The Themes Of Sexuality In Nightwood, By Djuna Barnes

Over the past 200 years sexual liberation and freedom have become topics of discussions prevalent within western culture and society. With the recent exploration of sexuality a new concept of sexual and gender identity has emerged and is being analyzed in various fields of study. The ideology behind what defines gender and how society explains sex beyond biology has changed at a rapid pace. In response various attempts to create specific and catch all definitions of growing gender and sexual minorities has been on going. This has resulted in the concept of gender becoming a multi- layered shifting hypothesis to which society is adapting. Since the 19th-century, philosophers and theorists have continued to scrutinize gender beyond biological and social interpretation. Margaret Atwood 's The Handmaid 's Tale captures the limitations and social implications forced upon a set gender based on societal expectations. Gender is a social construct that limits the individual to the restrictions and traditions of a society, or if it’s an individually formed self-identification of sex and sexuality that is formed autonomously. Evidence of gender establishment can be seen within literary works and supported by various schools of gender and sexuality theory.

First of all, Margaret Atwood is well known for writing fiction with strong female characters that critics categorize her as feminist. Her initial works, ”The Edible Woman”, “Dancing Girls”, “The Robber Bride”, and “The Handmaid’s Tale” are some of examples of her works that are categorize as feminist. Those novels of strong woman describe, “The main characters variously indulge in self-invention, self-mythologising, role-playing, and self-division, while identity is presented as unstable and duplicitous throughout the novels” (McCarthy 3). Atwood has that unique style to describe her characters. She elucidates the woman as their own self to invent their life and their environment through the entire novel. Atwood has a twisted technique for giving her work a jubilant name when the words describe the opposite. One example of that is her short story collection, “Dancing Girls”, Atwood, “bears a surprisingly joyful title for a series of narratives shot through with anxiety and fear, with images of death, deformity, lifelessness and contained rage” (Murray 1). Atwood has an incredible way to write stories where the characters go through gruesome obstacles or experiences that define

When Torvald finds her hairpin stuck in the keyhole of the letter box, Nora tells him it must have been their children trying to get into it, not willing to admit that she had tried to break into his things. Although the truth about her is about to be discovered, Nora wants to preserve the last bits of dignity that she has left, finally worrying about herself before anyone else. This last lie however, leads up to her finally speaking the truth and expressing that she no longer feels that she loves Torvald. Her husband is furious at her, insulting her, and fails to see that every lie that she told was for his sake. Realizing that Torvald can’t see her side of things and will only find fault in what she did, she comes to her decision to leave her family. Nora states that she is not happy and never really was, her marriage to Torvald was as fakes as a doll house according to her. Rather than lie, she is completely honest now and states that she wants to become her own person and learn that which she doesn’t know despite what society might think.

In this coming of age novel Lucy, by Jamaica Kincaid, a story is told of a young girl named Lucy as her life in America changes from what it was in the West Indies. Lucy struggles throughout the novel to find what exactly she desires. Drifting further and further from being similar to her mother. Lucy and her development throughout the novel are shown through her virginity, heterosexuality, and love as Kincaid forces questioning upon what is sexual normality. How one can feel trapped under sexual norms and feels lost.

The novel “Night” is a vivid representation of a man’s loss of faith from the beginning to the end of the catastrophic era in which this book takes place. As a young boy Elie’s inquisitive mind directed him to the synagogue where he would study the Kabbalah’s revelations and mysteries. Here is where “Moishe the beadle,” a friend to Elie, would sit with him in the synagogue and they would talk for hours about the intriguing secrets of Jewish mysticism. One important piece of advice that Moishe told Elie was, “There are a thousand and one gates allowing entry into the orchard of the mystical truth.” This simply meant he would need to pursue these answers on his own. However, Elie believed Moishe would help him bind his questions and answers as well, into one. These meetings were interrupted when Moishe was extracted from the Sighet where he experienced malice.

While Mrs. Wright lashes out against her perceived cage, her gender role, by killing Mr. Wright, Nora’s character ultimately decides to trip the latch, to fly free from the bars. Nora’s complex personality proves to be difficult to predict to the very end, when she decides to shirk her duties to her husband and children to focus on herself, to serve her own needs for individuality, a decision that was not entirely popular with readers and audiences alike. Indeed, Nora quite easily refuses to be the “doll” in Torvald’s house, and abandons her loving, though misguided husband, and her children. She feels driven to do this once she realizes that she and Torvald had never exchanged a serious word in

Each time Nora finds herself unable to help herself the problem is easily directly traced back to her husband, her father, and to the overbearing dominance of the male society. She tries to save the life of the man she thinks she loves and in doing so sees how she has become a victim of her own ignorance which has been brought upon her by the men in her life.

John Collier’s ‘The Chaser’, a short story that follows Alan Austen, a character who shows typically feminine or androgynous traits, displaying Alan being timid, easily manipulated, cowardly, and inevitably, the harbinger of his own destruction. ‘The Chaser’ features Alan seeking out an old man for a love potion to make Diana fall in love with him. From a sophisticated gender perspective, ‘the Chaser’ is shown to be patriarchal to start, with androgynous areas that end with the story being heavily androgynous. Based on text in the story and underlying themes, ‘The Chaser’ is Feminine and Androgynous, and Austen displays Feminine androgynous traits heavily by the end of the story.

The story called “Night Women” by Edwidge Danticat and the story called “The Awakening” by Crystal Wilkinson portray womanhood in different ways. However, both stories are very interesting and convey powerful ideas to the readers. Although the portrayal of womanhood is different, they share some similarities.

Nora plays the part of a slave in her subservience to her husband, for she is supposed to

“The Story of an Hour” describes the journey of Mrs. Mallard against the Cult of True Womanhood as she slowly becomes aware of her own desires and thus of a feminine self that has long been suppressed.  While this journey begins with the news of her husband’s death, Mr. Mallard’s unexpected return at the very end of the tale tragically cuts short the journey towards feminine selfhood.  Yet the tale is tragic from beginning to end, for the very attempt to create an identity against the gender constraints of patriarchal society is riddled with a sense that such an attempt can only end in defeat.  “The Story of an Hour” demonstrates that the patriarchal society that defines gender roles which control and delimit women’s experiences deny them a self founded on true feminine desires.  Ultimately, Mrs. Mallard’s journey towards selfhood only serves to reveal the erasure of identity, indeed of being, that women experienced in the nineteenth century.

In his novel The Hours, Michael Cunningham creates a dazzling fabric of queer references managing to intertwine the lives of three different women into one smooth narrative. In this essay, I will discuss what makes The Hours queer literature, how the novel has contributed to the queer genre, the cultural significance of the novel, and I will discuss several points made in Jeanette McVicker’s critical article “Gaps and Absences in The Hours.” My aim, however, is not to say that Michael Cunningham’s The Hours is strictly a queer novel, but to highlight what makes the novel queer and to discuss Cunningham’s idea of sexual orientation as a fluid entity.

Here, Nora pulls together the tragic circumstances. She sees that she was never truly happy in the house, just content. Her father kept her as a child would a doll, and Torvald continued this when they were married. They formed her opinions for her, set expectations to which she was supposed to adhere, and wrote a vague script of how she was supposed to act. She was like a puppet, with no thoughts or actions of her own. When she finally realizes the injustice being done to her, she decides to free herself.

According to Judith Butler’s theory, gender is a social concept and not a natural part of being, therefore making it unstable and fluid. Gender identities are produced through what Butler calls “performativity,” the repetitive acts of expression that form and define the notions of masculinity and femininity. These repeated performances are engrained within the heteronormative society and impose these gendered expectations on individuals. In this respect, gender is something inherent in a person, however Butler writes “gender is always a doing, though not a doing by a subject who might be said to pre-exist the deed.” In Olga Tokarczuk’s House of Day, House of Night identity is undoubtedly central to the characters’ stories, specifically the strict social constructs of gender that is snarled with one’s identity. Tokarczuk’s novel presents a mosaic of stories that put into question heteronormative gender roles, while offering an alternative way of existence. Analyzing House of Day, House of Night with Judith Butler’s gender theory demonstrates the characters struggles within the rigid constructions of gender and how some ultimately deal with moving past such restricting expectations.

Her final goal was so important to her, protecting her family, she knew she had to do whatever was necessary, even if that meant not being true to her husband or society. In the end, she realizes that it was more important to her husband his reputation, than what it had meant to Nora, all she had done for the love of her family, concluding to the raw truth that her husband didn´t really love her: he loved what she represented before society, a loving, faithful wife that compelled to all his expectations. She knew that to love her children, she needed first to understand and love herself, a thought way beyond and ahead of time, for a woman in the late 1800´s.