Masculinity In The Bleeding Nun

According to Jenkins, the women who reside in the Convent promote a distaste in the men of Ruby because unlike the women who reside in the town, the women of the Convent are “unprotected, socially or financially, by men” (Jenkins, 284). The women in the Convent, which include Consolata, Mavis, Gigi, Seneca, and Divine, are considered to be radical women that sought out the Convent for the freedom and self-love that it could bring to their lives. Since the women in the Convent are seen as different and peculiar, the men of Ruby, who wanted to constantly uphold and eradicate the sin from their town and that the women represented, sought out to murder the women in cold-blood. Morrison uses this action to show just how strong the beliefs of removing or purging evil away from oneself can be for some people, hence the actions of the men of Ruby. As a result of the men and other citizens of Ruby not taking the time out to actually get to know the women of the Convent before passing judgment on them, they all commit the atrocity of misinterpreting their differences or rather the things that make them unique as bad. Additionally, due to the misogynistic views that many of the men, specifically those who hold power, have towards the women, the men felt threatened by the women in the Convent. Described as a “group of nine

Masculinity is represented in various ways within The Lais of Marie de France. Masculinity is sometimes depicted in untraditional ways through animal representation, the dominance of women, and in negative a light through the prideful and selfish acts of the male characters. The qualities, which are often seen as manly, are quite apparent in an animalistic form of masculinity in the deer in “Guigemar,” in comparison to the female lover. The women in “Lanval” show a sense of manhood in their authority and power over the situations of the story. “Les Deus Amanz” tells a poignant story of two men, and how their over masculine traits of pride, jealousy, and possessiveness lead them to the exact places in which they were avoiding all along. All

City of God is a movie that takes place in Rio De Janerio beginning in the 1960s. It is a story of a young Brazilian boy named Rocket who observes and experiences the shift in power and how that power is gained and maintained in the world of drugs. It can be said that unsavory choices are made in order for L’il Ze to get to the top, however it could be argued that he is just playing by the rules of the street. This is how macro-subcultural theories apply to the movie City of God, leaders take and maintain power through force as they have been taught and continue to teach others to do.

The Lieutenant Nun: Memoir of a Basque Transvestite in the New World, an autobiographical text, nearly four hundred years old, is a narrative on the constructs of male identity; of conquest and belligerence. Which becomes glaringly evident as Catalina focuses on action, travel, facts, names and enumeration. In the translator’s notes, craved by Catalina, these could not be obtained as a woman of Spain. If Catalina focuses most of her attention on such, she avoided writing about “observations and self-examination,” items Catalina may have associated with quiet and leisure activities of women. Emphasizing ‘action’ in her memoir, three “sequences” function as guides.

Vincent D’Onofrio said “To me the definition of true masculinity and femininity, too – is being able to lay in your own skin comfortably.” In other words, male can’t be too masculine and female can be too feminine, but both qualities can show though any human because of how we act and our emotions. In Bram Stoker, Dracula, each character faces difficult obstacles between the lines of being all man or facing the structures of being a woman. With the help of two critical essays to analyze Dracula through their writing as well as to help understand the differences and non-differences. One essay wrote by Bram Dijkstra called “[Dracula’s Backlash]”, I liked his essay because of how he looks at Dracula and how are

Portia is not a memorable character because amongst her ‘god-like amity’ and her ‘mortal-breathing saint’ personality, she also portrays a deceitful character through her complex personality. Portia’s personality is superficial. Her evaluation of her suitors is both articulate and scathing; Portia deconstructs each man with a kind of clinical precision, seeming to take particular pleasure in questioning their masculinity. “God made him, and therefore let him pass as a man;” (1.2.50). This quote reveals Portia’s conception of masculinity seems to have little to do with mere anatomy. The French Lord, she says, though he posses the outward signs of masculinity, plays a man’s part poorly that only God’s intent allows him to be considered one. She apparently believes herself to have superior judgement of what make a truly masculine man. Though her

The majority of the story Of Mice and Men takes place on a ranch in Soledad, California. The action is presented in only four settings at the riverbed, in the bunk house, Crooks's room, and the barn which lends to the dramatic quality of the text.

This selection advertises Dick’s split personalities as well as his ability to use people. Dick is only interested in what others can do for him, not what he can do for others; this becomes apparent in the phrase “He was like a wife that must be got rid of”. Dick is over Perry, even though Perry had no business killing the Clutters, aside from money and the fact that he was a kleptomaniac, but he did it for Dick. He chose to murder a perfectly wholesome family, steal their lives not their money, and for what? When Capote writes “weepy, womanly eyes, the nagging, whispering voice”, the reader imagines a feminine man, one who is unable to be masculine. Perry and Dick both struggle with masculinity, however Dick is belittling Perry in this phrase.

Despite the seemingly formal and worldly aura Gabriel Conroy attempts to give off in James Joyce’s The Dead, he demonstrates many shortcomings in regards to socializing with women. When confronted by a nontraditional female who does not fully conform to the typical submissive role expected of women of the time, Gabriel attempts to reassert his dominance by slighting the woman because he feels his masculinity is threatened and in response, aims to strengthen it. This demonstrates that masculinity, despite attempting to portray the opposite, is actually very fragile because it is heavily dependent on the oppression of women and femininity. The intensity with which Gabriel appears to be disturbed when confronted, or simply made to feel even slightly

On the surface, The Odyssey is the story of a weary warrior who has long endured perilous trials and yearns to get home. It is a timeless classic about one man’s struggle to persevere and reclaim the home that was taken from him while he was away at war. However, The Odyssey is much more than a simple message about getting home. Odysseus’s outer struggles with his trials mirror the inner battle he is fighting within himself: one to regain the masculinity which has been abused and taken from him from various women throughout the tale. The three women illustrated in the book who either defile and or define Odysseus’s sexuality are Circe, Calypso and Penelope. Masculinity and femininity are intertwined throughout The Odyssey, and one needs the other in order to prosper.

T.S. Eliot’s The Waste Land explores modernism, specifically focusing on the troubling of binaries and the breakdown of the traditional. The boundaries between life and death, wet and dry, male and female, and more are called into question in Eliot’s conception of modernity and the waste land. The blurring of gender boundaries—significantly through Tiresias and the hooded figure scene in “What the Thunder Said”— in the poem lends itself to Eliot’s suggestion that traditional masculinity breaks down and decays in the waste land. Traditional masculinity is further challenged through Eliot’s criticism of hyper-masculinity and heterosexual relations in the modern era through allusions to the myth of Philomela and the “young man carbuncular” scene in “The Fire Sermon.” Along with this, Eliot stages scenes charged with homoeroticism to further challenge ideas of traditional masculinity. Homoerotic scenes such as the “hyacinth girl” scene in “The Burial of the Dead” and the Mr. Eugenides scene in “The Fire Sermon” suggest an intensity and enticement towards male-male relations, while also offering a different depiction of masculinity than is laid out in the heterosexual romance scenes. Through scenes depicting queer desire and homosexual behavior, Eliot suggests that masculinity in the modern era does not need to be marked by aggression and

didn’t want to dominate, rape or control a woman? What if a man didn’t want to put on airs or be arrogant and appear to know more than he does just because he’s in front of a woman or his wife, is he now less man? What in store for the man who is not heterosexual or White is he truly effeminate? For the most part, in today’s society this notion would not be tolerated.

“The cult of masculinity.” When it comes to the big screen, women are treated like second-class citizens. Women were portrayed as helpless creatures, waiting in the castle for their Prince Charming whereas men were dauntless, swooping the Princess of her feet and saving the day. This gender gap came to an end when The Hunger Games (2012) was released in theaters. The brave Katniss Everdeen (Jennifer Lawrence) did what no “real” man or Prince could ever do – stand up for someone else – even when it meant risking her own life. The Hunger Games was not only one of the top grossing movies of the year, but it was also one of the very few movies where a woman was able to display her stability and willingness to fight. The Hunger Games, Divergent, and Gravity are some of the few movies that show a women’s potential than to sit in a castle. They all show three common characteristics for the roles of women: courage, personality, and recognition.

Most of the artists in the second wave of feminism (1960-1970) were inspired by Louise Bourgeois. Bourgeois mostly worked with organic materials and shapes instead of the cube shapes most minimalist artists were experimenting with. She was interested in depicting forms that could be immediately understood as male or female. An example of this would be her sculpture La Fillette, created in 1968. In this gruesome sculpture, she depicted a penis hanging on a meat hook. The sculpture’s title translates to “little girl” in French. Here we see her turning this icon of masculinity into something feminine. In 1974 she created a piece called The Destruction of the Father. This sculpture was a recreation of a family dinner with lumpy figures population

Given that the structure of gender qualities has been a large part of our views, in regards to a variety of issues, a number of people take exception to variances from within these rules. Keeping this in mind, we will discuss the reasons why many individuals are discouraged from crossing traditional gender traits, and closely examine parts of the article assigned for this paper.