's perspective on gender and sexuality is heavily influenced by the media. The media strictly portrays what society knows as the norms of human

In monument 14,(2012) a novel written by Emmy Laybourne, 14 children ranging from kindergarten to upperclassmen in high school, become tragically trapped inside of their local greenway grocery store. However, despite their different social classes they are able to put aside their differences to unite for survival. Jake Simonson is a senior and football star. However, Dean Grieder is a 16 year old nerd. Dean is a quiet kid who sits in the back of the classroom and you barely know he’s there. The two both have something in common, Astrid Heyman. Jake, being at the top of the social status can have any girl he desires. However, for Dean that isn’t the case. Dean has been crushing on Astrid as long as he can remember, but has almost no chance

Sociologists reject the idea that behavioural differences between men and women are biologically determined. Outline the key grounds for this rejection and discuss what this means for a sociological understanding of gender.

Women constantly face a double standard when it comes to sexuality, it's been this way for years. In fact in the Victorian era there is a huge double standard where women seemed to be on interested in sex and we're to have a high standard of sexual behavior unlike the men in that time who had powerful sexual drives and it was almost the social norm for them to have multiple sexual partners. Even today there still a double standard, it has gotten better with feminism any quality but men are still seen as superior when they have multiple sexual partners unlike women who are looked at as sluts and whores because they have multiple sexual partners. Trying to use the slut shaming, which is where women are downgraded by both men and women because

There are several sources that tell a person how to be a man or woman. Science tells us by recognizing the X or Y chromosomes. The media shows us through the physically ideal celebrities that grace the covers of magazines and flaunt their bodies in commercials. Sports, wrestling, cars, and blue for the boys. Dresses, make-up, painted nails, and pink for the girls. All of these sources, as well as others, have evolved into an expectation that has become institutionalized within society. This expectation, is placement and belonging into the binary system of person: the man or the woman. In Anne Fausot-Sterling's acrticles “The Five Sexes” and the “The Five Sexes, Revisited”, the

Dr. Tatiana’s Sex Advice to All Creation, written by Olivia Judson, mimics a Dear Abby column in a newspaper, in which her audience, ranges from a honeybee to spotted hyena, write-in and ask for help with their sex lives. She covers a slew of different sex topics, some more pleasant than others, such as incest, cannibalism, promiscuousness, and asexual reproduction. The book is truly a witty yet entertaining excursion of the natural history and the evolutionary biology of sex. Judson’s objective is to teach her audience about biology, specifically sexual biology.

Out of all the characters in the play Thomasina is perhaps the most beautiful. She is innocent, driven by academic zeal, and a genius of epic proportions. What is truly the most beautiful trait about her is that unlike Mrs. Chater and Lady Croom, it is “an insult in a gazebo,” (6) that she desires but true love. The final waltz that Septimus and Thomasina share could not be any more romantic as “Septimus holding Thomasina, kisses her on the mouth. The waltz lesson pauses. She looks at him. He kisses her again, in earnest. She puts her arms around him.” (95) The affection the two feel for each other is a huge part of any person’s definition of paradise: two people truly in love with each other uncorrupted by the society around them. Yet even in this seemingly paradisiacal situation, Thomasina still tragically dies.

Milton was, by no means, a feminist, and was of quite a conventional outlook when it came to gender roles as is apparent in the fourth book of Paradise Lost, which has inevitably been scrutinized over and over again under the modern gendered eye. “Paradise Lost,” says Shannon Miller, “is Milton’s most sustained attempt to represent in poetry, gander roles, relations and hierarchy.”It is evident, she points out, in the course of his introduction of Adam and Eve in book IV, the stories of creation they relate there and in book VIII, and finally in the way Milton presents the consequences of the Fall. The reader observes the process by which gender is created as a cultural category.

Elinor Fuchs sees the play as a world that passes in front of the critic in ‘time and space’; one that has elements that must be understood (Fuchs, 2004, p 6). These elements closely resembles Aristotle’s six elements of a play- plot, character, thought, diction, music and spectacle- elements that are clearly identifiable in Oscar Wilde’s 1895 play ‘The Importance of Being Earnest’.

West and Zimmerman claim that gender is not something we are but something we do.

For years, many scholars have provided many discussions over the topic of gender and sexuality. However, one needs to ask themselves: Are these two topics, gender and sexuality, useful as a category for historical analysis? The articles written by both Joan W. Scott and Afsaneh Najmabadi, answer such a question. By critically examining and assessing their two article, can the usefulness of gender and sexuality as a category for historical analysis be proven.

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.