Sunset In St. Tropez

While it might be surprising that Elizabeth I authorized this writing, it is only because the topic is the relationship of a husband and wife which won’t apply to her for she isn’t married and has no husband. Queen Elizabeth I strategically approved of this misogyny idea because she used this action to calm the people down. Due to these ideas of how taboo women were to have authority, Elizabeth I had to use power and

Another way women are portrayed as weak throughout the novel is when Elizabeth is treated like a possession and Caroline is “saved”. Elizabeth is treated like a possession when Victor says, “All praises… as made to a possession of my own” (23) and when Victor refers to Elizabeth as “My more than sister, since till death she was to be mine only” (23). Here Victor’s words make Elizabeth sound like a glass doll, fragile, because she is being treated like a possession. The story itself takes place in a patriarchal society which shows the reader how men are a dominant figure in their culture. In a patriarchal society, men are powerful people and women are obedient to their every wish. Women are raised to follow this culture, because it is a part of their society, for example Elizabeth. The quote also implies how Victor’s opinion of Elizabeth is the only one that matters because she is his only. She is almost depicted as though she has no identity except as Victor’s pretty belonging, “I looked…upon Elizabeth as mine –mine to protect, love, and cherish” (23). Also, Elizabeth is not the only women to be depicted as weak; Caroline Beaufort is also weak as well. When her father becomes poor

LeBlanc wisely steers clear of placing Edna in a lesbian space, choosing instead to place Edna as “something other, a fascinating creature who stands apart and resists definition” (242). For LeBlanc, Robert is the traditionally feminine man on the island who mirrors Edna herself; thus Edna appears to select a person who represents the masculinized encapsulation of herself, which represents woman-woman identification. However, here I disagree with LeBlanc, for although Robert is admittedly feminine or unmasculine, I believe masculinity to be a gendered niche that patriarchy must create for itself out of the markedly, fixedly feminine sphere (an idea or hypothesis I am seeming to create in my own work). Thus Robert decides instead not to appropriate those qualities that femininity possesses for a greater masculinity, but instead enters

Fitting with the common theme between the two novels of the judgment of others, each heroine falls victim to a horrible misjudgment of the character of another. After discovering that the engagement between her brother and her friend Isabella has been broken, Catherine finds she has grossly misjudged her friend’s character, and thinks, “She was ashamed of Isabella, ashamed of ever having loved her” (Northanger 150). Elizabeth, on the other hand, finds her attachment the Wickham wholly inappropriate after receiving her letter from Mr. Darcy. After digesting the shocking contents of the letter, Elizabeth “grew absolutely ashamed of herself.—Of neither Darcy nor Wickham could she think, without feeling that she had been blind, partial, prejudiced, absurd” (Pride 156). And indeed, as suggested by Elizabeth’s mention of Darcy, this misjudgment goes on to affect each girl’s attachment to her future husband.

The relatively open and honest (less suppressed)culture of the Creoles is one which catalyzes her human sensibilities. Who could blame her? Especially Madame Ratignolle, and the way Chopin describes her sensuousness and warmth, would be compelling features it seems for anyone to be attracted to and to want, almost unconsciously, to emulate. Second, the attentive nature of Robert LeBrun is so marked and attractive when compared with Leonce’s domineering, controlling, even neglectful ways in which he treats (and does not treat) his family, (but with a measure of trying to placate them as the result of his own selfishness at Klein’s). When he wins, he forgets all about the candy and peanuts he promised his children. With Edna, he is talkative, but not attentive. Still, though, Edna is culturally in over her head when it comes to the sensual honesty and astonishingly implicit trust of these men to let their wives do what they do at this time in history. Thus far, I see an ostensibly lethal combination of Mme R and Robert working, however innocently in Edna’s life.

In Mist of Avalon Gwenhwyfar is a sympathetic character because she has so much going against her. Although she does have her own wrong doings they are acted on out of hurt. For example, she is cursed with not being able to give the king an heir and this causes turmoil in their marriage. Also in the end she gets even more bad things thrown her way and then repents for her sins and ends things with Lancelot. The film doesn’t treat physical beauty in a positive or negative way. It is very neutral about outer beauty compared to inner. This can be proved because Morgos was pretty but she was an evil person and both Viviane and Morgaine weren’t the most

Gertrude is another character who we can cast as an easy example of the regular traits that a woman was thought to have had. She has no real importance in the story, but is held as another weaker representative of the Elizabethan women. She is cast as an immoral person as she marries the King's brother in just under a month. This a foolish way

The women of the story are not treated with the respect, which reflects their social standings. The first image of the women that the reader gets is a typical housewife. They are imaged as “wearing faded house dresses and

Secondly, in this novel, the female characters rely heavily on men for support and survival. Furthermore, society views the female characters as delicate beings that can not survive by themselves. As a result, they need a man to protect, cherish and provide for them. In fact, all of the female characters have a male character to which they depend on. First of all, Caroline is unable to survive after her father’s death and as a result, marries Alphonse. Alphonse “came like a protecting spirit to the poor girl.” (Pg. 18) This simile compares Alphonse to a hero and Caroline to the weak and desperate women that she is portrayed as. Furthermore, Alphonse takes care of Caroline “as a fair exotic is sheltered by her gardener, from every rougher wind.”(Pg. 19) This metaphor describes Caroline to be a “fair exotic” who is treated like a possession rather than a capable human being. By making this comparison, Shelly alludes to the idea that the female characters are as delicate as flowers and they can’t survive without the male characters. This is true in both Justine and Elizabeth’s case. Justine is dependant on Victor to free her from the accusations.

Marguerite Blakeney can be quite ruthless at times. When someone is displeasing towards her or something doesn’t go her way she becomes uncivil. After the Countess rejected Marguerite by saying “Suzanne, I forbid you to speak to that woman” (Orczy 11), the reader can tell by her small actions after that she was bothered. As well as “For the moment Marguerite’s sweet face had become as white as the soft fichu which swathed her throat, and a very keen observer might have noted that the hand which held the tall, beribboned stick was clenched, and trembled somewhat” (Orczy 11). Her response was insulting the Countess by saying “Sir Andrew, did you ever see such an unpleasant person? I hope when I grow old I sha’n’t look like that” (Orczy 11). This was also followed by Lady Blakeney mimicking the Countess, so the reader would think Marguerite is ruthless because of her childish and impolite actions due to a minor rejection. Obviously people going against her in any way is a great issue to her, and imagine what she might have done if Suzanne (who was more relaxed in this situation) had not convened with her. Imagine what other impolite or harsh comments or actions she might have added. Nevertheless, this kind of behavior should help the reader see how incredibly ruthless she is at times, however, Other people may believe that she’s quite kind and she just hides her feelings. Readers would think Marguerite is kind due to her act of kindness towards a homeless man by buying him a meal before entering The Fisherman's Rest (Orczy 9). While they have a reasonable position, it’s wrong because that single act of kindness was in reality the only act of kindness she showed for the rest of the

Overall, this positions the audience to view women as strong characters who confront the stereotype of women as possessions in Elizabethan time.

Another key aspect of Canary’s theory is that of the four cognitive processes – stereotypes, attributions, person perception, and interpersonal goals. According to Canary, stereotypes are “when categories are about people and are based on their group membership” (Canary 114). In Russo’s story, Sister Ursula writes about how, as a child, “she understood that her mother’s being a prostitute made her ‘the whore’s child,’ that her mother’s wickedness diminished her father’s value” (8). This excerpt from Sister Ursula’s story establishes how the negative stereotypes around her mother’s lifestyle impacted her childhood. Even today, prostitution is considered dishonorable in society, especially within religious circles, and thus, Sister Ursula’s mother’s stigma was attached to her as a child, which caused her to be inherently disliked in the nun community. Again, this could be a contributing factor to Sister Ursula’s cold and steadfast demeanor, as she had to grow up protecting herself from the judgmental gazes of her superiors and peers.

Women really can’t catch a break. Whether it’s to be shamed for failing to meet a stereotype, or the double standard to following one too strictly, people are constantly judged by their personality and whether it is adequate for the society that a person lives in. For women, the stereotype is to be attractive but also appear completely innocent, but if you’re too naive then you’re foolish. For men, the stereotype is to take what is yours, and if you give at all you’re weak and effeminate. This toxic double standard forces people to internalise hatred onto themselves, and then project it onto others, which creates a vicious cycle of problematic thinking. But really, the insult is to not be a woman. In Hamlet, this is shown in two forms: breaking and following stereotypes, and the way the frustration of said roles are projected onto others. Said projections are indirect aggression, passive actions made out of spite, and direct aggression, which are bold actions clearly defined as to create conflict. The characters specifically representing this plight are Queen Gertrude the masculine woman, Ophelia the ideal romanticised woman, and Hamlet the feminine man.

Although Elizabeth follows most of the social norms of the era, she is too outspoken and strong-willed which causes many of the other women to dislike her: “Her [Elizabeth] manners were pronounced to be very bad indeed, a mixture of pride and impertinence; she had no conversation, no style, no taste, no beauty.”vi Caroline, Mr. Bingley's sister, also remarks that “in her [Elizabeth's] air altogether, there is a self-sufficiency without fashion, which is intolerable”vii.

The three strongest women icons in the play being Lady Bracknell, Gwendolen and Cecily. According to Pestason, the scene where Lady Bracknell tells Cecily that some women in the London society chose freely to remain thirty-five for years is considered to be a remarkable freedom of choice, to be as young or as old, as tall or as short as one declares themselves to be (114-44, 156). This does not only pertain to youth of appearance but it additionally establishes that the women in the play does not only possess power over control but also in choice. Throughout the play, the readers note the domination the women has over the men but does not notice the power over their own choice. “I am told; and my ideal has always been to love someone of the name Ernest.” (P.41) Both Gwendolen and Cecily chooses to only marry a man of the name Ernest; an ideal that they both contain. To further discuss this, Lady Bracknell, an obvious symbol of a strong female character, contains nearly all the efficacy in the play. When Jack proposed to Gwendolen, Lady Bracknell became the judge of the proposal; having the power to declare if they are rightfully to be married. As the discussion of family arouses and she finds out Jack had been adopted, Lady Bracknell says, “You can hardly imagine that I and Lord Bracknell would dream of allowing our