In pages 61-86 of the novel, Diana and Bessian are fairly physically intimate with each other, with a clear developing distance forming between them as Bessian continuously speaks of the Kanun and the Blood Code, leaving Diana speechless. Although Diana is left speechless in more than one instance, she reacts physically to Bessian’s remarks. In one instance, Bessian explains the Blood Code to Diana and the merit behind it, Bessian waited for a “word of approval, but she was silent; her eyes, however, looked into his with the same…
In these lines, we are introduced to Baptista, a father who wants to find a husband for his oldest daughter, Katharina. The conflict of the play is also introduced as Baptista has decided that his youngest daughter cannot marry until Katharina does. These lines provide readers with some background information on Baptista and his daughters, as well as their familial relationship. They also reveal that while Baptista loves both of his daughter’s, he is at a loss for how to manage his oldest daughter, Katharina.…
Dr. DoHarris articulates how ‘Gatha is heartbroken from the loss of a child and the love of her life, Eustace, with whom she has two sons. After the desertion of Eustace she will meet and marry Leon, though not in…
“The plain truth of the matter is that we can’t stop them!” (Fast 90). April Morning, written by Howard Fast, is a novel about the start of the Revolutionary War, specifically the Battle of Lexington in 1775. Adam Cooper, the protagonist of the story, is a 15-year-old boy who is forced to become a man to defend his home from the British. Moses Cooper, Adams father who is also the antagonist of the story, is extremely hard on Adam and does not see him as a man. Not until Adam signs up to fight that is. Moses Cooper is a loving father that is disciplined, dutiful, and wise.…
Adah looks up to her college advisor, Leah looks up to Anatole, and Rachel pleases any man with money. The women in this book are depicted to be anything but independent, they rely on the men in their life to provide a life for them. Kingsolver puts an emphasis on the women’s dependence on men in order to highlight the turning point where they take…
green affected me in certain ways. When we were blind folded and caught of guard…
Marie begins her collection of lais with the story of Guigemar, a noble knight who is cursed with the task of finding true love to heal a physical injury. This lay introduces two types of love: selfish and selfless. Selfish love is not courtly love. It lacks devotion and true loyalty. It lacks suffering and self-denial. Marie de France portrays this kind of love in the old husband of the woman whom Guigemar loves. The man locks his wife away in an enclosure guarded by a castrated man. By doing this, the husband shows a mean, limited devotion to his wife; perhaps even worse, he limits her ability to experience true love. This kind of love does not last; in fact, the husband is cuckolded when his wife has a year-long affair with Guigemar. He is made a fool, the dupe of love.…
She is a naïve virgin who excitedly marries a shallow rich and emotionless Marquis. She comes from a family who is not quite poor but with limited financial resources you need to get married to survive; she is aware that marquis is well endowed and insists that although she cannot resist him but does not love him; the marriage is simply how it ought to be. But, choosing to be swept away by glamour and wealth she continues to ignore the dangers. She always mentions how every time she looks at him he looks as though he is hiding behind a mask and it isn’t until the opera where she realizes one expression, lust; he sees her only as a sexual object. At the time this makes her excited due to her naivety, this is made clear when she says she recalls, "for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away." (11 Carter) Not aware that targeted her for her innocence and how easy it would be to corrupt her young mind. Showering her with symbols of bad luck (the opal ring) and doom (Ruby Chocker) unaware that him and his staff are always maintaining a gaze upon her; waiting for her to make mistakes so he could punish her. As time goes on, the more time she spends more time with her husband the excitement fades into loneliness and feelings of oppression; always performing for her husband and being molded by all…
The text uses the occurrence of sex as an act of aggression, erotic brutality, and dominance in which the male partner is seen as sadistic and the female partner is seen as oppressed. This is portrayed by The Marquis’ wives, both past and present, as he objectifies them by placing them on display, enabling him to manipulate and mold them to satisfy his perverse erotic tastes. Additionally, all of the female roles are unnamed, only referred to by jobs for example the Mother, the Opera Singer, the Evening Star Walking on the Rim of Night, and the Romanian Countess (Carter 1990: 4), drawing attention to the idea of gender inequity as the women are not worth of a name (Barry 1995: 126). The act of sexual objectification by The Marquis lends itself to interpretation as The Bloody Chamber depicts the darker side of sexual relationships, exploring the essentialist idea that men and women are different beings. The text symbolizes the inequality between men and women in the ‘[m]ost pornographic of all confrontations’ (Carter 1990: 8), through the satirical images by Felicien Rops, where a fully clothes man is sizing up a naked women as though she is “a lamb chop” (Carter 1990: 8). From the…
The conversational form is a self-conscious debate about their roles as fiancés, wives and mothers, as well as their relationships with each other. Critics would notice that the novel projects two compelling arguments: the plot of women corruption and seduction: a parallel plot revolving around the fate of the powerful female circle, bounded by an ideology of "sisterhood" - which makes the story possible in the most concrete way.…
The world of Sir Gawain and the Green Knight, never intends to present women as powerful but rather, women are clear examples of the dark forces and dangers lurking beneath feudalism and chivalry. In the medieval world of the poet, women and their doings were to be mistrusted. Thus, HE provides a set of biblical and classical models to depict the female gender as a subversive force that causes doom to all men on earth. The game of courtly love was breaking social bonds which hold feudalism together. In this game, men were forced outside of the traditional male hierarchies, placed on equal footing with a woman, and not subject to the feudal loyalty system. Throughout the poem, the warning is clear cut: this dichotomy between chivalric and Christian values will inevitably end in destruction of Feudalism and its set of values: Christianity.…
Hansen criticises this integrated perception of marriage and power stating that the Wife of Bath is “ironically trapped in the misogynist culture she explicitly names as the enemy and is blind to the ways in which her tactics further embed her in the assumptions she tries in vein to defy” (1996 p.274). This statement insults Alisoun’s character as it oversimplifies her understanding of her situation and neglects to take into account the social context of the text. She is not a victim as she has knowingly embraced an institution associated with female confinement and oppression. By willingly playing the game she manipulates marriage in her favour and uses it as a tool to help her achieve the power and autonomy she strives for, “What sholde I taken keep hem for to plese, / But it were for my profit and…
Gillam and Shannor talked about princess and how society has affected them by Emasculation of the alpha male; Homosociality, Intimacy, and emotion; and…
The novel contains many stories on how females were portrayed during medieval times. A tale in the novel called The Wife Of Bath's Tale, gives a common situation in which a man must pursue a women, but not for marriage. The Knight must find what women desire most in order to not be executed for rape. He finally finds the answer from an old woman, who tells him that all women desire to be in charge of their husbands/lovers. For example, Chaucer writes, “A women wants the self-same sovereignty, over her husband as over her lover, and master him he mustn't be above her (p. 282). “ This statement is more or less true, and is showing how women want to be their own person, but at the same time be viewed as equally powerful to their male counterparts. Women aren't the problem, the problem is what society expects them to be. Although the conflict concerns a man trying to get out of being killed for a crime, the women in this story serve a greater, and thoughtful purpose. Ultimately, the knight marries the old woman, but isn't satisfied because of her appearance. In contrast, the woman doesn't take offense to his behavior, instead…
Sir Gawain blamed Lady Bercilak for his failure after he gave in to temptation and told, “And convey my wishes to your gracious wife, and that other honored lady, who's cleverly tricked their knight. No wonder: there’s nothing remarkable in their making a man foolish, in women winning men… The best, the very best, who walked the world in those days—,” (biblical time), “and women tied them in knots, whirled them in circles. I’ve been beguiled, as they were: this excuse should be heard.” (2411-2428). At the beginning of the poem, Queen Guenevere was described as, “watching with shining grey eyes, seemed as beautiful a lady as a man could ever have seen” (81-85). Later on in the poem, Sir Gawain notices Lady Bercilak and an old lady and described them, “her face the fairest white, and in all things the softest women on earth— lovelier than Queen Guenevere, in Sir Gawain’s eyes… Another lady led her by the left hand, older than her, ancient and old and honored by a host of good knights. And how unlike they were, that pair, the round one faded yellow; rich red cheeks on the one, rough and wrinkled jowls on the other, loose and dangling; coverings hung with pearls on the young one’s throat and breast, showing skin whiter than snow on the hillsides, while the old one wrapped a kerchief on her neck and hid her black chin in white…