A critical evaluation of the media and gender roles in Michael Reynolds' book "Dead Ends: The Pursuit, Conviction and Execution of Female Serial Killer Aileen Wuornos, the Damsel of Death".
1,350 words (approx. 5.4 pages), 0 sources, 2006, $ 53.95
Abstract This paper presents a sociological review of the book, "Dead Ends: The Pursuit, Conviction and Execution of Female Serial Killer Aileen Wuornos, the Damsel of Death" by Michael Reynolds, which analyzes the various gender issues that surrounded Aileen Wournos. The paper then goes on to make the contention that Reynolds' book describes the often-masculine gender roles that Wuornos enacted during her trial, as well as in the details of her murders and that by understanding the media's perspective of the trial through Reynolds' perspective, we can see that there is often a biased negativity about Wuornos and her gender behaviors. While the paper asserts that Reynolds presents an accurate description of how Wuornos murdered her victims, and how the court proceeded with factual evidence in regards to the trial, the paper also suggests that that symbolic interaction theory plays a large role in how Reynolds, as an author and media proponent, offers a dismal view of women who do not act in accordance with socially acceptable gender behaviors.
Abstract This paper outlines the history of women in the cinema since the early days of film production in 1896. It examines the different stereotypes women have been depicted as over the years such as ?damsels in distress,? weak-minded, timid city girls and impoverished ?white trash,? while men played an overwhelming majority of lead roles, usually as heroic figures who rescue these ?damsels? from a plethora of dangerous situations. It analyzes three different films made in three different decades, "His Girl Friday," "Semi-Tough" and "Flirting With Disaster" and looks at how the roles of women in the cinema are are ever changing and constantly presenting new dimensions which need to be explored, especially in the ways women develop cinematic relationships and how they interact with one another.
From the Paper "However, recent feminist views have maintained that the women in these film noirs are outside the standard acceptance of femininity. By using their sexuality to overwhelm their male counterparts, these women gained power and used it to ?get what they want,? usually in the form of revenge, money or sexual satisfaction. These traits of the strong, powerful woman also influenced the audience through what is referred to as a gender blind construct or that which blinds the dominant cultural definitions of pleasure and desire so as to show that women are also sexual predators."
Abstract This paper looks at the chivalric code that was required of a knight during medieval times. The author discusses who became knights, who they held allegiance to, how they behaved at tournaments, and their strong sense of loyalty. The paper also discusses how such knights were supposed to display great heroism, strength, bravery, and politeness towards women.
From the Paper "The knights in the aristocratic courts represented the chivalric virtues and vowed their allegiance and service as to be their primary and foremost responsibility. The knight was one of the three types of fighting men that used to fight in the battleground during the time of the middle ages. Becoming a knight was a part of a feudal agreement. These knights had a firm and strict belief in the code of chivalry. These knights took a pledge that they would always defend the weak and the powerless that are defenseless against any sort of tyranny and oppression. The other codes of conduct they pledged to obey were that they would always be extremely courteous to all women and all ladies."
Abstract The paper examines male and female gender roles and discusses how they have magnified the myth of women's equality with men. The notion of gender confusion, and a subconscious fear of independence by women is documented in the research published in 1981, by feminist author Colette Dowling. She labeled this phenomenon the Cinderella Complex, and her research, conducted in the 1970s has served as the foundation for research on male and female roles in today's society. There is an abundance of material available on this topic, some of which are examined and include current research, books and movies that have been released using the theme of "Cinderella."
From the Paper "In the decades following Colette Dowling's 1981 introduction of the concept of gender confusion and misconceptions that she called the Cinderella Complex, women as well as men gradually became more comfortable with the reversal of sexual roles. As society moved toward the end of the twentieth century, the vivid images of the female as the damsel in distress and the male as the protective provider appeared to be fading from its collective consciousness and to be associated much more with the past than with the present. A mass media that had contributed greatly to the repeated impression of these older sexual stereotypes began during this era to promote a perception of the female reflective of her new, improved and much more liberated place within society. Standard-Times correspondent Sarah Guille pointed out this promotional transition in a 1999 article dealing with modern myths and their effects on both media and society. Guille noted that modern scenarios portrayed a Cinderella who, "instead of being carried off in a horse-drawn carriage to a fairy-tale castle with Prince Charming, went to work and could make her own ball gown, build her own castle and take responsibility for her own happily ever after" (Damaged by the Myth)."
Abstract A paper which shows how reality and illusion are interwoven not only throughout the story line of Don Quixote exploits, but how author, Miguel de Cervantes, even leaves the true authorship of this tale in question, suggesting that he is merely translating the story from the original writings of Cide Hamete. The paper discusses the madness of Don Quixote who sees people and objects in his everyday life as the counterparts in his knights and damsels world of chivalry, and how Don Quixote charging the windmills has become a classic scene and now serves to symbolize bravery in vain..
From the Paper "Cervantes begins Part Two of Don Quixote again referring to the writings of Cide Hamete, thus, lending credence to both, Don Quixote and Hamete as real historic characters (Cervantes, 529). This further adds confusion between reality and fantasy. Throughout the novel there are countless scenes crossing the line of reality and illusion. The deathbed scene is perhaps the most poignant, for at the end, even though he himself had given up his chivalrous life and rejoined society, the others around him were still holding on to his fantastic world of knights and damsels in distress. But Don Quixote speaks, "I am no longer Don Quixote of La Mancha, but Alonso Quixana""
Tags: Alonso, Quixano, knighthood, Sancho, Cide, Hame, Miguel, de, Cervantes
Abstract This paper examines how, although Odysseus is without a doubt the main character of Homer's "The Odyssey", the women of the epic support and make possible the progression of his voyage. It analyzes how the importance of the roles of these women is grossly understated and how they are more than 'damsels in distress', for they drive the action of the story. It looks at how they are responsible for the rise, fall, and the eventual return home of Odysseus and how, on each leg of Odysseus's journey, there is a woman who is instrumental in the continuation of his voyage. It shows how Nausicaa, Arete, Penelope, and Athena are among the more impressive and intriguing women who influence and facilitate Odysseus's continued journey home.
From the Paper "The character of Penelope is perhaps the most underestimated in the entire epic. She is portrayed as the typical woman. She weeps incessantly then takes to her bed so that Athena may bring comforting dreams. Penelope, however, is much more faithful, powerful, intelligent and cunning than her weeping and sleeping might lead the reader to believe. In addition to being intelligent and cunning, Penelope is intensely loyal and faithful to Odysseus throughout his absence. Without Penelope's enduring faithfulness, Odysseus would not have had a home to return to. At first glance, Penelope appears to be rather powerless. On the contrary, she is able to hold the suitors at bay for nearly twenty years."
Abstract This paper discusses two of Shakespeare's plays that portray evil female characters, "King Lear" and "Macbeth". The paper describes the daughters in "King Lear", Goneril and Regan, as ungracious and self-centered and capable of great evil. The paper contends that this notion of the independent, aspiring woman is further emphasized in the calculating, power-hungry character of Lady Macbeth in "Macbeth". The paper claims that, with these strong characters, Shakespeare is expanding the role of women by recognizing them as capable of the same desires and motivations that inspire men. These images of women not only contrast the traditional image of the medieval damsel in distress, but they mortify and embarrass their male counterparts.
From the Paper "That King Lear could have two daughters so dissimilar from Cordelia is an issue that Shakespeare explores within this family dynamic. The contrast between their affection for their father only intensifies King Lear's awful mistake. It is important to note that all of his daughters violate traditional expectations in one way or another. Clearly, Cordelia's recalcitrant answer is the least offensive of these violations--but it is the action that moves the entire plot of the play. We know that she loves her father, which makes Goneril and Regan's speeches so hard to swallow. The most despicable aspect of Goneril and Regan's evil is the fact that they seem to have no love or respect for King Lear as a father, a man, or a king. Clearly, they have no interest in him as soon as they acquire their inheritance."
A discussion on the concept of the national romance in literature as presented in "The Charwoman's Daughter" by James Stephens and "Translations" by Brian Friel.
Abstract This paper examines how in both the short story, "The Charwoman's Daughter" and the play, "Translations", James Stephens and Brian Friel use the national romance to illustrate the duel fates of Ireland under the influences of both English rule and traditional Irish culture. It looks at how Stephens creates a fairy-tale-like world where Ireland is a helpless damsel in distress trying to escape into the arms of Irish nationalism and away from the clutches of big, bad England. In contrast, it shows how Friel creates a more romanticized view of how the union between Ireland and England could be if the English only showed respect for Irish customs.
From the Paper "If Mary is the princess in Stephens's fairytale, than the lodger clerk is most definitely her knight in shining armor. Stephens's portrayal of colonialism is obviously not a positive one, mainly because Stephens was a supporter of the Irish Socialist Movement. The Socialist Movement was a group of Irish Nationalists who tried to muster a political force against Britain to put control of the Irish government and economy back into the hands of the people and generate equality between the social classes. Given this information, it makes perfect sense that the scrappy clerk, who wins over Mary's heart, is an Irish Nationalist and member of the Socialist party. "
Abstract The paper examines how three traditional fairy tales, "Cinderella", "Beauty and the Beast" and "Snow White", were intended to impart a basic sense of morality with which children could identify. The writer argues that these antiquated stories are laden with points of view that could be considered, in our century, inadvertently deceptive, confusing, harmful and simply obsolete. The writer proposes that it would not be unreasonable to prohibit fairy tales in pre-school or early grades, at least until they are re-written with healthier messages. The writer further proposes that these stories should include minority characters; interchange boys and girls in the hero and damsel roles; illustrate healthy mixed families; de-emphasize the importance of physical beauty, and remove all of the subtle implications that are no longer appropriate for children.
From the Paper "It is curious that the immoral characters, again in this story, are older women. Beauty's brothers are hard working and "good," like her, and when the Beast threatens their father's life, Beauty insists on being the one to sacrifice herself for her father. As her name implies, the caring, more compassionate child is the one with true beauty, which is the true moral lesson in this story. In Beauty's case, her goodness is rewarded early on with prosperity, as the Beast insists that she become queen of his castle.
"And I can't possibly help in the fields. That's men's work. What would my friends think if they happened by?" one of the sisters complains. Ironically, today, we would call her a "princess," with a not-so-admirable connotation. It is true that we are not intended to like this character and thus, perhaps, the message remains a positive one. More importantly, however, is the subtle message that women are, by nature, too delicate and proud to do hard work, a theme that is repeated in many fairy tales."
