“The emotional, sexual, and psychological stereotyping of females begins when the doctor says ‘it’s a girl’.” - Shirley Chisholm, a late 1970’s educator, author and the first black woman elected to the United States Congress. Chisholm and other women for generations have been victims of male projected and specified stereotypes. Due to the impact of the male opinion on women in society, the female characters in both novels suffer from emotional, physical and psychological stereotypes. Steven Galloway, a critically acclaimed male author, is responsible for the literary work titled “The Cellist Of Sarajevo”.
In the book Ar’n’t I a women the author, Deborah Gray White, explains how the life was for the slave women in the Southern plantations. She reveals to us how the slave women had to deal with difficulties of racism as well as dealing with sexism. Slave women in these plantations assumed roles within the family as well as the community; these roles were completely different to the roles given to a traditional white female. Deborah Gray White shows us how black women had a different experience from the black men and the struggle they had to maintain their sense of womanhood against all odds, resist sexual oppression, and keep their families together. In the book the author describes two different types of women, “Jezebel” and “Mammy” they
“Let’s stop believing that our differences make us superior or inferior to one another”- Don Miguel Ruiz. The novel “The Help” by Kathryn Stockett is a controversial and heart wrenching story. It depicts the cruel brutality and inequality that many faced during the 1960’s. Stockett teaches the readers about how discrimination between races was inevitable and planted in everyday life through Aibileen’s life story, Hilly’s sense of superiority, and Celia’s innocent presence. Aibileen, the main protagonist of The Help, drives this book to such great lengths.
This story in its universality usually negates the women’s experience, Pérez argues that through the deconstruction of the historiography at play, history can be posed through a feminist lense, which includes rather than negates the perspectives, views, and adversities of women throughout history. Within her argument she also poses several sub arguments aimed at forcing the reader to think outside of the basic lines that surround Chicano/a history. She argues that the use of binaries can no longer be used as modes to determine whether or not someone is a friend or an enemy. She also argues that society has yet to reach a post colonial era based on the simple fact that in order to become a post colonial society, there was be a decolonization of the object, in this case women, to become the decolonial subject. This Pérez states will finally allow society to enter
The speaker is uneducated, so the writing in the first person is readable for beginners as well as educated adults. Walker addresses the audience specifically to to create deeper imagery, where the audience can add their own experiences to the story, such as “You’ve no doubt seen those TV shows” (46). The speaker directly addresses the audience, and so anyone reading the story, whether a minority, or the majority, will be connected to the story. Purpose: Walker describes the impact of oppression on the relationship between mother and daughter, and how the oppressed view themselves.
Her tragedy reflects not only the sexism in the African American families in early 20th century, but also the uselessness
Today, oppressed women around the world still face difficulty regarding their personal survival, and the survival of their children in their communities. Butler, however, does a tremendous job in presenting the struggle of a woman with their limited ability to help themselves and their love ones. Another key contribution to women oppression is young men and the examples that they have in their lives. Rufus the boy/men from Kindred doesn’t respect the females slave, not even his mother. “He had spent his life watching his father ignore, even sell the children he had had with black women.
Toni Morrison’s 1987 novel Beloved is a multiply narrated story of having to come to terms with the past to be able to move forward. Set after the Civil War in 1870s, the novel centers on the experiences of the family of Baby Suggs, Sethe, Denver, and Paul D and on how they try to confront their past with the arrival of Beloved. Two narrative perspectives are main, that of the third-person omniscient and of the third person limited, and there is also a perspective of the first-person. The novel’s narrators shift constantly and most of the times without notifying at all, and these narratives of limited perspectives of different characters help us understand the interiority, the sufferings and memories, of several different characters better and in their diversity.
Susan S. Lanser’s “Feminist Criticism, ‘The Yellow Wallpaper,’ and the politics of color in America” examines the impacts “The Yellow Wallpaper” had on feminist writing styles and critiques. Lanser writes that the story helps to analyze the reading trough “the lens of a female consciousness” and apply the knowledge gained from a female perspective onto other literature (418). The transition that the narrator displays from being dependent on John to becoming independent reflects the feminist movement and challenges the “male dominance” that currently takes precedence in society (418). The “patriarchal prisonhouse” that is society controls the narrator and oppresses women not only in “The Yellow Wallpaper” but in real life as well (419). The
Black women are treated less than because of their ascribed traits, their gender and race, and are often dehumanized and belittled throughout the movie. They are treated like slaves and are seen as easily disposable. There are several moments throughout the film that show the racial, gender, and class inequalities. These moments also show exploitation and opportunity hoarding. The Help also explains historical context of the inequality that occurred during that time period.
They argue that although there are feminist ideas established throughout the book, it doesn’t fit under the feminist ideology or definition. Many say that feminism is the “political, social, and economic equality of the sexes” and that Morrison is not advocating for this in any way (Watkins). Critics fail to understand that although that is the modern day definition of feminism, it may not have been the definition of feminism back in the twentieth century setting of the novel. Women faced different forms of discrimination back during that time when compared to today.
CHAPTER-V THE HEALING POWER OF FOLK CULTURE Images of women healing ill or injured women, or of women healing themselves, have become one of the central tropes in contemporary African American women’s novels. Authors such as Gayl Jones, Alice Walker, Toni Cade Bambara, and Toni Morrison utilise the trope of healing to measure past and present oppressions of women of color and to discuss what can and what cannot be healed, forgotten and forgiven. Much focus is put on how healing could be accomplished. Some hurt, they say, is so distant that it cannot be reached; other hurt goes so deep that there may be no possibility of healing... some pain can only be healed through a reconnection to the African American community and culture (Gunilla T. Kester 114)
Morrison 's masterpiece Beloved, is dedicated and refers to the number of blacks who were killed as captives in Africa or on slave ships and, therefore, never made it into slavery. Through non-western eyes, Morrison allows the reader to re-vision and understand African-American history by re-telling history through the lives of former African slaves, because the “violence within the African American community can only be understood in a context in which ... the white power continue[s] to violate African American lives.” ( Kader Aki, 1) The novel re-conceptualizes American history and is concerned with historical transmission which continues into the present.
A constant comparison and contrast between Maggie and Dee is prominent structural feature of the narrative. This structural strategy helps in conceptualizing the plurality of female experience within the same milieu. This strategy encapsulates another dimension of womanism, viz. , womanism refuses to treat black woman as a homogeneous monolith. Unlike feminist position, womanism is sensitive to change with time.
She was influenced by the ideologies of women’s liberation movements and she speaks as a Black woman in a world that still undervalues the voice of the Black woman. Her novels especially lend themselves to feminist readings because of the ways in which they challenge the cultural norms of gender, slavery, race, and class. In addition to that, Morrison novels discuss the experiences of the oppressed black minorities in isolated communities. The dominant white culture disables the development of healthy African-American women self image and also she pictures the harsh conditions of black women, without separating them from the oppressed situation of the whole minority. In fact, slavery is an ancient and heinous institution which had adverse effects on the sufferers at both the physical as well as psychological levels.
