Birthday Letters Essay

In the ternary texts the char exemplifyers that be presented as refreshed wo hands be too presented with a d give birthfall, those who be presented as tralatitious wo custody argon confabulaten to survive and do well. indoors the iii texts, genus genus genus genus genus genus genus Dracula, A Street automobile Named Desire and Birthday Letters, the authors present the wo gentle macrocosms gentlemanly uses deep down certain airs which consent to us as the audience to case closely at the scrap of equating amongst hands and wo hands and the rise of libberic views. me bank the battle isnt incessantly plain and nigh feminine char functi unmatchedrs allow themselves to be the inferior characters compared to the mannish characters who take on dominant federal agencys within their relationships. at bottom the three texts a downfall of end is presented, this is always presented to those wo men who are presented as parvenu cleaning adult female. feminism is a movement for social, cultural, political and stinting equality of men and women. It is a safari once against g block offer inequalities and it strives for equal rights for women.1 Within the three texts we are presented with galore(postnominal) a(prenominal) womanish character types, A Street machine Named desire, allows its audience to compare and contrast its distaff characters. We are presented with Blanche who is on startle appearances taken as a New woman ( A women of the late 19th century actively resisting tralatitiousistic take ins and pay heedking to fill a perfect(a) role in the demesne2) she lives by herself, has no male role peremptory her life and makes her own decisions, save it isnt too practically later that we crack a different aspect of Blanche, she be summates a character that needs a man to keep a roof all all over her head and food in her m emergeh.We are easily able to compare Blanche with her baby Stella, who is a women that presents trad itional roles however some times does challenge these, Stella lives with Stanley and allow him to control her life, he tells her what to do and she takes on stereotypically traditional roles within the house. However we do see some New Woman live up tos within Stellas character such as when Stanley hurts her she runs away however this is accordingly predict parted with Stella fruiting to Stanley. In the end it is Blanche that has the astronomicalgest downfall within the young and we are left with the question of is this because she presents a post- feministic woman?This question atomic number 50 withal be placed when looking for at Dracula, Lucy is presented to the audience as a actually knowledgeablely aware female she is also shown to have less traditional views on marriage whitherfore camber they let a girl attach three men or as many as privation her and salve all this trouble3, Lucy is also equivalent Blanche presented with the biggest downfall within the nove l, she is controlled by Dracula and even eradicateed to a greater extent than than once. Sylvia Plath same Lucy and Blanche also are presented with cobblers last within the novel, Sylvia could be seen to have the biggest downfall of all three of the characters, it is not only corpo sure only if also a mental problem.Hughes talks of his and Sylvia Plath life journeys through with(predicate) his numbers and we come to understand the life style that they lived, Plaths death is central to Hughes poetry and we are able to understand the kind-hearted of women Sylvia is, she is shown as a weak women who needed her economize by her side, when he fails to do so she becomes weaker and commits suicide. However we lot see the baron that Plath had on Hughes callable to the high concussion that Sylvias suicide had on his poetry Years after your death4.Plaths downfall doesnt seem to be due to her position as a women it is presented within the opposite, she is a traditional women a nd this causes her problems. Dracula sees a downfall for its female characters in the way of death, Lucy is killed by a male character. Arthur Holmwood buries the stake deep in Lucys heart in order to kill the demon she has become and to return her to the postulate of purity and innocence he so values. The language with which Stoker describes this violent act is unmistakably versed, and the stake is an unambiguous emblem for the penis. In this way, it is fitting that the blow comes from Lucys fianci??, Arthur Holmwood. Lucy is not only being penalize for being a vampire barely also being available for seduction by Dracula himself, who we can callback has the power to only attack a go unwraping victim. When Holmwood slays the demonic Lucy, he returns her to the role of a legitimate, monogamous honeyr, which reinvests his fianci?? e with her sign victorian virtue, again degrading Lucys female role, needing a male character to take care of her to the end of her life. Lucy W estenra, is first presented to the audience as an egress going, informally aware, less traditional women.In many ways, Lucy is a good deal like mina Murry. She is a paragon of virtue and innocents, qualities that draw the attendance of three men to her. However Lucy does differs from her peer in one key area, which makes her much of a New Women, Lucy is sexualised. Lucys physical beauty captures the attention of the three men, which is where she displays a comfort of playfulness active her desirability. This is displayed in an early letter to Mina when Lucy states why cant they let a girl marry three men, or as many as involve her, and save her all this trouble.This presents the fancy that Lucy has troubles that she cannot and ordain not meet, going against the New Women moulding. Stoker presents this open, small idea of Lucys instability to a huge pot when he describes the un deathlike Lucy as a wolf of a ravenous sexual appetite. Lucy is presented as a dangerous thre at to men and their self control, Lucys second death returns her to a harmless state presenting her again with purity, assuring the men that things are on the nose how they are suppose to be. Lucy presents the idea of the refreshed woman to the reader, she is also represented as a creature when she is a vampire.Dracula succeeds in transforming Lucy and becomes a vampire vixen, caravan Helsings men see no other option than to kill her, in order to return her to a purer, more socially respectable state. After Lucys transformation, the men keep a minute eye on Mina, worried they will lose yet another model of Victorian womanhood to the dark side. It is here seen that Lucy is a model female until she is glum into a vampire. Late in the novel, Dracula mocks Van Helsings crew, saying, Your girls that you all love are mine already and through them you and others shall yet be mine. Here, the count voices a male fantasy that has existed since Adam and even were turned out of Eden that womens ungovernable desires leave men equanimous for a costly fall from grace. Women through out Dracula are shown as something that men own and something that can be used as a negotiate tool. Blanche like the female characters within Dracula is also presented as a objective by Stanley when he attacks her, however when Blanche is with Mitch totally he treats her in a way that she expects as a New Woman Can I-uh-kiss you-good night? 5 with gravitas and respect, this isnt however carried through out the whole novel.Blanche doesnt accept males dish up through out the play and tries to pelt the things that she has done before, this adds to her downfall which allows her to become more and more depressed and move towards her downfall. Which we can also assume this happens to Plath, Hughes talks of their quondam(prenominal) and their lives together, this allows us as the audience to receive what events happened to add to Plaths depression and her death. looking at at other source s we find out that Ted Hughes, had left her for another woman6which then pushes Plath to her suicide.This goes against the idea that the Downfall of woman is due to woman being post feminist woman. The three texts all see big punishment for its three leading ladies, this influences them in many ways and pushes them all towards their deaths. In the 1880s and the 1890s saw the return of many studies in psychology and sexology. For example, Dr. Krafft-Ebing, a German sexologists medico-legal study Phychopahia Sexualis, documented hundreds of cases of divergent, un subjective sexuality, listing, cataloguing and typing each individual.Under Sadism in Women, he describes case 42, a womens who sexual history prefigures that of Stokers Lucy A married man presented himself with many scars of sign ups on his arms. He told their origins as follows When he wishes to approach his wife, who was young and somewhat nervous, he first had to make a cut in his arm. Then she would suck the wound, and during the act become violently excited sexually. Most critics agree that Dracula is, as much as anything else, a novel that feeds on the Victorian male imagination, especially concerning the topic of female sexuality.In Victorian England, womens sexual behaviour was bring down by societys exceedingly rigid expectations. A Victorian woman effectively had only two options any she was a virgin or she was a wife and mother. If she was neither of these, she was considered a whore. A women never had the right to choose which kind of life style she regarded to have, she was plain labeled if she didnt conform, we can see this with Lucy when she must choose who she wants to marry she simple states that in her ideal earthly concern wherefore cant they let a girl marry three men, or as many as want her, and save all this trouble.7 This is very degrading, Lucy, is stating that she wishes she didnt have to make a choice and she wishes that her life was all placed out for her, howeve r it could be argued that she wants this because of her record rather than her fate. By the time Dracula lands in England and begins to work his evil semblance on Lucy Westenra, we understand that the impending battle between good and evil will depend upon female sexuality, both Lucy and Mina are less like real people than two-dimensional embodiments of virtues that have, over the ages, been coded as female.Both women are chaste, pure, innocent of the worlds evils, and devoted to their men. But Dracula threatens to turn the two women into their opposites, into women noted for their voluptuousness-a backchat Stoker turns to again and again-and unapologetically open sexual desire. Blanche within A Street cable car Named Desire is also presented as a sexual desire from Mitch and even Stanley. Mitch likes her not only for her looks but who she is I like you to be exactly the way that you are8 Mitch doesnt think of Blanche in a sexual way until later on in the play.Blanches fear of d eath presents itself in the fear of her ageing and loosing her beauty. She refuses to tell anyone her own age why do you want to know9 Blanche seems to believe that by continually asserting her sexuality towards men especially those who are younger, she will be able to avoid death and return to the world of teenage bliss that she experient before her husband committed suicide. However, start out in Scene One, Williams suggests that Blanches sexual history is in fact a cause of her downfall.When she first arrives at the Kowalskis, Blanche says she rode a aerial tramway named Desire, then transferred to a streetcar named Cemeteries, which brought her to a street named inspired Fields. This journey, the harbinger to the play, allegorically represents the trajectory of Blanches life. The Elysian Fields are the land of the dead in Greek mythology. Blanches womb-to-tomb pursuit of her sexual desires has led to her legal ouster from Belle Reve, her ostracism from Laurel, and, at the end of the play, her gibbosity from society at large.Sex and death are intricately and fatally link within Blanches experiences through out the novel. In Scene One, Stanley throws a big money of meat at his adoring Stella for her to catch. The action sends Eunice and the Negro woman into peals of laughter. Presumably, theyve picked up on the sexual innuendo behind Stanleys gesture. In hurling the meat at Stella, Stanley states the sexual proprietorship he holds over her. Stellas delight in transmissible Stanleys meat signifies her sexual crush with him.This also shows Stella in light of the new woman, however Stanley is the one initiating the sexual practise again pushing Stella back into her traditional role. Stella tries on many occasions pushing herself into the role of the new woman however Stanley always fails to allow her to do so. A Streetcar Named Desire presents a tart critique of the way the institutions and attitudes of postwar the States placed restrictions on wom ens lives. Williams uses Blanches and Stellas dependence on men to expose and critique the treatment of women during the variation from the old to the new South.Both Blanche and Stella see male companions as their only mover to achieve happiness, and they depend on men for both their sustenance and their self-image. Blanche recognizes that Stella could be happier without her physically abusive husband, Stanley. Yet, the alternative Blanche proposes-contacting Shep Huntleigh for financial support-still involves complete dependence on men. When Stella chooses to remain with Stanley, she chooses to rely on, love, and believe in a man instead of her sister.Williams does not necessarily ping Stella-he makes it quite clear that Stanley represents a much more secure future than Blanche does. five contextual information linking to the authors and the characters. The decade in which Stoker wrote and published Dracula was one of the unprecedented anxiety and uncertainty about the social r oles, sexual nature and natural spheres of activity of men and women. As many women fought for a larger role in public life and a bigger challenge towards the traditions that define women as being, passive, house servant and naturally submissive, the debate opened to men and the males natural role.While Victorian feminists innovative on previous male preserves, pass over boarders and redefining categories, the more conservative press reacted by reiterating gender normalities, insisting that the essential differences between the sexes and their separate duties. Stoker deliberately located the gothic horror of Dracula in the late nineteenth century world of technological advances, gender instability and the speedy increase in conversation. Mina Travels with a portable typewriter which presents her with power and knowledge of a skill such as writing, which immediately we take for granted.