Abstract
This paper explains that, in Geoffrey Chaucer's "Canterbury Tales", the Prologue and subsequent Tale of "The Wife of Bath" section make the most blatant use of a persona, or mask, in comparison to the other pilgrims' sections when The Wife presents herself as a feminist; however, she is actually an anti-feminist. The author points out that, before the Wife begins the story of her experiences with men, she inserts a disclaimer that gives more insight into her possible motives: She tells the pilgrims not to be annoyed at what she says because it is all according to her fantasy. The paper argues that the Wife is hiding behind a facade of feminism, which is the very persona that she presents through her personal experiences by using the textual authority and the undertones of her story to present her true feelings about women's subservience to men.

From the Paper
"After reading the Prologue and Tale, some could arrive at the aforementioned feminist conclusion. Unfortunately, they wouldn't be reading into the true heart of things if they did. In the Prologue, there is an excerpt that totally turns things around. The Wife makes quite an observation after she mentions the book of wicked wives; "Who peyntede the leon, tel me who? / By God, if wommen hadde writen stories, / As clerkes han withinne hire oratories, / They wolde han writen of men moore wikkednesse / Than al the mark of Adam may redresse" (III, ls. 692-695). She is referring to an old Aesop's Fable, in which a lion and a man come across a stone portrayal of a hunter killing a lion; the lion tells the man that if a lion would've portrayed the scene, it would be the other way around ("The Man and the Lion")."

Tags:prologue, persona, textual-authority, undertones, subservience

Abstract
This paper compares and contrasts the theme of feminism in "Mr. Sammler's Planet" by Saul Bellow and "Enemies: A Love Story" by Isaac Bashevis Singer. The paper discusses how both authors illustrate their views towards the emerging feminist movement in the late 1960s and early 1970s in America. The paper shows how both authors condemn feminism and the women's movement in their own way. They portray women in a negative light and represent the male view at the time these books were written. They support the belief that women should not be seen or heard and they should always support their men.

From the Paper
"Singer's attitude toward women is better than Bellow's, but it is still full of chauvinistic values and ideals. Herman Broder is the main character in Enemies: A Love Story, and there is hardly anything likeable about the man, and yet three women love him. Singer shows women as weak with this theme, because they cling to a man who is no good for them, rather that striving for love from someone good and decent. Singer also seems to have a low opinion of women with this portrayal. For example, he portrays Masha, the good woman who supports Broder through much of his life, as needy and jealous. She loves a man who is married to other women, who lies and cheats, and this makes her as weak as he is."

Tags:women, movement, chauvinism, male, superior

Abstract
This paper examines the often violent and coercive tactics of anti-abortion movements, looks at some of the more famous anti-abortion leaders, explores the motivations of these leaders and the movements that follow them, and discusses the perception by many that the anti-abortion movement is just one part of a broader, more conservative, anti-feminist, political agenda.

From the Paper
"Both the pro-life and anti-abortion movements are motivated by one concept: that human personhood begins at conception. To these groups an embryo and a fetus are all human persons who should be granted the same rights, privileges and protections as a child or adult (Violence & harassment at U.S. abortion clinics). Operation Rescue is an anti-abortion organization that states that it is dedicated to the protection of children in the womb and their mothers who are exploited by abortion. The group declares that "We work in every way we can to manifest the truth of God concerning abortion" (Operation Rescue Colorado). Unfortunately, "every way we can" includes violence, murder and the misuse of religion to inspire what any moral individual could only interpret as unholy acts."

Tags:joseph, scheidler, operation, rescue, randall, terry, male, white, submission, women

Abstract
This paper examines how good outlaws who are on the run from the law are a typical theme of American cinema and how both "Something Wild," directed by Jonathan Demme, and "Thelma and Louise," directed by Ridley Scott, are of the 'road movie' genre, which features the American myth of the open road and free and easy access to changing one's life through motion.

From the Paper
"Thus, both films deal with a problem-if feminism is about women's rights, what of women's rights if the law, for both men and women, is so often wrong. One reason both films provide different answers is that Something Wild involves a male and a female, while Thelma and Louise involves two females. Something Wild suggests that the female is only capable of full motion and movement on the open road in the presence of a male, while the plot of Thelma and Louise suggests that the road provides a potential means of escape for both men and women, and that the presence of men such as the cowboy/drifter of Brad Pitt can sunder female closeness."

Tags:road, drifter, law

Abstract
This paper discusses the pragmatism of the women's feminist movements in Indian history by presenting the points of view expressed in articles written by four different authors, namely: Suruchi Thapar-Bjorkert's "The Domestic Sphere as a Political Site: A Study of Women in the Indian Nationalist Movement", Carol Hills' "Nationalism and feminism in Late Colonial India: The Rani of the Jhansi regiment 1943-1945", Basu Apama's "Feminism and Nationalism in India, 1917-1947", and Stephen Legg's Gendered Politics and Nationalized Homes: Women and the Anti-Colonial Struggle in India: 1930-47". The analysis and discussion of these articles represents a critical view on the nature of feminism in India during the rise of Indian nationalism during the early and middle parts of the 20th century.

Outline:
Introduction
Analysis and Discussion
Conclusion

From the Paper
"Basu Apama's article "Feminism and Nationalism in India, 1917-1947" dictates the state of feminist movements during a wide range of history, but provides the tenets of the feminist movement that was seen through the rise of Indian nationalism. Apama's argument for feminist liberation resides on the power of Mahatma Gandhi who actively supported the various feminist movements that sought to derail the traditional patriarchal constructs of violence as a form of opposition:
[Gandhi] claimed that women were better than men in waging nonviolent passive resistance because they had greater capacity for self-sacrifice and endurance, were less self seeking, and had moral courage.
This aspect of the women's movement helped to bring many women into the nationalist movement in India, but certainly, the pragmatic aspect of this foundation for feminist involvement only supports a patriarchal construct. One critical view of this feminist" ideology is that women were actively still performing a submissive role that could still deemed submissive to the male roles of aggression and "violence." The basis of a feminist movement in India appears to be validating the aggressive and submissive roles of women, especially when Apama defines women through Gandhi's ideology for being "less self seeking" in their agenda as a women seeking liberation. This begs the question: Were women merely being used as human shields through their typically submissive female roles in Indian nationalism? The pragmatism of Apama's article surely does not answer crucial questions as to how women were being liberated due to the often powerful men that still controlled political and traditional male roles in Indian society. Although feminist movements began to become more organized, the issue of its effectiveness is highly questionable under the policies of Gandhi in this period of history. In this manner, Apama promotes the freedom of women from the bonds of patriarchal institutions, yet there is little evidence that they made advances in reducing the often submissive stereotypes and generalizations made about them by the male donated nationalist movements in Indian history."

Tags:liberation, patriarchal, submissive, stereotypes

Abstract
This paper examines how quite a fuss has been raised over Eve Ensler's production of "The Vagina Monologues" (V Monologues) because of its overt and explicit depiction of the female genitalia. It looks at how the appropriateness of the subject matter is questioned, as is the necessity for it to be circulated, mass produced, and performed. It shows how there are proponents for both sides of the issue, arguing equally as fiercely that the monologues are either essential to the liberation and independence of women or abominable to traditional standards of morality and modesty, and how both sides see this work as a key artifact, either to identify with or protest against. The paper is written from an anti-feminist viewpoint and picks apart the "Vagina Monologues", citing the play as an example of societal decay. It also looks at the play as a part of pop culture, contrasting the play from the vantage points of feminism vs. anti-feminism.

From the Paper
"One primary goal of the monologues was to circulate the word vagina making it commonplace as a part of everyday conversation. An example of this is Ensler's admittedly common use of the word vagina. Ensler says vagina because she fears what we do not speak we forget and the thought of forgetting about vagina scares her (xx, 3). The question arises as to whether or not the term vagina is even important. Is the word vagina important because Ensler tells us it is important? While she drills through her monologues how important the word vagina is in reclaiming ourselves as women, can she get past the cultural biases which have been in place for so long by simply saying her work is important? Those identifying with her stance would agree based upon the thought circulating the word "vagina" is liberating."

Tags:culture, pop, societal, decay, female, genitalia

Abstract
Marguerite Duras has been hailed as one of France's pre-eminent women writers and her work is generally very well received by feminists. Her autobiographical novel "L'Amant" was an international bestseller, and a winner of the Prix Goncourt. It talks about pleasure, death and her desire to write, against the exotic backdrop of thirties Saigon. In examining the main characters and the style in which the book is written this paper aims to uncover whether or not "L'Amant" can be classed as feminist writing.

From the Paper
Our first description of the author is not one of a typical beauty; she is sad, creased, wrinkled and cracked. When we next meet her as a young girl she is wearing her brother's belt and a man's hat, she is also skinny with unruly hair. She is not a young girl conforming to patriarchal ideals of beauty; she is in fact quite masculine. This masculinity does not stop at her clothes, she conforms to the masculine stereotype in other ways; in the active role she plays in lovemaking, and in her ambition. Her masculinity is even more pronounced when taken in comparison with the apparent femininity of her lover, the rich Chinese man."

Tags:beauvoir, cixous, elisabeth, grosz, helene, irigaray, lover, luce, marguerite, sexuality, simone

Abstract
This brief but concise paper points out the many factors which identify the Wife of Bath, Alisoun, as an anti-feminist, including her viewpoint on: Violence within marriage, honesty, equality of the sexes and feminine roles in society. The writer of this paper succeeds in disproving many critics opinions that the Wife of Bath was one of the first feminists in literature.

From the Paper
"Alisoun also describes a fight between her fifth husband, Jankin, and herself. They strike each other repeatedly, and she goes even so far as to push him back into the fire. Violence is by no means a true aspect of feminism; "she seems to see nothing wrong with the most horrible things that can be done to a woman, such as battery and rape." Furthermore, she shows absolute disrespect for her own body by engaging in domestic violence, and by treating herself and her sexuality as something that can be sold to the highest bidder, "be he short or tall, dark or fair; I didn't care."

Tags:alisoun, bath, canterbury, tales, chaucer, equality, feminism, geoffrey

Abstract
This paper will discuss the anti-feminist properties than lie within the "The Wife of Bath's Tale" by Geoffrey Chaucer. The complexities of female life in the shame that the central character must endure for being married five times explains the foundation for this harsh treatment of women. An understanding of the role of feminine life in mediavel times can be made by this interpretation of women and their roles in marital positions.

From the Paper
"Backlash
The purpose of this speech is to discuss Susan Faludi's book, Backlash: The Undeclared War Against American Woman. The main themes of Faludi's book will be discussed, as will some of the reviews of the book. The main theme of this book, quite obviously, is the "backlash" against feminism. However, Faludi breaks this theme into "sub-themes:" the backlash in the news media, the backlash in the popular culture, and the backlash in the political/work arena.
According to Faludi, this backlash began in the late 1970s but achieved full power in the 1980s. It was largely unleashed by conservative political and religious movements and by media outlets. It was fueled by male resentment against feminism and by male economic fears. Faludi asserts that this backlash was not some giant conspiratorial.."

Tags:BOOK, REVIEWS, (NON-FICTION)