The Unique Portrayal of Heroines in The Awful Truth and My Favorite Wife

The old feminine mystique, before the wars end was a woman would have “strength in her hands, pride in her carriage and nobility in the lift of her chin.” This change was caused because the old Rosie figure changed. Her attitude and fashion sense changed to accommodate the more ideal woman for a man of the time period. Not only did this figure change, but the figures of TV shows changed as well. In the shows like ‘Father Knows Best’ and ‘The Adventures of Ozzie and Harriet’, ‘Our Miss Brooks‘, ‘I Love Lucy‘, and ‘The Honeymooners’ the women being portrayed are stay at home moms that support the family or women that are independent but need and want a man in their lives. All these women at first reflected the ideal woman, but after a while it became the majority because when people saw it influenced their decisions greatly. In the end of the time period however, and in the later shows like ‘I Love Lucy‘, and ‘The Honeymooners’, the women roles started to show more dominant traits. This idea helped to change the feminine mystique again, changing for the good.

James' manipulation of appearances in Daisy Miller as well as other character's notions of these appearances provides us with a novella of enigmatic and fascinating characters. Daisy, the most complicated of these ambiguities, is as mysterious as she is flirtatious. James gives her a carefully constructed enigmatic quality that leaves the reader wondering what her motivations were and who she truly was. He structures the novella in such a way as to stress the insights that the supporting characters provide into Daisy's character, weather accurate or erroneous. Despite their questionable reliability, they allow James to make commentary on both European and American cultures and social class.

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.

Besides, Margaret as the maid to Hero, is under the deceptive appearance that veiled her witty nature. When she is with the woman, her true self is shown through the use of sexual innuendo when she refers woman as ‘maid and stuffed’ with the idea of pregnancy. She can have bawdy talk just like man when she responds to Hero by saying ‘heavier by the weight of a man’. In a patriarchal society, though women are suppressed, they are not totally submissive and innocent as their true self is veiled by the deceptive appearance.

Feminist ideas are used throughout this story in both explicit and implicit ways to help describe the gender roles placed upon females in the 1950s. “That figure was a garish blond showgirl, a Hollywood ‘sexpot’ of no interest to intellectuals”. (Page 79) The author explicitly includes the

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.

Romantic comedies are loved by many; however, not many stop to think about how these women are stereotyped every time, giving the female character limits on their personality. Actress, comedian, writer and producer Mindy Kaling in her essay, “Types of Women in Romantic Comedies Who Are Not Real” classifies the stereotypes given to women in romantic comedies. from her 2011 collection of essays Is Everyone Hanging Out Without Me? (And Other Concerns), is a comic essay on how she loves romantic comedies, but knows that female characters are fictional, and explains how they can still be appreciated. Kaling in her essay presents the female stereotypes by classifying them, and doing so with humor. The seven classifications she used are, “The Klutz”, “The Ethereal Weirdo”, “The Woman Who Is Obsessed with Her Career and Is No Fun at All”, “The Forty-Two-Year-Old Mother of the Thirty-year-old Male Lead”, “The Sassy Best Friend”, “The Skinny Woman Who Is Beautiful and Toned but Also Gluttonous and Disgusting”, and “The Woman Who Works in an Art Gallery”. This essay is fun informative and great for Kaling’s fans, and romantic comedy fans alike. This essay transitions throughout, from entertainment to a slight defensive yet still humorous. Kaling is a talented woman who struggles as the career of an actress is not easy for a woman who does not follow the strict guidelines. Being thin, as she

Again, the audience is not presented with a perfect copy of such a personality in the character of Norma Desmond; her “appeal” is arguable, considering her hefty age of fifty, and her deception is not exclusive to her victim, but has cast a much heavier net upon herself. However, Norma is still manipulative in the sense that she uses the appeal of her wealth to keep Joe under her control. In this way, she strips him of his pride and manhood by taking him on as her dependent, and eventually into her “boy toy” (for lack of a better term) by inducing his guilt with her suicidal threats. Whether or not she deserves the audience’s pity is no matter—Norma fits her role as the femme fatale since she uses Joe entirely for her own purposes, and eventually brings him to his very literal demise.

Daisy illustrates the typical women of high social standing; her life is moulded by society’s expectations. She is dependent and subservient to her husband. She is powerless in her marriage.

     At the same time, the readings of the women's masculinity and androgyny must be similarly reconsidered. While Irving reads Lena as one who "conforms more readily than Ántonia" and assimilates in a manner "too complete" in that "she, like Jim, is lethargic" (100), I would argue that Lena's refusal to marry and her achievement of the independent, successful life she sought belie any ready categorization of reinforced hegemony, undermining standard patriarchal demands; and her success can be contrasted with Jim's loveless marriage and the vague reference to the "disappointments" that have failed to quell his "naturally romantic and ardent disposition" (4). Similarly, as Gilbert and Gubar highlight, the happiness of the "masculine" hired girls stands in stark contrast with the emotional restriction to which town wives are subjected: "Energetic and jolly, Mrs. Harling must stop all the activities of her household so as to devote herself entirely to her husband" (197). While it may be true that "their disturbing androgynous qualities, and their unwillingness to accept traditional female roles" position the hired girls as "outsiders" (Wussow 52) and that these facts can be read as critical of the feminine, it seems more

The portrayal of people being sickly creatures has been used in Hollywood film for a very long time. This has been in the endeavor of putting the viewing public in the shoes of the patient and entertain them with over the top portrayals of disease. For patients that are women in particular this has been achieved by defining them along the lines of vague terms such as them being over emotional and unstable. Despite the advancement experienced by the society, women have not yet fully seen the goal of equality realize fruition. With the expansion of the psychiatric and psychological terminologies, there now additional ways via which mental illness can be ascribed as a weakness for men and women portrayed in Hollywood film. This is best

-What is the purpose of her character? So that women of the forties could empathize with her situation more

Although it was typically unusual, due to social acceptability, women like Mrs. Joe who beat and dominated their husbands were subjected to public humiliation as an informal form of popular justice (Clark 188). Although spousal abuse was acceptable as a means of obtaining control, murder was completely unacceptable. Going back to the idea that female crimes were a betrayal of nature, there was an extra twist to murder when the murderer was a woman (Hughes 86). Female murder criminals were stereotyped as Mr. Jaggers' housekeeper: oversexed, insane, hormonally unbalanced or suffering from some biological defect (Hughes 68). As Pip is told to look at Jaggers housekeeper--"you'll see a wild beast tamed"--one notices the suggestion of a biological defect, or hormonal unbalance (195; ch. 24). Pip is also instructed to "keep your eye on it," as if this woman belongs to neither sex nor is she portrayed as human (195; ch. 24).

Since its humble beginnings in the later years of the nineteenth century, film has undergone many changes. One thing that has never changed is the filmmaker’s interest in representing society in the present day. For better or worse, film has a habit of showing the world just what it values the most. In recent years, scholars have begun to pay attention to what kinds of ideas films are portraying (Stern, Steven E. and Handel, 284). Alarmingly, viewers, especially young women, are increasingly influenced by the lifestyle choices and attitudes that they learn from watching these films (Steele, 331). An example of this can be seen in a popular trope of the “romantic comedy” genre in this day and age: the powerful man doing something to help, or “save” the less powerful woman, representing a troubling “sexual double standard” (Smith, Stacy L, Pieper, Granados, Choueiti, 783).

Whilst it would seem at face value that the portrayal of a strong female heroine is empowering for all women in a society of unequal gendered stereotypes, the explanations as to why the female heroine is so strong, seems only to be justified through motivation instead of ‘natural’ strength. To many theorists this motivation can only be explained through a woman’s maternal instincts, or a female link to the power and dominance projected by men which is portrayed through a female’s identification with herself and the ‘lack’, leading to a sense of heightened power through the phallic. In this essay I will be analysing whether a heroine is personally empowered through self-determination as a strong women, or instead motivated by external situations such as maternal instincts, or problems associated with gender differences.