Since the beginning of time, women have been seen as different from men. Their beauty and charms have been interpreted as both endearing and deadly to men. In the Bible, it was Eve’s mistake that led to humanity’s exile from the Garden of Eden. However, unlike in the Bible, in today’s world, women who drive men to ruin do not do so through simple mistakes and misunderstandings, they do so while fully aware of what effects their sexuality can cause. One thing remains constant through these portrayals of women, and that is that they are portrayed as flawed creations and therefore monstrous. It is a woman’s sex drive and sexuality that can lead to her monstrosity. The femme fatale is an enticing, exquisitely beautiful, erotic character who …show more content…
She seduces him, pursues him on the phone, and informs him that she is going to have the child of his that she is carrying, kidnaps his daughter, Ellen, and finally breaks into his home wielding a huge butcher knife. At each juncture, Dan is helpless to prevent this incremental invasion, though he confesses cries, yells at detectives, and tucks his daughter into bed, exhibiting all the characteristics of the perfect husband and father of the eighties.” (117) Ellis states that Alex behave this way because Dan was denying her in his life. She just wants to be part of his world. For this reason, she is willing to commit murder in order to take over as Dan’s wife further contributes to her monstrosity.
Alex’s actions may be monstrous, but they do bring up an interesting double standard, she is blamed for seducing Dan into having an affair, but he is not blamed for having been unfaithful to his wife. In this way, it is implied that a woman has a power over a man that she is not allowed to exercise, and a man tempted by a woman should not be held accountable for his actions. According to Ellis, “I don't have a hopeful note on which to end, but I'd like to leave you with the possibility that the women in Fatal Attraction embody what yet remains to be done. For the phenomenon of Alex Forrest does not leave Beth Gallagher free of "monstrosity" by the end of the movie. (Ellis 120) Alex monstrosity is shown at the
Burgess does not characterize Alex as just a murderous rapist. To come to terms with his wife's death, he had to believe that it is inhuman to be totally good or totally evil (Burgess ix). In the final chapter, Alex undergoes a moral transformation; "he grows bored with violence and recognizes that human energy is better expended on creation than destruction" (vii). Burgess could not believe that the men who raped his wife were totally evil, so Alex had to redeem himself by living a normal life.
Envision a realm, filled with genderless inhabitants. A realm of pure bliss, where there is no such thing as “mankind and all beings are [biologically] equal. Now imagine an opposite realm, a realm in which Andrea Dworkin resided. Advocate turned author turned agitator. Andrea Dworkin was a heterodox feminist vanguard who paved a path of her own to support this women’s crusade. Defiant, confrontational and arguably offensive, she immersed herself into the tacit realm of patriarchy, seeking to enlighten and expose the sinister sexual methodologies of man that preserve the role of women as besmirched objects of male indulgence and exploitation. Her ideas and concepts of such is best expressed in Dworkin’s two earliest novels; Pornography: Men Possessing Women [1981] and Intercourse [1987]. Consecutively loved and loathed, Dworkin’s has exerted an important impact on the means and degree of male dominated sexuality and female oppression.
Isabels short story, “An Act of Vengeance” is an example of the power she depicts towards women along with her foundation, “The Isabel Allende Foundation” which she states, “Empowers women and girls worldwide”. In her text, in which a young teen’s father is killed by the same man who raped her and took away dignity and reason for living building up hate towards him. The irony is as Allende states, “She searched her heart for the hatred she had cultivated throughout those thirty years, but she was incapable of finding...Then she understood with horror that by thinking about him every moment, and savoring his punishment in advance, her feelings had become reversed and she had fallen in love with him”(Allende#1). The hatred and punishment she wanted to give him for what he did turned into an unstoppable love. Isabel Allende is a strong feminist and it can be seen throughout her writing, reason for this is her personal experiences, causing it to change the way she refers when writing about the opposite sex.
Alex Garcia is more suspicious than the other persons of interest because he was the last one to see Anna alive. He went to Anna’s house to discuss some paperwork, the night before Anna was found dead. It is said that Anna and Alex went through a nasty divorce. He remarried a younger woman, Erica Piedmont. They are now expecting a baby. It is said that they are having financial difficulties. Alex knows that he is still Anna’s beneficiary on her life insurance plan. It is
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.
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.
Alex realizes that at eighteen he is no longer a child, but rather an adult who has not yet amounted to anything. He comes to realize that he would like to start a family of his own, with a wife and son like Pete. He makes a comparison between youth and a windup toy, saying how they continue moving forward in one direction until there is something to block its path. He says that this is a fundamental fact of youth: youth will always make mistakes, as he has, and that this is what leads to the growth into an adult. He realizes the connection that exists between violence and youth, and that free will is more than just violence but making choices based on morality and thought rather than
These three brides represent the femme fatale, the fatal woman. The over sexualised women whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. These women serve as monstrous reminders of what happens if the boundaries of proper behaviour and traditional gender roles are crossed. These women, although beautiful, possess the wrong type of beauty, one of which brands them as evil, openly sexual and seductive women. Who, in addition lack the chaste passivity and fragility of the ideal Victorian lady, thus making them deserving of some form of punishment in order for them to be returned to their pure, innocent, albeit dead, human form.
Carol Emshwiller didn’t start her writing until she was thirty, a mother, and married. Emshwiller, “was just learning the lessons of feminism on the front lines of domestic lines” (539). In Carol Emshwiller’s short story during the 1980’s “Abominable”, Emshwiller shows how men, in their sexual confusion, ethnic inexperience, and self-disasters, are not capable of understanding women and their needs, anger, and bitterness. The unnamed and self-styled man in the story shows his stereotypical, phallocentric attitudes to understand women becomes more humorous, rather than angry. From transforming the battle of sexes into the man’s search for an misleading species akin to
Sexuality has an inherent connection to human nature. Yet, even in regards to something so natural, societies throughout times have imposed expectations and gender roles upon it. Ultimately, these come to oppress women, and confine them within the limits that the world has set for them. However, society is constantly evolving, and within the past 200 years, the role of women has changed. These changes in society can be seen within the intricacies of literature in each era. Specifically, through analyzing The Scarlet Letter by Nathaniel Hawthorne and The Bell Jar by Sylvia Plath, one can observe the dynamics of society in regards to the role of women through the lens of the theme of sexuality. In both novels, the confinement and oppression of women can be visibly seen as a result of these gender roles. Yet, from the time The Scarlet Letter was published to the time The Bell Jar was written, the place of women in society ultimately changed as well. Hence when evaluating the gender roles that are derived from sexuality, the difference between the portrayals of women’s oppression in each novel becomes apparent, and shows how the subjugation of women has evolved. The guiding question of this investigation is to what extent does the theme of sexuality reflect the expectations for women in society at the time each novel was written. The essay will explore how the literary elements that form each novel demonstrate each author’s independent vision which questions the
Junot Diaz, the author of “A Cheaters Guide to Love” writes his short story with many different references to anti-feminism. He writes about women in different ways to show them as powerless, and un-superior to the main character in the short story. From this short story, Diaz conveys the main characters ways when he shows the him talking about, the girl he calls to have sex with, the women at the yoga class, and the files read at the end of the story that show the fifty girls he cheated on his fiancé with. Diaz creates his main character and puts him in the second person to relate to the reader, but show his anti-feministic signs.
In the story of The Bloody Chamber, Angela Carter attacks the conventional gender roles of women. The conventional Gothic plot revolves around pursuit. A young heroine’s virtuous virginity, purity and innocence is sexually threatened. Thus, what Carter does in “The Bloody Chamber” is redefine female desire and sexuality which are rendered passive and repressed through traditional Gothic texts. Where the mother exemplifies the heroic woman, the “girl” is the traditional damsel in distress. Maria Makinen’s assessment of Carters feminine characters is both truthful and incorrect. Carter uses traditional female stereotypes as well as her unique women to make a contrast between these perceptions of women.
Fulfilling the image of a corrupt and sinful world, society devalues women and demeans their existences, oppressing them into a world of submissiveness and destruction. The patriarchy not only have detrimental effects on women, but the entire world as well. However, women have always exhibit strength and development despite the lack of opportunities, and they reveal the virtuousness of moral character. In the 19th century dark romantic novel, The Scarlet Letter, Nathaniel Hawthorne reveals the atrocities of the patriarchy and masculine hegemony in society and thereby perceive women as the current redeemer of humankind’s sin. He, thereby, urges individuals to deter from the idea of women solely carrying the burdens of humankind’s sin and to
In response to the infidelity, Amy meticulously stages her own disappearance and creates a devious scheme to frame Nick of her murder. She goes to extreme lengths to and displays psychopathic behaviors throughout the film to assure that her “lazy, lying, cheating, oblivious husband will go to prison” for her murder and be put on death row. Amy inflicts intense emotional, mental and physical pain on Nick, and sustained self-inflicted
In her poem “The Golden Age”, Aphra Behn divides nature from civilization, almost in a biblical sense of Eden and after-Eden. Nature and civilization are separated as a positive and negative experience where love is dishonoured, and sin takes over Earth. Through this before and after division, Behn shows how the fall of mankind led to the oppression of the female sex as woman, associated with love, kept the world pure until man, associated with honour, took over. Thus creating “Pleasure, Nature’s worst Disease” (148). When Nature is overpowered by civilization, gender issues arose. This division of gender issues sets women up to be a tease or object of pleasure rather than an equal lover who is free to her own sexuality. “The Golden Age” presents the fall of natural order with the rise of man.