Premium Essay

Masculinity In The Handmaid's Tale

Submitted By
Words 937
Pages 4
“There’s no doubt who holds the real power” (Atwood 136). In the dystopian novel, The Handmaid’s Tale by Margaret Atwood, men are responsible of making sure everything is under their control. Throughout the novel, male intimidation and dominance over women is exemplified through men holding superior, honorable jobs to uphold a higher social class, while women only fulfill inferior, domestic responsibilities. This male chauvinist society demonstrates males’ advantage of being able to upgrade their social status and power, while women are to be downgraded and exploited. This corruption of power is laid in favor of men, and upholds the oppression of women in the Gilead Society. Overall, men are represented as the dominant social group to implement …show more content…
While trying to figure out why her credit card was declined, Moira explained to her that, “Women can’t hold property anymore” (Atwood 178). In the novel, women were not allowed to hold possessions because it would give the women financial independence and access to capital. Therefore, the fact that they had to give everything up made women weaker men more powerful, by forcing women to be economically dependent on their husbands. For this reason, Offred states that, “The Commander is the head of the household. The house is what he holds” (Atwood 81). In other words, everything in the house, such as the Handmaid, Marthas, and Wife, belong to him. This is due to them being dependent of him, since the machismo in the society prevents women from being independent by not allowing them to generate money for …show more content…
Throughout the story, women in Gilead live under strict rules that oppress them, and prevent them from self-expression. For instance, during Offred’s flashback about sumer and her training in the Red Centre, Offred recalls Aunt Lydia saying, “ The spectacles women used to make of themselves. Oiling bare backs and shoulders, on the street, in public,... no womender [ sexual assault] used to happen” (Atwood 55). The society makes everyone believe that women should not wear provocative apparel in order to prevent any unwanted sexual advances, ignoring the fact that men are the abusers. Men being allowed to get away with rape and sexual assault is example enough to show how far men’s superiority complex is instilled into the society. In brief, Aunt lydia’s point of view on women’s choice of clothing reflects how in this community, women hold responsibility for men’s actions and should be more conservative to prevent maltreatment. The rules are bent against women when it comes down to procreation as well. This is seen when women whom are infertile are sent away to Jezebels; they are treated like pawns in negotiations. When the Commander takes Offred to Jezebels, he explains to her that, “ [ Jezebel women] stimulates trade… We try to provide at least as good as they can get elsewhere” ( 237). This shows the power of men, as they determine women who are being used at Jezebels have no say

Similar Documents

Premium Essay

“We Were the People Who Were Not in the Papers. We Lived in the Blank White Spaces at the Edges of Print…We Lived in the Gaps Between the Stories.” Discuss the Writers’ Exploration of Female Passivity.

...Tennyson links public and private spaces and their promotion of female passivity to illustrate societal as well as psychological and domestic examples of passivity. In Mariana, the “rusted” and “crusted” atmosphere of decay is representative of Mariana’s psychological deterioration and the stagnant “blacken’d waters” and “moated grange” act as an obstruction to her integration with the outside patriarchal world. This reflects the wider Victorian attitude regarding the home as “the centre of virtue and the proper life for women” and brings to light the impact that passivity in the greater context of society has on the role she plays in her private relationship. This idea of external influences is echoed much less figuratively in ‘The Handmaid’s Tale’ where “decreased birth rates” stimulated a change in the functioning of the governmental system and the politically organised passivity of women, creating a dystopian vision of patriarchy. A change in societal structure resulting in female passivity is also present in ‘Othello’. Desdemona’s transition from an assertive female who “challenge[s] that [she] may profess...

Words: 3969 - Pages: 16

Premium Essay

To What Extent Does the Handmaid’s Tale Present the Future as a Feminine Dystopia?

...To what extent does The Handmaid’s Tale present the future as a feminine dystopia? A feminine dystopia imagines a world gone terribly wrong, exploring the most extreme possible consequences of current society’s problems. In a feminine dystopia, the inequality of society or oppression of women is exaggerated or intensified to highlight the need for change in contemporary society. The Handmaid’s Tale presents the future as this in many ways. Chapter 2 of The Handmaid’s Tale presents the future as a feminine dystopia. Religion is brought up as Gilead is seen to be trying to purify the values of women, for example Offred is only allowed a single bed, the words “nothing takes place in the bed but sleep; or no sleep” highlight the fact that a bed is only for sleeping, to purify her. The reference to nunneries also suggests there is religion involved in Gilead, Offred states that “time here is measured by bells, as once in nunneries. As in nunneries too, there are few mirrors” this suggests sexual contact for the Handmaids, or anyone, is forbidden, and the use of the word “once” suggests that Offred is like a nun, or feels like a nun, out of a nunnery and in a house. Also in chapter 2, the role of the Handmaids is introduced; we learn they are needed for something very important, as they are not allowed to attempt to kill themselves as it is said that “they’ve removed anything you could tie a rope to.” Also Offred says “I am not being wasted.” This shows that the Handmaids are not...

Words: 1501 - Pages: 7

Premium Essay

Reading a Novel in 1950-2000

...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...

Words: 123617 - Pages: 495

Free Essay

Art and Story Proceedings 2004

...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...

Words: 117240 - Pages: 469

Premium Essay

Will Do Next Time

...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGraw­Hill, an imprint of The McGraw­Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006,  2003, 2000, 1997, 1994, 1991 by The McGraw­Hill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form  solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in  any other form or for any other purpose without the prior written consent of The McGraw­Hill Companies, Inc., including, but not limited to, in any  network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...

Words: 159106 - Pages: 637