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The Oppression Of Women In The Handmaid's Tale

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When dystopian societies are featured, they often show the domination and inferiority of women by men. In Margaret Atwood’s “The Handmaid’s Tale,” the establishment of the Republic of Gilead, which projects strict christian polices, addresses the restriction of freedoms from women. This restriction can be shown through the recurring presence of the color red, which constructs an association between femininity and violence. The color red signifies pain, violence and fear. Yet, the undeniable expression of red in“The Handmaid’s Tale,” highlights the inferior circumstances of the women suffering in this male-dominated Gilead society. In comparison, Octavia E. Butler’s “Parable of the Sower,” is set in a community that greatly enforces traditional gender roles, hindering the ability of survival for women. The status of being a woman alone, fabricates an intense state of vulnerability and exposure to sexual violence. Through the apparent existence of Gilead, in “The Handmaid’s Tale,” and the gated community highlighted in the “Parable of the Sower,” the presence of power and freedom are emphasized through the major oppression of women figures. The emergence of the color red originates when Offred begins to dress herself. In this scene, “everything except the wings around” her face were “red: the color of blood” (Atwood 8). Here, the prominent description of Offred’s clothing defines her, standing as a reminder of their fertility, sexuality and the main purpose in Gilead. Within this traditionalist society, the handmaids are marked by the color red. This alludes to the idea that the color red not only expresses a woman’s fecundity, but signifies a threat of violence. In Gilead, the male domination creates a singular purpose for the chosen Handmaids, to procreate for the infertile wives of the commanders. Offred acknowledges this domination and lack of female expression when observing the flowers in Serena Joy’s garden. She calls special attention to the shape of these flowers stating, “and the bleeding hearts, so female in shape it was a surprise they’d not long since been rooted out” (Atwood 153). The visible feminine shape of the flowers, creates a outlet for Offred to express her femininity. This remaining

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