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I Hate It, But I Can't Stop: The Romanticization Of Intimate Partner Abuse In Young Adult Retellings Of Wuthering Heights, Brianna R. Zgodinski
I Hate It, But I Can't Stop: The Romanticization Of Intimate Partner Abuse In Young Adult Retellings Of Wuthering Heights, Brianna R. Zgodinski
ETD Archive
In recent years, there has been a trend in young adult adaptations of Wuthering Heights to amend the plot so that Catherine Earnshaw chooses to have a romantic relationship with Heathcliff, when in Bronte’s novel she decides against it. In the following study, I trace the factors that contribute to Catherine’s rejection of Heathcliff as a romantic partner in the original text. Many critics have argued that her motives are primarily Machiavellian since she chooses a suitor with more wealth and familial connections than Heathcliff. These are indeed factors; however, by engaging with contemporary research on adolescent development, I show …
Fe/Male Mother Of Two: Gender And Motherhood In Lionel Shriver's We Need To Talk About Kevin, Amy B. Smialek
Fe/Male Mother Of Two: Gender And Motherhood In Lionel Shriver's We Need To Talk About Kevin, Amy B. Smialek
ETD Archive
There are critical reviews regarding Lionel Shriver’s We Need to Talk About Kevin that discuss many controversial topics in the novel. Of these reviews, most critics limit their arguments to the taboo topics of American school shootings and Eva’s character as an ostensibly ambivalent mother. Unfortunately, there is little academic criticism on Shriver’s most recognized novel and, among such analyses, two of Shriver’s most crucial depictions are overlooked. Firstly, readers must acknowledge the impact that contemporary American society has on females and mothers. This novel shows how much a culture relies on societal “rules” that govern human expectations. Secondly, Shriver’s …
Passive And Active Masculinities In Disney's Fairy Tale Films, Grace Dugar
Passive And Active Masculinities In Disney's Fairy Tale Films, Grace Dugar
ETD Archive
Disney fairy tale films are not as patriarchal and empowering of men as they have long been assumed to be. Laura Mulvey's cinematic theory of the gaze and more recent revisions of her theory inform this analysis of the portrayal of males and females in Snow White, Cinderella, Sleeping Beauty, The Little Mermaid, Beauty and the Beast, and Aladdin. This study reveals that many representations of males in these films actually portray masculinity as an object of female agency. Over time, Disney's representations of masculinity have become more supportive of male agency and individuality, but this development has been inconsistent …
String Theory, Rachel A. Baird
String Theory, Rachel A. Baird
ETD Archive
DEE struggles to uphold her political ideals in the face of her very proper mother, THERESA, and her long-time, over-achieving friend, LEENA. She makes stands that shock and antagonize both women, including becoming a case worker for bad neighborhoods, and having lesbian romantic relationships rather than heterosexual ones. Her friend GABRIEL, a cynical gay man, is her one ally in these choices. When DEE falls in love with a man, however, these relationships are inverted, and GABRIEL feels betrayed by her cavalier attitude towards sexual orientation. GABRIEL stops speaking to DEE, and DEE and ALLEN get married. When ALLEN dies, …
Reading Masculinity In Virginia Woolf's The Waves, David Michael Mraz
Reading Masculinity In Virginia Woolf's The Waves, David Michael Mraz
ETD Archive
The Waves subtly subverts traditional notions of gender, and creates a space for divergent expressions of masculinity, specifically, the masculinity referred to in this paper relates to norms established in England during the Edwardian and Post World War I periods. In The Waves, the three male voices, Bernard, Neville and Louis, are introduced at school to a pro-imperialist vision of masculinity which is further reinforced through their relationship with the silent Percival. However, unlike Percival, the three male voice characters are either barred from the homosocial (Nevill and Louis) or are ambivalent to its production (Bernard). By employing masculinity theory …
Genre And Gender In Charles Bukowski's Notes Of A Dirty Old Man, Kallisto J. Vimr
Genre And Gender In Charles Bukowski's Notes Of A Dirty Old Man, Kallisto J. Vimr
ETD Archive
Charles Bukowski's notes of a dirty old man is a genre-blurring, gender-blending "start" to the perpetual "work-in-progress" that constitutes his oeuvre. Bukowski's genre heterogeneity provides a literal shape-shifting that allows the Bukowski-character to experiment with his a fluid, indeterminate subjectivity, helping unravel the tight myth that binds him as a "dirty old man." Examining one of the vignettes in the book, the column recounting Bukowski meeting Neal Cassady, showcases Bukowski's engagement with autobiography and creative nonfiction in order to respond to constructions of verisimilitude this is inextricably linked to other organized constructions Bukowski must work in--or out from--namely the hierarchy …