Sexual Freedom In The Rover

This document has a very distinct pathetic appeal created by the passion and determination for freedom. For example, Stanton says, “In the covenant of marriage, she is compelled to promise obedience to her husband... the law giving him power to deprive her of her liberty.” This sentence conveys to the readers that women are nothing but servants to their “master.” It also shows how women are just known as “objects” that men can use.

A livable world is defined from the society you participate in everyday life. We as people make laws and regulations for situations that may or may not happen. This is because humans are imperfect and full of flaws. Laws and regulations are the guidelines for properly living in a society that dictates to the mass instead of hearing individual concern. Then again what is it meant to be “imperfect”? Who designates the description behind being perfect? This is what I believe is “the norm” or normal way of life of a society.

Presenting literature to the public that is meant to be a commentary on social or political issues, masked under the guise of entertaining and fictional, is a tool implemented by authors and activists for centuries. While not all satire is as overt as Jonathan Swift’s suggestion that we eat the babies, it does not diminish the eyebrow raising suggestions that are conveyed once the meaning has been discovered. In Aphra Behn’s The History of the Nun and Eliza Haywood’s Fantomina, the established expectations of the female role within society are brought into question then directly rejected. These expectations establish that women should be deferential to men, morally unblemished, and virtuous at all times. Men, however, are not held to these expectations in the same way. The masculine roles assumed by Isabella and Fantomina demonstrate a private rebellion against the established patriarchal society as it warns against the under-estimation of women and proves that women exist independently.

Does deviating from one’s gender norms inevitably doom one down a spiral of moral corruption? Tim O'Brien, author of “Sweetheart of the Song Tra Bong” and Ernest Hemingway, author of “The Short Happy Life of Francis Macomber”, certainly seem to hold this view, as evident by the fates of the major female characters in their respective works. The deviance of the major female characters in both works appears to corrupt not only themselves, but also pollute their partners, causing them to suffer injury or harm as a result. The degree of injury ranges from negligible, like Fossie’s demotion and broken heart, to fatal, like the bullet that rips through Macomber’s skull. It begs the question, are these stories meant to serve as cautionary tales for their female readers, or possibly for their husbands, so they may recognize gender deviance and stop it in its tracks before their wives transform into Margot Macomber or Mary Anne Bell? This essay will analyze what such characters say about pervading views of women, both in society and in literature.

Miranda and her family begins the struggle for survival. Throughout Chapters 4-6, Miranda faces problems at the gas station, the rise of new diseases such as the West Nile Virus (Pfeffer 80-81), more food shortages, electrical outages, and heat waves. Miranda, and especially her mother, are challenged mentally as well, which in turn grows their own character as a whole, which will be explained throughout this journal entry. The rise of new motifs and themes comes with the rise of new challenges for survival, also to be explained. “There are no more hot lunches.

Although Argentina and Colorado are very similar, they are different in two major ways. Their acceptance of others and language. Argentina fiercely tries to be European. This is often at the expense of indigenous and minority cultures. Argentines for example, pride themselves on being white.

Alison Bechdel’s memoir, Fun Home, is a compelling narrative in which Bechdel takes the reader through her life and gives insight into her relationship and the complex lifestyle her closeted homosexual father, Bruce Bechdel. However, her serious topic is told through the narrative of comics, images that literally put the readers into the moments of her life with her. Even though, the graphic images provide visual insight, Bechdel makes a conscious decision to include a multitude of literary allusions because, as Bechdel describes, “I employ these allusions to James and Fitzgerald not only as descriptive devices, but because my parent’s are most real to me in fictional terms.” (Bechdel, Page 67) Her continued use of literary allusions can be seen as an insight to her life. The particular works of The Great Gatsby by F. Scott Fitzgerald and Oscar Wilde’s plays An Ideal Husband and The Importance of Being Ernest because of their content concerning facades and the lengths one person goes through to keep a part of their identity or life a secret. TRANSITION Bruce Bechdel was the master of secrecy, hiding a part of his sexuality behind his heterosexual marriage in order to keep his idea of an acceptable livelihood. It is clear that Bruce Bechdel had a few infidelities with males throughout Bechdel’s childhood, infidelities that she did not know until later in life. This creates a whole new perceptive for Bechdel. The father who she thought as a controlling, stern, literary fein

A true libertine of the Restoration Era, John Wilmot, Second Earl of Rochester – better known as his literary persona Rochester – is recognized for his poetry that often breaks barriers and social conventions in obscene ways. One such poem that is particularly explicit, some might even say pornographic, is entitled “A Ramble in St. James’s Park.” Including the sex, alcohol, and debauchery that is so characteristic of Rochester, this poem creates a unique balance between depravity of content and elegance of literary form. While there is much evidence that Rochester represents sex explicitly with obscene and shocking language in “A Ramble in St. James’s Park” for the purpose of satirizing both himself and contemporary love poems, I will argue that in doing so, he also makes a broader statement regarding the tension between the public and private spheres of sexuality, specifically representing female sexuality in the public sphere and erotic female bodies as communal property; finally, the lewd language hints at an anxiety about the power of the feminine over men, thus queering gender roles by becoming the abject feminine.

The women described in the Lais of Marie de France often commit traditionally sinful deeds, such as adultery, murder, and betrayal. However, with a few exceptions, the protagonists often end up living happily with their beloved for the rest of their lives. The Lais advocate for situational judgement rather than general condemnation of specific acts, which can be seen through Marie de France’s treatment of sinful heroines.

Sophocles’ Use of Conflict in Antigone to Teach Moral Behavior Everyone has a distinct set of morals, beliefs, and ideals, and it is these values that cause conflict in our society. Whether it is a political, religious, or domestic issue, the root of the conflict derives from one’s beliefs and values. Conflicts play a vital role in literature as they are frequently the foundation of the plot, and more often than not encompass a greater significance. Greek plays are often driven by a conflict of ideals, as the playwright tries to teach his or her audience valuable morals.

During the Renaissance period, sexuality impacted how people, both men and women, were treated and how they behaved. The lives of women were completely defined by the ideals of sexuality that were enforced during that time. Every area of a woman’s life from birth was influenced by outside influences rather than by they themselves. It took a particular type of woman to break past the clearly defined description of what a “Renaissance woman” should be.

When Claudia learns that Frieda had been molested by Mr. Henry, there was no trace of concern written in her face. Instead, she stated that she “had nothing to pinch,” thus developing envy towards her sister. Then, she continued on with how she had grown tiresome of receiving everything last. Claudia wished that such action had been performed on her and not her sister. She pays more attention to her breasts and how unappealing they were to other males instead of being horrified at the prospect of being molested. Thus, this shows how important it was to Claudia to be viewed as attractive to males. She wanted something they could pinch on, and was distraught when she didn’t have the materials needed-- she didn’t care about anything else. Therefore, this shows how a woman’s sole purpose is to be an outlet for a male’s sexual

The battle for equality snowballed since the birth of feminism. At the frontline of the battle, have been women enraged at the thought of the superiority of men. However, some women believe in taking a violent approach to demolish the ideas of oppression. In the poem “The Rights of Woman,” Barbauld reveals that the oppression of women emanates from impulsive anger by showing the power of emotion in decision making, the ineffectuality of paroxysm, and the irrefutable rule of nature. Barbauld attempts to undermine the false pride of women who believe men are evil and who resort to irrationally regarding the only solution to oppression as attacking the will of men. She takes an interesting approach in arguing against feminist rage by having the narrator seemingly side with violence and later suddenly display the imprudence of acting on impulse.

In Galsworthy’s Justice, the author explores the issue of sexuality through the character of Ruth Honeywill, Falder’s lover. Galsworthy uses their relationship to show how there is not any chance, at the present time, to see an improvement in the government sexual politics.

In Eliza Haywood's "Love in Excess" rape is portrayed as something that is not seen as a stigma, but rather generalized into the society as an expression of "love" by men, to which women have to adhere to without protesting, and ultimately having to give into matrimony with their assailant. Hence, it was used for domesticating single women. This ideology was what inflicted Delmont to make an attempt of almost raping Meliossa, but here is where Haywood's magic comes, instead of him breaking the virtue of Melisa, he himself is raped by the sexually aggressive Melantha. Though the word "rape" is never mentioned throughout the book, Haywood's decision of flipping gender roles in this particular part of the text is ingenious in depicting the plight of women at that time. Though in the aftermath of the event, the situation is never addressed or brought up, the fact that Delmont did feel sexually violated can be seen in the lines “he stood like one transfixed with thunder, he knew not what to think”. 1 Later, angry at and disgusted by the experience, he “detest[s]” Melantha “for the trick she had put upon him.”(Haywood)