Spotty Handed Villainesses By Margaret Atwood

“I think that ‘twixt the negroes of the South and the women at the North, all talking about rights, the white men will be in a fix pretty soon” (Truth). Right off the bat she introduces her intention of finding harmony among everyone men, women, blacks, whites. Finally she ends the speech with a powerful tool for inspiring her audience to act on this topic of inequality, saying “ if the first women God ever made was strong enough to turn the world upside down all alone, these women together ought to be able to turn it back, and get it right side up again!” (Truth). Saying that if these women stand together for what they believe, for what they feel is right they cannot fail.

Throughout Damned Women, Elizabeth Reis explores the framework and central ideas of Puritan theology. She uses this information to examine both Puritanism’s cultural function and the socially constructed gender roles in Salem, Massachusetts. The witch trials of 1692 magnify both of these points. When she reads through the confessions of the accused witches, Reis uses prominent ideas relating to the soul and the covenant to assist her analysis and arguments. In the case of analyzing and comparing the confessions of Ann Foster and William Hobbs, the concepts of the feminine soul and a women’s natural lure towards sin help explain the decision-making of the accused.

Including this small snippet switches the initial tone from informal to formal, only for that split second. It might not seem like it but this slight change in tone is vital for the flow of the speech. Following this snippet she quotes her mother, “We will not be those black people”. By using this personal experience she appeals to the emotional side of the audience. The use of this anecdote and small quote are only the beginning to her use of pathos for the duration of the speech and can also cause many of the listeners to think back to a time where something similar happened within their

Women are an essential part of many British works. Although women are typically given the role of minor and less significant characters in British literature, they serve a greater purpose than that of which is initially perceived by the reader. Grendel’s mother in Burton Raffel’s, Beowulf, and the female creature in Mary Wollstonecraft Shelley’s, Frankenstein, are two noteworthy characters that are overlooked, but the roles they play and their influence are important to the storyline. Although she is monstrous and is described as having masculine features and actions, Grendel’s mother is a peaceful and loving being at the core.

This shows and proves to the audience that she knows first hand at how women are not treated equally. This is evidence for her audience to believe her and it will allow them to have an open mind when listen or reading her speech. The most important form of ethos she uses is when she states the preamble of the Federal Constitution. After she says the Constitution she gives specific quotes such as it says “ We the People, NOT we the white male citizens”.

Likewise, Sally takes on the femme fatale trope, “One of her powerful fathers would get her off, have a few words to the right people,” she keeps information crucial to the case in to her father’s reputation and wealth rather than pursuing justice showing the value for power over justice in

She used pathos by bringing up her motherhood. Often slave mothers would have their children taken from them to be sold into slavery. She told the audience how she bore many children and when she cried out when they were taken away, nobody but Jesus heard her (). This connects with the mothers in the audience, who would be saddened by the thought of children being taken from their mothers. This furthers her argument on abolition because it shows how she is a grieving mother as much as any white woman would be.

This quote shows realism. It’s successful in this way also. It brings the overall speech to life. Another quote that brings ethos out in this speech is “I speak here as a woman of color who is not bent upon destruction, but upon survival.” It gives a sense of relatability to women of color.

Even by you” (89). Although McDowell claims that women writers lash out against the stereotype of the hypersexualized female by deliberately desexualizing their characters, this is not exactly the case. Like Helga says, women’s sexuality cannot be bought or sold, only manipulated by those in power. The intersection of these three portrayals speaks to the volume of types of sexuality women possess. Rather than lash out against this stereotype, as McDowell claims, by deliberately desexualizing woman characters, these novels prove that by eliminating the dichotomy of innocence and sensuality through varied portrayals of women, you strike the stereotype at the root, blocking the male influence from contaminating the sexuality any

A book editor for mass-market books and a female magazine writer, Danuta Kean (2012) found a startling trend of women writers producing more horrific violence novels that some men authors have. Confronted with the question about the trend, some women writers argued that they simply wrote about the fear that only women feel, like the fear of being raped that men do not understand. Unlike the current trend and the freedom that many women writer enjoy, Cherry character in the The Outsiders novel represents the transition of a woman’s writer views on their own roles and expectations in the

congress. She starts off the speech with a pathos appeal by providing an example to show how it feels to be a Women trying to get a job- “if she walks into an office for an interview, the first question she will be asked is “Do you type?”.” She provides this example to highlight the hollowness of these statements and then goes on to explain why these illogical happenings shouldn’t be so common. Another time she uses pathos is when she says “Women do not have the opportunities that men do. And women that do not conform to the system, who try to break with the accepted patterns, are stigmatized as “odd” and “unfeminine;” she uses this to show how helpless and sad their situation is.

So everyone should be respectful and listen to what she has to say. The very effective way of getting their minds on the topic as it makes them feel like they aren’t forced to hear this woman speak in boredom. They all pitched in on the idea of her talking, so they should be very enthusiastic about it. Along with talking about her getting chosen to talk, she addresses the audience before about who they are and then sympathizes along with them about how they would be bored to hear this. Boothe stated, “But you are an audience of journalists.

It may skew her thinking and at times be subjective. The intended audience is someone who is studying literature and interested in how women are portrayed in novels in the 19th century. The organization of the article allows anyone to be capable of reading it.

This year is the 30th anniversary of the publication of Margaret Atwood 's dystopian classic, The Handmaid 's Tale. The novel is told from a first person account of a young woman, Offred. In an age of declining births, she is forced to become a Handmaid in the Republic of Gilead, the imagined future in the United States. The Handmaids are to provide children by the substitution of infertile women of a higher social status. Through the creation of different characteristics of female characters – ones who are submissive yet rebellious, and like to take advantage of their power - Margaret Atwood portray themes of love, theocracy, rebellion, and gender roles.

The role of women in literature crosses many broad spectrums in works of the past and present. Women are often portrayed as weak and feeble individuals that submit to the situations around them, but in many cases women are shown to be strong, independent individuals. This is a common theme that has appeared many times in literature. Across all literature, there is a common element that causes the suffering and pain of women. This catalyst, the thing that initiates the suffering of women, is essentially always in the form of a man.