Nowadays, feminism is a burning issue in society. Women all over the world claim about their rights and try to get more privileges in the masculine community. In the world literature, there were the authors, who dedicated many of their works to the feminist issues. Their novels or poems became the anthems for the passionate women fighting for equal rights. The characters described by these authors are widely discussed in feminist essays. If you need to write a great feminist essay, there are a few aspects you need to consider.
First of all, you need to select the feminist character that seems interesting for you. If you don`t have a freedom of choice and your professor assigned you the topic manually, you need to gather as much information as possible about your character to find our want makes this person interesting. Make sure to find the information about the background, education, work, and worldview of the woman you analyze. Pay attention that the better you know your character, the more in-depth analysis you will be able to carry out.
The second step is to compare your character to their male counterparts. In many feminist novels, a woman has a male counterpart and their conflict defines all the main topics discussed in the paper. While comparing your characters, you need to consider the time when the characters live, their relationship, argumentation, attitude to life, and many other points that will help you understand the essential characteristics of their conflict.
In addition, when writing a feminist essay, we recommend you to find out the attitude of the author towards your character? Does the author like the protagonist? Does the author judge her? How does the author explain her motivation? No doubt, having answers to these questions, you will be able to write a well-structured paper. If you want to impress your reader and create a good essay, you need to pay great attention to every meaningful dialogue, monolog, or any other point worth attention. Remember that if you suggest some argument, you need to support it with strong textual evidence. Your reader should understand that you do know the text well and base your arguments on the basis of the deep understanding of your topic.
Let`s take Jane Eyre for example. Jane Eyre is known as the most popular feminist novel. For many students, this novel is introduced in a high school and they have to write different essays on various topics. The topics are usually pretty simple and relate to the plot, setting, tone, style, etc. The students in colleges analyze Jane Eyre from more complex perspectives. For instance, they write their papers on religion, redemption, and, of course, feminist issues. If you need to write an essay on Jane Eyre but you find it pretty difficult to choose a topic, look through the list of creative topics mentioned below. We assure you that these topics will definitely help you understand the direction in which you need to move to get a good grade for your paper:
You need to understand that the choice of the topic is pretty important if you want to write a winning feminist essay. Therefore, you should pick up not the topics that are on the ground but dig deeper.
Discussing Jane Eyre from the feminist perspective, you may tell that the protagonist is active and independent. She fully respects Puritan morality and adheres to its principles, but she dares to speak on her own behalf and wants to be heard. She seeks not just successful marriage and family, but self-realization and equality in marriage. Despite all the moderation with which Charlotte Bronte approached the depiction of women, her ideas were pretty advanced for her time.
Charlotte Bronte`s novel remains largely connected with the romantic tradition and with the genre of the Gothic novel. The character of Jane Eyre is innovative. The author builds the narrative around the image of Jane Eyre, which clearly goes beyond romanticism.
The novel was immediately highly appreciated by readers but caused controversy in English society since no other authors raised questions about gender equality before Charlotte Bronte and her sisters. Charlotte was one of the first authors, who addressed the problems of the dependent status of women in society. She portrayed a new woman and, perhaps, for the first time, made the English woman visible. All in all, if you manage to explain what makes this novel authentic, you will definitely delight your English teacher.
Rich’s classic (and still brilliant) term paper on Jane Eyre is deserving “The Temptations of a Motherless Woman,” and it focuses on the instant, not long after Rochester’s seductive plea to Jane that she escape with him to France, when the maternal moon increased to disclose a “white human form” looking at the tormented governess and gloriously admonishing “‘My female child, escape temptation!”‘ Bronte herself had had to escape lure (though she had finished so with substantial ambivalence) when she left Brussels and her adored M. Heger. And as a feminist detractor in the seventies, I knew that I too had to escape temptation. I had to rigorously repress my own yearn for Jane’s and Rochester’s “furious lovemaking” to come to a romantic-and more expressly a sexualclimax and undertake rather than a tired excursion over the moors to a political place where, along with Charlotte Bronte and Adrienne Rich, I could rejoice in our heroine’s new life as “a town schoolmistress, free and dependable, in a breezy hill nook in the wholesome heart of England”.
“Furious lovemaking” in Jane Eyre? Well, the oxymoronic saying could be not less than in part appreciated if one factored in the ferocity with which the innovative advised “the ‘Rights of Woman’ in a new aspect.” But from the born-again viewpoint of seventies feminism that new facet had more to do with Jane’s affirmations of self-reliance from Rochester than with signs of erotic feeling for him. To be certain, I glimpsed Jane’s article as finish with a dream of egalitarian wedding ceremony that was a consummation devoutly to be desired, if only a utopian one. But how were we to realise the convoluted, at times tyrannical or even sadistic “lovemaking” that directed to a fantasy of such bliss? When in instants of what sociologists call “introspection” I investigated my own previous answers to the connection between Jane and her “master,” I had to accept to myself that in my teens I’d liked more than any thing for her to run off with him to the south of France, or even really to the moon, where at one issue he had playfully pledged to convey her to “a cave in one of the white valleys amidst the volcanotops”. And why, after all, shouldn’t democratically astute readers desire that she and her admirer had not less than eloped, if not to the moon, to France? Such reallife scholarly heroines as George Sand and George Eliot had finished as much! Why did feminist detractors, of all persons, have to accept the marriage-or-death imperatives constructed into what Nancy Miller called “the heroine’s text”?
Since Bronte first released her bestseller in 1847, there have been not less than forty plays (several of them musicals), nine TV versions, and 10 videos founded on the publication, most of them concentrated on the complexities of its “lovemaking.”I And when the author herself was notified of the first of these adaptations, a play arranged in London just a couple of months after the novel’s look, her instant answer was to marvel “What … would they make of Rochester?” and then to worry that what “they [would] make of Jane Eyre” would be “something very pert and very affected”. Clearly she felt the charisma of the interactions between her champion and her heroine, and she may have felt, too, that along with Jane’s feminist insubordination, her sexy aggressiveness-the indecorous demeanor with which she confesses her sentiments to Rochester while reprimanding what she considers his indifference (“Do you believe I am an automaton?-a appliance without feelings?”)-might be comprised as “pert” or even “affected” in a setting where the personalities of the individual characteristics had been “woefully overstated and painfully vulgarized by the actors and actresses”. What (in another context) one feminist detractor rather dismissively called “romantic thralldom” may have been Bronte’s difficulty in her discouraged connection with Heger, but her fantasy of fulfillment liberated Jane into erotic as well as linguistic assertion.2 For this cause, the innovative in which this “poor, simple, little” governess unabashedly notifies her article very expected appeared scandalous to its soonest readers not just because its narrator was uppity and “pert” but also-perhaps more importantly-because she was uppity and candidly desirous.
Let me make it rather simple that I don’t in any way desire to reject previous assertions I’ve made about Jane Eyre. Rather, I desire to complicated, perplex, and enrich them by speculating that the perpetual fascination of this innovative arises not less than in part from its ambivalent obsession with “furious lovemaking,” that is, from its impassioned investigates of the multiple plays of sexuality. Like so numerous other (yes) romance writers, Charlotte Bronte conceived a heroine who likes to discover what love is and how to find it, just as she herself did. Unlike most of her predecessors, though, Bronte was oddly explicit in putting that protagonist in the middle of dysfunctional families, perverse partnerships, and abusive caretakers. Unlike most of her predecessors, too, she endowed her major characters-hero as well as heroine-with overwhelmingly mighty passions that aren’t habitually reasonable and often can’t be articulated in commonplace language. This sense of unspeakable deepness or fiery interiority imbues both Rochester and Jane with a kind of secret that has habitually been charismatic to readers. But it was nearly absolutely the startling, even alarming power with which Jane publicly formulates unladylike eroticism as well as indecorous communal resentment that hit so numerous Victorians as revolutionary. Here, thus, Mary Oliphant’s association of Bronte’s publication with Mary Wollstonecraft’s A Vindication of the Rights of Woman “in a new aspect” was not just unquestionable but possibly unnervingly so. For even while Jane formulates a customary feminist creed when she contends that “women seem just as men feel; they need workout for their abilities, and a area for their efforts as much as their male siblings do … and it is narrow-minded in their more privileged fellow-creatures to state that they should to restrict themselves to making puddings and intertwining stockings”, her narrative dramatizes a “furious” craving not just for political equality but for equality of desire.
To state that Jane Eyre “is” Cinderella and that Rochester “is” Bluebeard is of course to suggest that they embody concepts of the feminine and the masculine in a especially resonant way: an deprived and orphaned reliant in a hostile house, Cinderella is, after all, accused to a life of humiliating servitude from which she can only wish to get away through the intervention of an imperious man, and considerably, in the vintage tale, she eventually accomplishes issue through diminution. The very vintage contrive tensions not just her modesty (and the modesty of her needs), but furthermore her personal daintiness-notably the tininess of her feet contrasted to those of her conceited stepsisters, both of who are literally as well as figuratively distended with dignity and ambition. As for Bluebeard, in the vintage tale he is depicted as a mysteriously predatory, dark (“blue”), even swarthy number whose whiskers signifies an animal physicality frighteningly affiliated with his femicidal erotic past, and, more especially, with the bloody sleeping room in the attic where he holds the ghastly relics of past sexy conquests.
In this reading, then, the methods of what we now call “the feminine” accessible to Jane Eyre are variously comprised in the tales notified about a variety of other feminine characters. The possibilities these subplots discover continue from farthest resignation to identically farthest rebelliousness, from suicidal self-abnegation to murderous passion.4 The angelic Helen Burns, for example, is a kind of Cinderella who was forsaken, in effect “orphaned,” when her dad remarried. But her answer to what we might call the Cinderella difficulty deviates fundamentally from the fairy tale ending. Opting for unconditional repudiation of yearn in the personal realm of the present, Helen consumes her own body (dying, really, of “consumption”) for the sake of a religious afterlife. Similarly, though in a rotate on the Cinderella contrive that more nearly evokes the customary article, Miss Temple organises to get away the hardships of her job at Lowood through wedding ceremony to a Prince Charming. Yet her self-abnegation needs a rigidity that effectively turns her body to marble: by significance, really, she is repressing yearn as well as storm when, in one well renowned view, her mouth closes “as if it would have needed a sculptor’s chisel to open it”.