Summary Of ' Barbara Of The House Of Grebe '

There is a fine distinction in the fabric of DNA that separates men and women- one has the opportunity to give life and one does not. Although beneath skin and flesh is the foundation of a body, the bones. What every human being also shares with each other is the ability to cast emotions. However throughout history, men have been brought up to be seen as if they have little to no feelings at all and women are to be too emotional. Everyone has the potential to feel pain at some point in their lives. Objectification is the central concept dear to feminist thinkers. Many think that objectification is something that remains in history, but it continues to be a problem in modern society. F. Scott Fitzgerald applies this to the characters in his book: The Great Gatsby. The underlying theme of the podcast: Relationship Radio dealt with the objectification of human beings. Aidan Buckner, Olivia Lujan, and Penelope Tucker’s three podcasts: You Can Buy Me Love, Daisy, Money and Usage, and Puppy Love tie the notion of objectification through the relationships: Jay Gatsby and Daisy Buchanan, Tom and Daisy Buchanan, George and Myrtle Wilson, and Tom and Myrtle Wilson through the book The Great Gatsby.

Women who had no claim to wealth or beauty received the harshest of realities in America’s Victorian era. Author Charlotte Bronte – from America’s Victorian era – examines and follows the life of a girl born into these conditions in her gothic novel Jane Eyre (of which the main character’s name

Angela Carter’s ‘The Bloody Chamber’ attempts to change this ideal by re-establishing the feminine narrative through her story. Although the view of female as a commodity is far older than psychoanalysis, psychoanalytic theory has consistently re-enforced the ideals of women as objects and of a lower status than men (Loftus). In ‘The Bloody Chamber’ Carter works to discredit the concept of the female as a commodity. When reflecting on the Marquis’ previous wives, the narrator of ‘The Bloody Chamber’ references the portrait model saying “her face was common property” (pg. 5). From the surface, this is an allusion to the fact that she allowed herself to be painted,

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).

Women are primarily objects of sexual pleasure for the male protagonists. Their characters are always filtered through the men's perspective, with the exception of the maid Bertha, Charlie’s maid, who at times makes fun at either of the brothers. (Perspectives on How Women Internalize the Ideal Beauty Standard, Year Unknown).

The male gaze is a penetrating force every woman has dealt with in her life. It is normalized in our society as a whole, despite the fact that it involuntarily violates women and leaves them vulnerable. Victorian society was no exception to this unfortunate constraint upon women. As such, Thomas Hardy deconstructs the destructive male gaze through the heroine of Far From the Madding Crowd, Bathsheba Everdene, and her unique command of her love life. Moreover, in doing so, he creates a self-directed woman who does not need a man’s aid to find happiness. She may not be the perfect female character, but she knows what she wants from life and she is ready to take it.

The life of a lady in the 19th century is painted in a romantic light. Pictured in her parlor, the lady sips tea from delicate china while writing letters with a white feathered quill. Her maid stands silently off in the background, waiting for orders to serve her mistress. What is not typically pictured, is the sadness or boredom echoed on the lady’s face. Perhaps the letter is to a dear friend, not seen in ages, pleading with the friend to visit, in hopes that the friend will fill the void in the lady’s life made from years spent in a loveless marriage; or possiblyk20 the lady isn’t writing a letter at all, but a novel or a poem, never to be read by anyone but her. Edith Warton and Charlotte Perkins Gilman, are 19th Century ladies who dare to share their writing with the world. Through their works, the darker side of a woman’s life in the late 1800’s is exposed. Gender politics in the 19th dictates that a lady is dependent on her husband for her financial security and social standing; that is if she is fortunate enough to marry at all. In Edith Warton’s The House of Mirth, Lily Bart is a beautiful woman in her late 20’s, who fails to marry a wealthy man. The narrator in Charlotte Perkins Gilman’s The Yellow Wallpaper slowly goes insane under her physician husbands misguided attempts to cure her of depression. The downfall of Lily Bart and the narrator of The Yellow Wallpaper is

Some skeptics such as Audre Lorde: may, argue that the focus of Larsen’s novella focused primarily on the juxtaposition of race and sexual identity of Black feminism in the early twentieth century. However, Larsen makes use of unstable identities that can been seen through the passage via Brian Redfield and John Bellew. The husbands’ envelope the extent of male privilege and contrarily shows their means of working against it. By exploring these men, it offers a more critical view to understanding Clare and Irene

In the story “Love in L.A.,” throughout the entire story the reader is able to understand and identify gender roles, associations and stereotyped characterization throughout the conversation between the characters, the thoughts of characters, and how Dagoberto Gilb wants us to put our own ideas of the male and female stereotypes. Gender roles are first shown when Jake, one of the main characters, is giving a brilliant sketch of a car he’d rather be driving and have freedom than actually working and living a steady good life. From the description of the car we can see that he is interested in features that would attract and impress any woman, and these same features are not particularly well-matched to him, “the fact was that he’d probably have to change his whole style” (275). Jake

The Blithedale Romance, written by Nathaniel Hawthorne, is a story of a twisted utopia. This perfect world is twisted in that the roles of gender have a traditional utopian representation, only with a more contemporary take. Of course, this is interesting because this book was written and published in the 19th century when such ideas were beginning to establish a form for the genre of writing. Hawthorne combines fantasy, philosophy, mystery, gothic, and even [what would be called today] science fiction. This novel illustrates the early break from even fresh ideas. The writing style allows for the "genderizing degenderizing" affect as well as nature of the self.

Anguish, pain, torment and suffering are all a part of our day to day lives. These may issue from a variety of causes such as great deprivation, hardships to emotional and physical loss. Many texts, such as that of Frankenstein, written by Mary Shelly in the early 1800's, depict unalleviated suffering caused by living within societal norms. However very often, these sufferings are inflicted upon people by one individual and in the case of Frankenstein, this source is Victor Frankenstein. This statement becomes evident when examining the intersecting cultural beliefs of gender, class and ethnicity of the time.

In the short story, The Old Chevalier by Isak Dinsen, the male protagonist, Baron von Brackel reflects on his past sexual encounters with two women whose personalities are extremely different from one another. In many novels, short stories and comics authors would create two women as “polar opposites” for a man’s sexual and/or possessive gaze, which is evident in the text. In order to understand, why a man may be attracted to different character traits in women, I will examine The Baron’s attraction to Nathalie and The Mistress by looking at how literary works men portray women, what they find attractive and the fulfilment that men seek from a woman.

The irony of the situation is that most women who are accepted by society and are able to maintain the role of being something worthy to look at are able to do so only because of a husband who supplies them with the necessary funds to achieve it.  In other words, in a male dominated society wherein women largely need the financial support of men to be accepted, they have become commodities.  Lily recognizes this predicament when she ponders her marriage to Percy Gryce, a position where she would be to him "what his Americana hitherto had been:  the one possession in which he took sufficient pride to spend money on" (Wharton  65).

While he waits “at a traffic light,” he “catches his eye [on] a tall girl in a black leather skirt” (Coetzee 194). She is mere stranger on the road, yet he is confident in being able to immediately hook up with her. The way he looks at women, reflects how they are displayed as animals and sexual bodies waiting for someone to catch them and because this occurs frequently, the idea of female bodies being dominated and constructed through male ideology becomes naturalized and accepted as a norm in society. It is evident that though all women do not become prostitutes because they enjoy the idea of it, there is this acceptance of the gender binary, where women choose to transform themselves into this sexualized character that seeks attention and is submissive to the man. Monique Wittig highlights the idea of categories in her text, “One is Not Born a Woman.” She agrees with Coetzee’s representation of the male and female roles and says that “for “woman” does not exist for [them]: it is only an imaginary formation” created by men (Wittig 15). Wittig explains that the category of “women” goes beyond the biological genes and outer appearance. It is something that is created not to make women feel good about themselves or to give them certain types of privileges, but it is a socially constructed idea that subject’s women into a certain type of character that benefits men. She goes on to say that “Once the class “men” disappears, “woman” as a class will disappear as well, for there are no slaves without masters” (Wittig 15). Consequently, the class of “women” is created in response to “men,” where if the category of “men” did not exist, then women would not be so restricted in the things that they are allowed to do and they would not have to live a life trying to satisfy men in order to

Amy Lowell is an American imagist poet who uses descriptive language to create specific images in a readers mind. Set in the Victorian era (1800’s,) the dramatic monologue ‘Patterns’ explores the restrictions of unmarried women in society and the desire for freedom. My view of these issues is that of a feminist reader living in a democratic modern day society, where men and women live in a state of equality and have the right to express their opinions. A feminist reading focuses on the specific treatment of women. Through Lowell’s wondrous use of the poetic techniques, primarily visual imagery (symbolism, repetition, contrasts) and poetic voice (persona and tone,) a modern day feminist reader’s negative views of the restricted lifestyles