The Movie ' The Girls ' At Their Summer Dresses ' By Irwin Shaw

This story could make one wonder, how far would you go to get the person of your dreams. Three young ladies walk into the A&P store wearing nothing but bathing suits. The girls catch the attention of Sammy who is the cashier. Sammy watches the girls walk around the store while making mental notes about each one of the girls. When Mr. Lengel the store manager sees the girls, he lets them know that the store policy is to have your shoulders covered and to dress appropriately when you enter the store. This conversation upsets Sammy, so in the moment Sammy spontaneously quits his job in hopes of being the girl’s hero. After Sammy takes off his apron and walks out the door he looks around, but the girls have already gone. Within John Updike’s short story “A&P” the author uses foreshadowing, a dynamic character, and symbolism to show us how life can be unpredictable at times.

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).

In John Updike’s coming of age story “A&P,” the protagonist Sammy sees what he believes to be an unfair act to three teenage girls in bikini in the grocery store. He makes an immature decision and quits in front of his manager that decided to address the girls about their clothing choice in front of the entire grocery store, instead of talking to them in private. Unfortunately, the teenage girls do not notice Sammy’s heroic act, and he is left alone in the parking lot to face the repercussions of his childish actions. John Updike chooses to write in first-person, so the reader gets to know the narrator’s real character. In his short story “A&P,” John Updike demonstrates that Sammy is an immature character immaturity from his disrespectful personality, judgmental attitude, and misogynist beliefs.

    Doris Lessing’s "A Woman on a Roof" allows us to understand how some men view woman: as mere objects for display and possession. Lessing shows how each of the male characters reacts and deals with rejection from a woman sunbathing on a nearby rooftop. We discover how three men’s preoccupation with sex keeps them unaware of how their advances may be unwanted and ignorant of their action’s possible consequences.

“A sex symbol's currency lies in her youth, her curves, in the suggestion that a sexual encounter lurks around the next corner.” (Sharon Krum, The Guardian) The media is one of the easiest ways to exemplify the power struggles between genders. In today’s society, celebrities, especially women, are judged largely on their appearance and sex appeal because it is critical for them to stay in the spotlight. This is a clear example of the inequality between the male and female, and what their roles are intended to be in society. Three Girls by Joyce Carol Oates is a story about a lesbian couple, and their observation of the behavior of a disguised Marilyn Monroe who, surprisingly to the narrator and her companion, wants to be seen as nothing more than a common person. During the progression of the story, the author provides perspective on the gender roles women faced in 1956 New York, and gives the reader insight into the thoughts and reservations of a lesbian couple in this time period. Through both implicit and explicit expression, Oates implements feminist and marxist ideas of power struggle into Three Girls in order to establish themes of imbalance and subordination by women in society.

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.

It can be argued that men notice girl’s bodies before anything else, however, it becomes creepy when that is all the man focuses on, such as in the case of Sammy and the others in the store. These facts beg the question, are girls really just pieces of meat to be devoured, objects to be observed, or pieces of art to be cherished? On the other hand, these girls did not help themselves much by walking into the store in nothing but their bathing suits. In fact, as Robert Pultier stated, “They are young, but they are also sexual beings, proud, in that often confused way that teenagers are, of their sensuality. They are aware of Sammy watching them and are half self-conscious and half exhilarated by his attention”. These girls seem to be embracing their new role in a man’s mind.

"Senior Picture Day" by Michele Serros is a short story that explores how women have dealt with trying to conform to a "California Girl" standard of beauty. It is the purpose of this paper to demonstrate how the protagonist in "Senior Picture Day" struggles to accept her plight as a Mexican-American woman living in a society that lauds 'valley girl' beauty.

He describes the girls’ bodies in terms of the physical features most notable by first glances, including a reference of one girl being overweight with a large, but attractive rear end (Updike 561). I was thoroughly disgusted when he compared a woman’s empty mind with a buzzing bee in a glass jar (Updike 561). The girl referred to as “the queen” is the object most attracted by his affection and his roving eyes. “There was nothing between the top of the suit and the top of her head except her…it was more than pretty” (Updike 561). At the end of the story, the narrator refers to the “Big Tall Goony-Goony” as “not bad for raw material” (Updike 564) and while taking the money, compares Queenie’s breasts to raw scoops of vanilla ice cream (Updike 563). When he loudly announces his intentions to quit his job, the narrator is upset that the girls don’t seem to notice or appreciate him and he seems disappointed to find “his girls” gone from the parking lot and his life without noticing his martyrdom (Updike 564). I was offended as I imagined this was a stand easily taken by many man for pretty girls. I wanted to run home and smack my boyfriend on the head with a rolled up copy of Vogue.

In cases of social injustice, there are the oppressors and there are the oppressed. Such is the case in the world of The Great Gatsby, where gender norms shape the dynamic of all romantic relationships.Fitzgerald’s novel reflects pervasive gender norms that are still in place today. One of these constructs is the role of women versus men in marriage. Husbands are supposed to be violent and commanding, and their wives are supposed to be quiet and happy. Male characters see opportunity in this construct -- they use it to their advantage or as a way to establish power and reputation. Characters like Gatsby and Tom want relationships with women that reflect their relationship with money and success. When Myrtle tries to manipulate her affair

An example of this notion is shown in Hope Leslie when Governor Winthrop, the landlord, reacts to Hope, the tenant, coming home late and refuses to reveal her reason why: “...Winthrop was not accustomed to have his inquisitorial rights resisted by those in his own household, and he was more struck than pleased by Hope’s moral courage” (184). Evidently, Winthrop’s reaction proves that women with “moral courage” are unladylike because moral courage is a manly trait. On the other hand, Esther Downing, another character in Hope Leslie, embodies the cult of true womanhood. Esther’s mere look at her love interest Everell is described as “a look of...pleased dependence, which is natural... and which men like to inspire, because --perhaps -- it seems to them an instinctive tribute to their natural superiority” (219). So, “Esther’s look … of dependence” confirms that the expectation that all women are supposed to have the same behavior, gestures and personality is meant to not only please men but to also hide their true form. Therefore, the cult of true womanhood presents an internal battle in female writers and Sedgwick presents this womanly struggle through the contrast between Hope and Esther. Society wants women to be quaint housewives but publishing a book defies the cult of true womanhood. Thus, defying the qualities rooted in the cult of true womanhood causes high risk of

Their marriage is in danger due to their different expectations. Michael reckons that it is fine to desire other women notwithstanding the fact that he is in a devoted relationship. He agrees that he "look[s] at women" (p.3) but he doesn't think "it's wrong or right." (p.3) Frances says that Michael looks at every woman "as though [he] wants them" (p.3), he replies that "in a way, that's true."(p.3) Frances wants Michael to feel the same way he felt about her when they first met. Frances feels that "when [they] pass a woman and [he] look[s] at her and [Frances] see[s] that look in [his] eye and that's the way [he] looked at [her] the first time … and it makes [her] feel terrible" (p.3) because he doesn't look at her like that anymore.

In The Girls in Their Summer Dresses, it is necessary to explore the personal differences that cause problems in the relationship of the couple. The details of the story will lead to a conclusion that for Michael the relationship could just be a mere convenience or an affection solely generated by his physical wanting of Frances, so with the way she looks and appreciates the girls of New York.

Ever the keen social observer, Jonathan Swift (1667 – 1745) often expressed his reservations about the competences of the female mind through satire or by employing alternate literary voices. However, his ridicule of the female condition does not entail that he was simply a crass misogynist. In reality, the satirist scorned humanity in general: both men and women were unable to escape his seething misanthropy. Swift’s moral satire includes three notorious poems: “The Lady’s Dressing Room,” (1730) “A Beautiful Young Nymph Going to Bed,” (1731) and “Strephon and Chloe” (1731). Human beings tend to delude themselves and see order and beauty where none exists, yet in these poems both the male subject and the reader become disillusioned over the discovery of female humanity. Therefore, Swift seems to imply that life based on delusion usually ends in bitter disappointment, and thus attempts to free us from our prejudices and the futile denial of our basic nature. Furthermore, the author finds in Esther Johnson, or “Stella,” the perfect example of the redemption he aims to imbue in the rest of humanity. Thus, through his poems concerning women, especially Stella, Jonathan Swift reinforces his belief that all humans – even women – are capable of bettering themselves.

The goal of this paper is to prove why the homosexual couple is more normal than the heterosexual couple and why the definition of beauty is not accurate throughout the plot of American Beauty by using the technique of gender criticism. My first step to achieving this goal will be providing evidence about the main masculine and feminine roles and how they are reversed. Afterwards, I will compare and contrast the relationship of the homosexual couple with that of the heterosexual couple. In addition, I will describe how the movie depicts society’s definition of beauty by allowing the readers to sympathize with teenagers, Jane Burnham and Angela Hayes.