The attitudes of male characters towards female characters changed from pre-classical literature to classical literature drastically from the time “Gilgamesh” was written to the time Shakespeare’s sonnets were published. The change was slow, in Gilgamesh women are tempting animalistic people and in Homer’s “Iliad,” and the “Odyssey,” the women represent what was and wasn’t okay in society. In Dante’s “Inferno” the woman Beatrice was a symbol of holiness to him and he used her as a symbol to represent his salvation. Later, Petrarch used Dante’s mold to create Laura, who unlike Beatrice was described more as a physical symbol than as a holy symbol. Shakespeare changed the female from being idealistic and perfect in every way, to being a normal woman with flaws but who could be loved despite physical flaws. Women throughout history have changed from being lower beings than men, to higher beings than men to being on the relatively same level as men.…
There are many aspects of a primary source that are critical in analyzing the content. Because this source is based on gender issues, it would be beneficial to know the gender of the author. Unfortunately, this information is not given, so it becomes difficult to see how the information put forward is meant to be taken. Especially with poetry, a lot is open to each individual’s own interpretation. In regards to gender, it can be assumed that it would be written with different intentional meanings if written by a male or female. If coming from a man’s perspective, it would seem very conceited and show that men are very…
The poem above is one of the many poems of the famous Greek poet Sappho. Although many of Sappho’s writings were publicly burned in the cities of Rome and Constantinople, much of her work survives today. This is due in major part to the respect felt for her in some Greek and Latin communities who memorized her entire body of work. Even the great philosopher Plato showed her great respect by donning her “the tenth muse”.…
Men enjoyed writing and reading about life at the high seas or the torturous days on the battle fields. Although women did commonly write about family life, emotions or feelings, it would be unfair to claim that women only wrote sentimental texts. Authors such as Chopin, Wharton, Cather and Gilman stretched the limits of sentimental texts and incorporated universal truths. “Women with literary ambition recognized that asserting the aesthetic value of their work depended on refusing what was perceived as the narrow, sentimental focus on home, hearth, and virtue” (Nolan 571). The women listed above knew they had to go beyond established stigmas, and stretch their boundaries to fit into the literary canon.…
This male idea of excellence is called “andreia” and is above the feminine excellence “sophrosune” (Kochin). This is proof that, from early in its development, on society has created and affected gender stereotypes. The stereotypes commonly associated with females- emotional, weak, and vain- as well as the stereotypes associated with men- strong, logical, and stable- have all formed from sociological beliefs or standards. These beliefs, however accurate or inaccurate, are ever present and serve as barriers in the literary world. By combating these stereotypes and utilizing gender-bending rhetoric, many writers have begun to break down this barrier and demonstrate that gender does not determine rhetoric.…
As you will read in the background of the project, we will be basing our project off of previous work done by Bamman, Underwood, and Smith (Bamman). Bamman has gone deeper than we intend to to identify personas, which include gender of the character. In his paper he mentions that the gender of personas has changed over time, but he does not investigate that further: “latent character types might cast new light on the history of gender in fiction. This is especially true since the distribution of personas across the time axis similarly reveals coherent trends” (Bamman et al.). We can use some of his techniques to identify the gender of the characters and build off of this idea. He includes both gendered character names and gendered pronouns…
For instance men use words, around, what, are, as, it, and said. While women use more pronouns in their writings than men do in their writings. Some of the more often pronouns they use are I, you, she, their, and myself. Women tend to avoid more bold and derogative settings then men writings, such as women have to take a more organized and thought out way of processing their writing. Men are seen as more bold of writers since they do take those bold settings and run with it, and get away with it more often than women writers. Also, women authors tend to stray away from the more bizarre way of writings than men are accustomed too. Women authors break away from their writings more often than men before they are finished with the following sentence; or story.…
She emotively exposes her readers with a rich rationalization as to why women are just as good, if not better than men. The cast of women characters within The Book of the City of Ladies gives de Pizan an exceptionally affirmative sounding board to express her assertions about women with validity, voracity, and value. To do this, the all-female cast of characters and the great many stories they share serve as a means of validating women as more than what men have labeled them as. In addition, the voracious sharing of these stories also serves as a means of placing a positive light onto womankind. Lastly, valuation is plentiful; beginning with the moral fortitude of the author herself, the significance of de Pizan’s book is perceptible because of its very premise, creation, and the story it tells. In essence, Christine de Pizan’s efforts as a woman and a writer are a powerful reminder as to how words, especially in the hands of a skilled and determined individual, can unleash an astute literary…
Gilbert, Sandra M., and Gubar, Susan. “The Norton Anthology of Literature by Women: The Traditions in English” Third Edition. NY: W.W. Norton & Company. 2007. Print.…
Aphra Behn depicts Imoinda, the object of the prince’s love in Oroonoko, Or The Royal Slave (1688), as exotic in her person, potent in her sexuality, but highly conventional in her domestic aspirations. While she has only limited ownership of her body, she operates within the limits of her status to secure the love of Prince Oroonoko, and then to defend their union, even at great risk to herself, and ultimately at the cost of her life. In so doing, she enacts an evolving ideal of the conjugal household, whose origin in literature Nancy Armstrong and Leonard Tennenhouse associate with Milton’s Paradise Lost (1667) and whose effects on fiction Ruth Perry chronicles in Novel Relations. The story of Prince Oroonoko and Imoinda is related by the figure of the narrator, who, in her own relationship with Prince Oroonoko, serves to complement the bond between Imoinda and her prince, in the context of an ideal bourgeois household, by compensating for Imoinda’s illiteracy.…
By the use of a certain type of language and phrases that make it very difficult for the reader to know the gender of the narrator. The author seems to have done it deliberately to keep the readers confused. In some sentences the reader feels that the narrator is female “I had overcreamed my lips to preserve them for the winter’s chafing touch”…
Strunk Jr. & White (2000) in “The Elements of Style 4th Edition” stated that “All writers by the way they use the language, reveal something of their spirits, their habits, their capacities, and their biases. This is inevitable as well as enjoyable” (p.62). It means that, every writer has a unique tongue which reflects about themselves in their writing, like their habits, potential and biases. It is natural and lovable. Smilarly, A. Mcllroy (2005) in What’s Funny to Him Is Funnier to Her points out that: When women processes cartoons like this one they use more parts of their brain than men, a new study has found. But if reading the comics page is more work for women it also may be more fun (p.126). This quote says about the author’s formal style of writing with the use of anecdotes and some striking…
References: Spencer, J. (1986) The Rise of the Woman Novelist: From Aphra Behn to Jane Austen, Oxford, Blackwell.…
Paper II : Fiction I Unit 1 : Aphra Behn Henry Fielding Jane Austen : Oroonoko : Joseph Andrews : Emma Mansfield Park : Great Expectations A Tale of Two Cities : Middlemarch : Tess of the D’Urbervilles The Woodlanders…
Oroonko; or the Royal Slave is considered the first antislavery novel, in which Aphra Behn illustrates the value of her protagonist, Prince Oroonoko, and depicts the general point of view towards the slaves. However, this analysis only deals with an extract of the novel, presenting the purpose of the narrator, in this case I would say Aphra Behn, and the description of the protagonist.…