The Second Sex By Simone De Beauvoir

due to the absurd superiority of men’s social position, if she were a man: she repeatedly makes

Throughout history, women have constantly been objectified and forced into submission by the male dominated society. Simone de Beauvoir’s philosophical work, The Second Sex, echoes the intense oppression of women and reflects the first wave feminist movement. Her existentialist decoding of genders resulted in the idea of the Other, which explores the phenomenon of women forced into the role of an object, while men are the subject. In the second chapter, “The Girl”, Beauvoir further studies the idea of this oppression during one’s transition from a girl into a woman. Beauvoir states that no matter how much freedom and sense of self a girl holds, she is always forced into the role of the Other in society. Beauvoir 's idea of the Other held

Being on the verge of adulthood and having just left the simplicity of childhood, teenagers have always been particularly complex and enigmatic individuals. While most people struggle to see things from an adolescent perspective, Canadian playwright Joan MacLeod is well-known for her accurate portrayal of teenagers. In 2002, she published The Shape of a Girl, a play related to the dramatic story of a young girl named Reena Virk who was tragically affected by bullying, a characteristic behavior of adolescent development. Throughout The Shape of a Girl, MacLeod effectively exploits the Aristotelian dramatic elements and she uses Reena Virk’s story as well as the thoughts that it produces in the antagonist’s mind to portray both adolescent character traits and behavioral patterns.

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

The notion that women belong to men, is a statement indicative of a female’s vulnerability. At many times within the novel, the idea that women are weak and feeble creatures is portrayed,

Her characters shape their lives in obedience to the ancient laws of birth and death. Sometimes they pursue a private vision heroically. Referring to the male and the female, Simon de Beauvoir says: "We are accustomed to thinking of these two human destinies as characteristically sexual." Traditionally, the woman's place is in the home. She is the mother who gives us life and with it our morality.

In Helon Howell Raines’ analytic document Norman Mailer’s Sergius O’Shaugnessy, Villain and Victim brings to light to ‘Myth and Reality’ the Myth of Woman; a myth she refers to as ‘static’, bearing the role in the birth of an unchangeable concept of women as object inferior to the male. The myth positions the man as the main and the woman as the “other”, resulting in the “male/female duality” (Raines, 71) as the myth is continues to be practiced the myth will continue to grow. De Beauvoir brings this myth under close eye by questioning its true origins and existence in reality as a whole. In her eyes it is the core belief that was brought from this myth that really determine how women are represented in art( in this case a small story), and

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

Judith Butler’s essay, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory” calls for a new way to view sex and gender. Butler argues that “gender identity is a performative accomplishment compelled by social sanction and taboo”. In this case, gender is not constituted by what one is, but rather what one does; the performative acts constitute gender. In other words, gender is not the starting place; it is an identity repeatedly constructed throughout time. Butler is trying to show us a feminist perspective of sex and gender. She attempts to follow Beauvoir’s path in a fight against society norms.

Just as Pygmalion sculpts Galatea, man sculpts the idea of woman. The consequence of this is that man perpetuates the idea of womanhood, and women obey it. Beauvoir encourages women to fight against this idea of womanhood, arguing that “To pose women is to [deny]… that she is a subject, a fellow human being” (De Beauvoir). Most people unfortunately do not fight back against this idea of womanhood, and remain passive to it.

De Beauvoir provides us with two key terms produced by the “Gaze” operations. According to her, women under the male gaze are the controlled ones and appear like motionless objects whose subjectivity is totally lost. They appear as the peripherals, the minors in front of the centre. De Beauvoir comments on that “She is the inessential in front of the essential. He is the subject; he the absolute.

Simone de Beauvoir, in her 1949 text The Second Sex, examines the problems faced by women in Western society. She argues that women are subjugated, oppressed, and made to be inferior to males – simply by virtue of the fact that they are women. She notes that men define their own world, and women are merely meant to live in it. She sees women as unable to change the world like men can, unable to live their lives freely as men can, and, tragically, mostly unaware of their own oppression. In The Second Sex, de Beauvoir describes the subjugation of woman, defines a method for her liberation, and recommends strategies for this liberation that still have not been implemented today.

In fact, man is seen as the universal norm whereas woman is “defined and differentiated with reference to man” (ibid.). Thus, man is defined as the One which entails the submission of woman as the Other (xxiv). This submission, however, is a result of natural condition rather than historical events or social change (xxiv-xxv). Moreover, it is due to the fact that woman do not form an independent unit as they do not have a past or history of their own which differentiates them from men. Hence, woman is the Other in a duality in which both elements - man and woman - are essential, as the division of the sexes is a biological fact not a historical event

The following text comes from Simone de Beauvoir called “The Second Sex,” which discusses the ideas of the feminist

Therefore, it is evident that literary techniques are utilised to exploit the Beauvoirian idea of women “denying [their] feminine weakness” in order to justify their strength, while the “militant male... she wish[es] to be” however, Marlene accepts femininity and only wears a skirt to work.