Stereotypes In Zadie Smith's White Teeth And Life After Life

The biological sex of a person, in most cases, today can still be considered one of the main identifying characteristics of an individual. In the past the sex of a person was more than an identifying characteristic, it was who they were. They were either men or women, there was no in between or changing it. Society today has come a long way in terms of gender identity and gender roles, but the concept of patriarchy still has the upper hand when it all boils down. Allan G. Johnson’s, The Gender Knot, provides for a more diverse outlook on the women’s expected roles in life, how they are expected to handle difficult situations in marriage, and how they demonstrate courage, in Mona Lisa Smile.

The first theme of discrimination can easily be illustrated in all stories and thus becomes an important element in reference to society. The discrimination of gender, age and race is especially represented in the two stories ‘Half lives- The First Luisa Rey Mystery’ and ‘The Ghastly Ordeal of Timothy Cavendish’. In the story ‘Half lives’ Luisa Rey is often exposed to gender discrimination as a result of the environment of her workplace and the people she interviews. One example is when she misses a meeting and her boss replies with “Spare me the woman’s-trouble excuse” (p118). The easy dismissal expresses gender discrimination because he assumes that any petty excuse would

As the novel begins we are shown Edna’s life before her escape from society’s standards. At the beginning we are shown that Edna is valued by society because of her physical appearance and is portrayed as a housewife married to a wealthy husband. On only the seventh page of the novel we are shown the lack of individuality women had during this time period. We are first introduced to Edna and Edna’s husband, Leonce. Leonce creates the income for the family as well as viewing his wife more of a possession rather than a partner. Leonce notices Edna is sunburned when she has come back from swimming and views her as “a valuable piece of property which has suffered some damage” (7).

Vic Lang, one of the central characters, is arguably most affected by the constraints society places on gender — succumbing to romanticised ideologies.

Nella Larsen’s Quicksand illustrates the main protagonist’s struggles with her identity, especially in regards to race and gender expectations. Helga is always put in a position to conform to what society expects of her, and the fact that she comes from a biracial background further stratifies her identity/status as an individual. In the novel Quicksand, Helga’s interactions with certain male characters and her life events highlight the inescapable social structure that oppresses women, especially those of color.

People who live in a discriminative society constantly face the dangers of being placed in a certain category because of who they are. The trend of stereotypes is reflected among different characters in literature, such as Peter Houghton from Nineteen Minutes and Janie Crawford from Their Eyes Were Watching God. Peter and Janie both have to constantly face tough challenges as they are labeled by society’s expectations. From Their Eyes Were Watching God, Janie is defined as being the “woman” in the relationship from her ex-husbands, Logan Killicks and Joe Starks. Joe and Logan’s behavior towards Janie shows the struggle and disrespect women receive from men and society.

In the novel, Their Eyes Were Watching God, men and women hold very different roles. Not only are women the weaker sex, but their worth is dependant on how powerful and high up their husband is. Because of this, women are forced to be silent and are not allowed an opinion. If a woman shows traits that are considered manly, such as intelligence, determination, or control, she is considered masculine, and therefore unattractive. From a very young age, the main character, Janie, is taught that in order to find a suitable husband, she needs to suppress her independent personality. As a result of this belief being engraved into her, Janie does not realize her worth, therefore she is involved three abusive relationships. For years, girls were taught to make themselves smaller so they do not threaten the male’s reputation. The reader sees that Janie is an example the mistreatment of females through Janie’s three marriages.

Cathy’s Gender during this time was more of a struggle in her becoming a successful ager since in the time of her childhood and young adulthood the roles in which people saw woman in were changing rapidly. This made it harder for Cathy to detriment for herself the way she saw herself as a person.

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.

In many modern societies, a common belief is that women should have equal standing with men politically, socially, and in the workforce (Alesina, Guiliano, and Nunn 1). This support is generally associated with feminism, which advocates for equality between all genders (Issist). In other societies, women are unable to seek opportunities past traditional gender roles, such as domestication and childbearing (Alesina, Guiliano, and Nunn 1). This ideology is often referred to as patriarchy, which expects women to conform to stereotypes that are based on assumptions about femininity and maternal instinct. The influences of traditional gender roles revolve around conditioning, restraint, and submissive characteristics, which can result in women living in boredom and misery (Yildirim 47). To reveal the corrupt nature of the customary expectations of women living during the 1800s, the author illustrates Hedda’s marriage to George Tesman, as the husband expects his wife to devote her life solely to the wellbeing of her household and family. If Hedda decides to conform to the traditional gender roles of the Victorian era, she will not be able to express her individuality or intelligence. The only purpose that she will serve in society will be to raise children and attend to the needs of her husband. This imposes limitations on her basic human rights, as her society views her as inferior and

At the beginning of the Victorian Period, both single and married women’s rights were limited. The changes during this era in the identity of genders are represented in the characters the author Wilkie Collins describes. For example, Marian Halcombe is characterized as strong and predominant. She is Laura’s voice when regarding to her husband and protects her throughout the story. Although Marian knows her role as a woman in society, she disapproves with the beliefs of the era. On the other hand, Laura personalizes the conventional quiet woman that obeys customs. To emphasize this, in Collin’s novel, he lets the reader know that Laura is marrying the man that her father approved even though he is now dead. When she marries, her rights legally belong to her husband and is treated with the laws and customs of the Victorian era. Throughout this period, the distinction between classes was also notable. Comparatively, The Woman in White presents how the middle class as Laura and her uncle refer to the working class, Fanny the maid. Even though Fanny has always been their maid and is the only person they trust, they only communicate with her at their convenience. Moreover, Mr. Fairlie does not even call the maid by her name, but refers to her as “Young Person”. Certainly, the Victorian Period was a significant impact in the novel where

According to Judith Butler’s theory, gender is a social concept and not a natural part of being, therefore making it unstable and fluid. Gender identities are produced through what Butler calls “performativity,” the repetitive acts of expression that form and define the notions of masculinity and femininity. These repeated performances are engrained within the heteronormative society and impose these gendered expectations on individuals. In this respect, gender is something inherent in a person, however Butler writes “gender is always a doing, though not a doing by a subject who might be said to pre-exist the deed.” In Olga Tokarczuk’s House of Day, House of Night identity is undoubtedly central to the characters’ stories, specifically the strict social constructs of gender that is snarled with one’s identity. Tokarczuk’s novel presents a mosaic of stories that put into question heteronormative gender roles, while offering an alternative way of existence. Analyzing House of Day, House of Night with Judith Butler’s gender theory demonstrates the characters struggles within the rigid constructions of gender and how some ultimately deal with moving past such restricting expectations.

All characters in the novel are living in a man’s world; nevertheless, the author has tried to change this world by the help of her characters. She shows a myriad of opportunities and different paths of life that woman can take, and more importantly she does not show a perfect world, where women get everything they want, she shows a world where woman do make mistakes, but at the same time they are the ones that pay for these mistakes and correct them.

The novel demonstrates both popular and familiar gender roles in the 19th century. Catherine Earnshaw, breaks through the stereotypes, and has a mesh of both feminine and masculine qualities. In the Victorian Era, men are seemed as superior to women. Her gender roles are beyond the social norm, as well as her husband Edgar, who is portrayed as more feminine. Catherine holds many masculine qualities such as being adventurous, extroverted, and determined.

In Victorian England, “the bourgeoisie has torn away from the family its sentimental veil, and has reduced the family relation to a mere money relation” (Engels). This upper middle class, the bourgeois, was divided into separate spheres determined by their “natural characteristics” such as being male or female (Gender 1). The bourgeois society’s main concern was their outward appearance and materialism while gaining respectability among their social class. A Doll’s House by Henrik Ibsen, criticizes Victorian bourgeois society and their strict adherence to gender roles. As Nora Helmer walked away from her family, she generated a “door slam heard around the world” (“A Doll’s House” 1).