“From all the bitches who are dead or alive, a scribbling woman is the halfest dogs.” This quote from Byron, repeated Finally from Bridgerton’s Third seasonConsider a historical tendency to compare women with animals, especially dogs, to humiliate and control them. The form of the gender-specific zoomorphism-like characteristics of non-animal test subjects, in this case people who were expressed in this one sentence has long been widespread In the literature and Byron’s quote, contempt with which female writers and “doodles” were widely viewed, and compared them with corner teeth to undermine their intellectual contributions. These parallels were used as justification for the terms of women from the workforce and scientific employment to maintain patriarchal norms that were considered fundamental inferior.
(Crazy) woman as a monster
Up to 90 percent of women were considered to read or write as an illiterate until the time of Shakespeare, since many of them had never been taught; In fact, women were published and published up to the 18th century, but but few They used their own identities. This was largely due to the fact that the writing of women was regarded as an unexpected or dangerous hobby that violated gender expectation that women keep a standard of calm and modesty, according to feminist researcher Jennie Batchelor, and this deviation had its own effects .
Source: BBC films
The poem from Coventry Patmore’s poem about his wife Emily is special addicted For his description of “The Engel in the House”: a woman who serves the ideal female role of a woman subordinate, meek and raising children. Every woman who did not obey these strict social expectations was described as crazy or animal, whereby people went so far to institutionalize them. There are countless examples of “wild” and “uncontrollable” female characters that are either “tamed” or feared and outlawed, as shown in the literature of this era.
Bertha Mason in Charlotte Brontës Jane Eyre is one that immediately comes to mind.Crazy in the attic. ‘ This Victorian imagination of women as angels or monsters reinforces a patriarchal system in which women are marginalized or kept in bondage. The animal image was therefore particularly effective because it was dehumidated and made it appear as if the assertion of control over them was not only justified, but absolutely necessary. During the obvious sexism and misogynistic overtones of earlier novels with their reductionist caricatures of women, more subtone under tones in their reactions to complex characters NowWhat is persistent is the symbolism: the “dog supplies of a woman”.
Of gyneclks and dog women
In contemporary literature, the metaphor of the woman’s dog was again requested for criticism of social restrictions. K-Ming Chang’s Organ meat Starts with an apparently innocent question that Anita Rainie asked and she was pleading to “become dogs”, with a common thread around her throat, which she knot together. More precisely, her dog ancestors, which arise from dog-like beings, is together and which forms the basis of many of the topics discussed in the book.
Source: Amazon
Through storytelling in a strange, fantastic environment, the book examines how women have been deliberately raised and socialized in order to behave for many generations and dogs, and how this collective memory affects the two female characters, which are also deeply separated when it is separated are connected. As Rainies, she takes away from the roots of the mystical Sycamore tree, in which the two were inhabited as children, instead Anita sinks into the mythical world that they created.
Viseral and sometimes violent images that reflect the severity of the psychological conflicts and wishes of the characters are used to represent their struggle to express their identity and to regain their autonomy in a world – even from their own imagination – from men. This struggle is not only a personal, but also collectives that reflect the experiences and memories of countless women who have been socialized to suppress themselves, or “widow” from their own bodies in search of belonging.
Chang writes in memories of the cultural duties of a daughter: “If you are bred, you are expected to fulfill a purpose, a certain use … They were bred to prioritize others.” Because the role of a woman is to fulfill or to be tamed in any other way, to offer her body for the conception and to be domesticated, as well as the daughters who come after her.
The topics addressed in Rachel Yoders night bitch are emphatically referred to this topic in order to be socialized in order to be socialized in order to be socialized – typical, the men – in front of themselves. We meet the nameless protagonist who desperately searches the depths of the Internet and for A name for her sudden but slow dog transformation with increased senses is looking for no result on the aptly padded person with dog teeth-in the same place as the protagonist of another tormented woman protagonist with a “prescribed for her hysteria” Rest color ”(call to the yellow wallpaper). Practically forced to be a mother at home, with her art dreams and a conventional, traditional husband who rarely stays at home, Nightbitch learns this Kafkaesque change every time she questions the assigned gender roles that of everyone in their environment are summarized.
The ambiguity in Nightbitch – whether the protagonist is really transformed or just hallucinating – is putting strata on his criticism of social restrictions for women. Regardless of the interpretation, one remains undeniable, and that means, as the quote from the book expresses: “We are animals at the base and it is a crime against existence. ”Her metamorphosis acts as a criticism of the borders that are imposed on the mothers who sacrifice and renovate their own identities in order to adhere to social norms with an infinite focus on the family.
The balance between mother and career woman is precarious. Two prominent mother strands comment In the twenty -one century, it can be summarized because “mothers cannot do everything that is required by them” and “mothers are able to do everything and everything they imagine. Yoder has both and none of these beliefs Interviews– And her book lives in the room that exists between them. Rather, the book seems to claim that a more true and more powerful life could arise from the assumption of the entire area of your personality, including the untamed and wild parts. The protagonist makes a journey of self -discovery and recovery with the violence of the life front and the center of a woman who represents the raw feelings and impulses that feel mothers frequently, but are social consistency.
Raging against social constraints
In an article for The cutRebecca Traister is urgently observing an inability to cut it in the real world. Resentment accrete, tire in anger. “This captures the boiling stress that many women experience, a pressure that both books and many more clearly represent in a similar way. The transformations of Anita, Rainie and Nightbitch speak for the broader topic of autonomy – both stories use the metaphor to be animalistic in order to present a recovery of agency and wishes and not the loss of mankind. By channeling their anger outwards, they resist the attempts of society to domesticate and reduce them.
Source: Amazon
These stories that show female experience in all its raw, bleeding splendor and ignore the tenderness and softness, which are typically connected to it, is simply so captivating and even cathartic. The literary resurrection of the dog-female analogy reflects a greater movement to more complex representations of women. There is a growing trend in FilmsPresent TV programsand evenly Music To present women as complicated, different units that oppose simple classification.
Violence and anger ensure the completely original medium to reclaim, since these attributes have long been used against women under the area of responsibility of the male imagination. But angry women are not only angry because they are women, but because they are people who are illegal, oppressed or somehow. By hugging their anger, they cry back to a world that persistently tries to hand over it.
References:
- Batchelor, Jennie. The magazine of the lady (1770–1832) and the creation of literary history. Edinburgh University Press, 2022. Jstor, https://www.jstor.org/stable/10.3366/JJ.7358688.
- Moore, Natasha. “The realism of ‘The Engel in the House’: Coventry Patmores poem was considered.” Victorian Literature and Culture, Vol. 43, no. 1, 2015, pp. 41–61. Jstor, http://www.jstor.org/stable/24577269.
- Freiwald, Bina. “Selfam -request: Patmores The Engel in the house.” Texas Studies in Literature and Language, Vol. 30, no. 4, 1988, pp. 538–61. Jstor, http://www.jstor.org/stable/40754874.