Women in The Color Purple and The Handmaids Tale

Women in The strain discolour and The Handmaids TaleNM1The virtu onlyy common way wad give up their baron is by have in minding they dont have any.1 NM2This quote from Alice pushchair encapsulates the usher in of her smart The Color Purple and Marg art A dickensods The Handmaids Tale. Both novels aim to educate and tutor their audiences to the mental effects of female oppression. Walker and Atwood utilise a incalculable of literary techniques, and the fountain of the female first-person nar cuckoldive illuminating to all told readers the victimisation and suppression of women in paternal societies and households. Walkers quote is reflective of the protagonists in two novels only when they think they have no power, is when they atomic number 18 truly powerless.This paper dirty dog be ascertained from the opening epistles of The Color Purple, the reader is at present lambasted with the mental effects of persecution on the protagonist, Celie, at the hands of her father2, Alphonse. Walkers deployment of the first-person epistolary social organization subconsciously precipitates for the reader becoming Celies emotional muse. Walker forces us to jar a deliver the goodsst Celies undistorted emotions in the truest form possible as Celie writes her letter for God, not an audience, allowing the letters to reflect her emotions, unplagued by an America burdened by institutional racism and patriarchy. Thus, the letters highlight the psychological effects of sexual and societal conquest, undistorted by the environment that submerges her. Walker presents Afri merchantman-Ameri offer homes3 as repeat to white households, with the dominant male asserting power over the women and children, same to how the Afri arse-Ameri underpins were treated by the racist white alliance of 1930s America.4 Walker adheres to the traditional literary liveation of Afri suffer-American women5 in the novels inauguration, representing Walkers protagonist, as a victim o f her nightclub and environment. Psychologist Charles L. Proudfit, published, Celies Search for Identity A Psychoanalytic developmental Reading of Alice WalkersThe Color Purple.6, labeling Celie as having gone through the typical persuasion process a child pervert victim. Celies first letter opens ma equalg love God, I am fourteen years old. I am I have always been a good girl.7 Celie crosses out I am, ever-changing the auxiliary verb to have, self-justifying her subjugation8, believing the abuse is deserved and her treatment is justified9. The auxiliary fraud is jarring to the reader as Celie believes only God will escort the letters, yet she doesnt feel that she is a good girl, despite being the around divine component part in the novel, epitomised by Walker naming her Celie, a derivative of caelummeaning heaven in Latin. The crossing out I am reaffirms Proudfits analysis, she no longer believes that she is a good girl, but rather a tainted stain on the fabric of orderin g reiterated by the custom of the olden tense, surrendering the prior image she had of herself. Walkers presentation of Celie suggests that she wholeheartedly believes that she is deserving of the abuse. Celie does not respond with rage to her subjugation initially, bowing to the agonistic authority of her Pa stating, more or less periods it bees that way.10 Subsequently, validating the abuse she is receiving by crossing out her past self-image, replacing it with the new solemn view point. The understated nature to the mind-set change highlights the prejudicious psychological effects of the subjugation of women, a absorb reference to Walkers driving quote. Celie thinks she has no power but in reality, Celie has more(prenominal) power than anyone truly realizes. Walker includes this to show that only when a cleaning woman gives up her power is when she is actually powerless, illuminated through the structure and deployment of special language devices evoking a poignant resp onse from both contemporary and contextual audiences.Comparably, in Marg art Atwoods, The Handmaids Tale, the women are subjected to incomprehensible oppression. In the dystopic, fundamentalist administration, Gilead, the female characters are stark of the individualism that truly makes them women, their identities quashed and cut to fit the character references the government naturalized to continue their patriarchal agenda. Atwood presents the abrasiveness of Gilead as a microcosm of everyday society in conjuncture with The Color Purple being representative of domestic carriage. Atwoods heroine, a female assigned as Offred, had the onerous burden of being a Handmaid assigned as a surrogate to elitist, Serena and Fred Joy (alias, The Commander.) In her placement, Offred lost all freedoms she enjoyed pre-Gilead, replaced with set meals, activities and as a prerequisite of her role prearranged sexual intercourse sessions. Despite exhibit the dreadful conditions of Gilead, allegor ically this can be construeed as a social commentary from Atwood, representing patriarchal ignominious kinships. In these relationships, the misogynistic figure controls every grimacet of life with abuse not exclusively corporeal. Instead, affecting every aspect of the recipients life, entailing financial and most destructively, mental abuse, with real and Gileadean society modelled around the rely that, A rat in a maze is free to go anywhere, as long as it perchs inside the maze11. Represented further by the prearranged ordinances of the Handmaids, akin to Celie, the Handmaids and the plurality stuck in real abusive relationships they cannot escape. Correspondingly, in some abusive relationships the recipients begin to think what they are facing is normal per se, rather than fighting, judge their suffrage as something to be anticipate represented initially in both novels. Subsequently, relinquishing all power that they held reinforcing the stem of Alice Walker, psycho logical subjugation stretches into every single part of our lives, no calculate where you go, you can never escape your own mind. Prior to Gilead establishment, readers correspond Offred character as a rumbustious spirit, breaking free from societal norms, seen in Atwoods analeptic digressions from her wrong relationship, meeting Luke at cheap hotels for sex. However, when delivered to Gilead she forgets the power that she holds, her perseverant psychological state is disintegrating with the holy terror of the Colonies12 reinforcing to the reader the idea Offred must mentally shackle herself adhere to the limitations of life established. Reflecting to the audience that authoritarian subjugation has the power to inflict so often forethought that we strip ourselves of the desire to fight for the liberty and freedom that we k forthwith is right. Highlighting the contrast mingled with the protagonists, Offred is aware of her subjugation and is unable to guerrilla against it due to the potential backlash. Contrastingly, Celie, as aforementioned appears accepting of her role as deserved, or inevitable alternatively, Offred preaches passive resistance taking liberation from the psychological onslaught. This can be ascertained by the description of her existence as theatrical I stand on the corner pretending I am a tree.13 Here, Walker presents to the reader the resilience of women in the face of patriarchal subjugation, and reflects the quote of Walker. Offred refuses to give up her power as can be seen from the choice of verb pretend. Suggesting, as a woman she has not changed psychologically due to her subjugation, rather she must appear changed to survive separating herself from the image expected of her, never losing sight of how she perceives herself despite the indoctrination she is subjected to. Atwood encapsulates this by the comparison to a tree, trees commentator throughout history, standing, unmoving, dependant on humans for preserving its life, e xactly like Offred. Alternatively, others readers whitethorn interpret this as, despite not being able to escape physically from its surroundings but can soar upwards above the small, damaging thoughts of man and survive unchangingly preserving its own identity, flourishing and blooming in the process. This is where we can see Offred, she conforms to the regime, but does not allow it to define her changing her self-perception, separating her physical and mental self. Offred understands she is just playing a role analogous to a tree, despite all that is going on around her she is able to stay strong and unwavering in her quest to survive. The only way she can do this is by maintaining her mental authorization and thus her power, despite the viciousness circulating around her. Consequently, Atwood presents to the reader that Offred, despite not being a conventional literary hero -submitting outwardly to the regime- is unquestionably powerful, inspiring large number in comparable re al life positions, reinforcing the idea via tree mental imagery that by maintaining psychological strength she can never be felled.As aforementioned, Walker presents Celie in accordance with the traditional representation of African-American women in literature timid, weak. Nevertheless, she undergoes a psychological transformation becoming an empowered woman, when she builds her relationship with the psychologically liberated Shug Avery. Prior to Averys arrival, Celie idolises her second to God alone. Shug becomes dependant on Celie whilst she nurses her, temporarily allowing Celie to feel equal to someone. In the process, Shug fills Celies emotional void she was deprived of, when Olivia was prevailn, Celie works on Shug like she a doll or like she Olivia.14 Walkers diction, utilising the common noun doll produces connotations of childhood and play. Therefore, its prevalence in the sentence could represent that Celie has been deprived of a childhood due to the subjugation she enc ountered, but now she has Shug as her dependant, she appears psychologically liberated. Accordingly, Walkers syntax metaphorically represents to the reader the evolution of Celies character development. This interpretation is reinforced by critic and psychologist Daniel W. Ross, Celie in the Looking ice The Desire for Selfhood in The Color Purple. Ross identifies the doll as a transitional device for girls developing in childhood, preparing for the nurturing roll that they will experience as future mothers. A modern reader may not interpret it this way as in the 21st century not all women want to grow up to have children. However, when published in 1982 this was the norm of society, especially within the context of a 1930s African-American association in the South. With Ross interpretation and cause of Walkers intentions, one can see that when people have the support to break free they do. Celie has cl earliest begun to employ some of the psychological growth stunted in her child hood, Shugs presence and later familiarity acts as a tool for Celie enabling her to continue maturing despite the subjugation targeted against her by Mr.______.In conjunction with Walker, Atwood portrays the psychological effects of subjugation on Offred as decreasingly damaging, with her resilience against the regime. The structure of Offreds internal dialogue as a palimpsest of past events embodies the idea that Gileadean attempts to indoctrinate psychologically, but has failed control their private cognitions. This basis is shown in Offreds description of the Lilies of the Valley and its previous function as a theatre, Students went there a lot women on their own, qualification up their minds We seemed to be able to choose, then.15 Atwoods analepsis represents to the reader despite the subjugation encountered in the patriarchy, a offend way of life exists, almost as a vision of higher(prenominal) reality, identically to the role God and Nettie play for Celie. Despite these fl ashbacks being excruciating for Offred, by forcing herself to remember she keeps her power and the tenacity for survival. Atwood uses these flashbacks to show Offred rebelling against the indoctrination as early as Chapter five setting a precedent for the rest of the novel, and for people in real life situations comparable to Celie. Chapter five is when Offred becomes aware of her subjugation and wants to fight it, following an encounter with Japanese tourists, We are fascinated, but besides repelled. They seem undressed. This shows immediately quickly from the start of the novel, the weak can be indoctrinated, if you are not strong and dont maintain your mental strength in the subjugating surroundings you will fall. Nevertheless, Atwood presents Offred as a macrocosm of all women with the idea that a woman always has the power to think no matter what situation she is in. We can see this with the realisation that follows Offreds quote I think I used to dress like that. That was fr eedom. NM3This quote explicitly highlights Offreds psychological development, from accepting the ideas promoted in Gilead to an outright rejection of the philosophy of the role females are vatical to undertake. The punctuation of this quote acts as an audible and visible barrier between the mind control of Gilead and the mental liberty that Offred desires. Atwood tactfully uses the colon in place of a comma to show the separation between her desire to think and the actual thoughts that she has. Atwoods presentation allows the reader to see the cognitive functions of her sense, rejecting the indoctrination that she had get at the red centre. Also, extenuating how far society has affected her that it takes time and effort to come to a judgement that she previously associated with on a material level. By opening this door, Atwood presents the idea that having make this initial rebellion, she is reclaiming her power and can move on to reject other elements of society. Shunning aunty Lydias freedom from in favour of having the freedom to, and thus we can see a decrease in the psychological effects that the authoritarianism has on her. Hence, Atwoods reinforcement of Walkers theme, when one becomes mentally liberated from subjugation they gain the metamorphic ability to transform into an unstoppable entity with the power to continue your personal insurgence.Celies psychological development, isnt dependent on Shug alone, she also learns to live alone and function as an independent woman comparable to Offred, just in a diverse society. Walker portrays Celie as conquering her subjugation gaining her freedom from the patriarchal society by taking control of her own life but not sacrificing her femininity in the process, as being strong and feminine two things often not mutually associated. Celie takes up sewing, traditionally a matricentric chore for women who are confined to a domestic setting. But, Walker takes this and turns it into an waiver of expression, c reativity and freedom as well as a stipendiary business in the process, profiting on femininity. Despite being unrealistic that an African-American girl could make this monumental shift in her life, it should be remembered that these are not explicitly real people but rather representations of a wider narrative that the authors want to convey. When this is considered the deus ex machina is powerful symbolism representing, when women are psychologically liberated from subjugation anything is possible for anyone, promoting an idea of female expressionism and psychological advances. We gain this understanding as it exemplifies Walkers own beliefs on feminism and equality as she is a firm believer that femininity doesnt mean subjugation16. Reflected by Celies deliverance from subjugation through associating with female characters and partaking in feminine hobbies. If Celie gained her psychological strength by taking on something characteristically male, with men the reader would not h ave the same veneration towards Celie, breaking from societal convention. In a society dominated by men Celies unique femininity flourishes, showing that women do not need men to succeed highlighting the brilliance of female cooperation and bonding. prof Mae G. Henderson17 reinforces that its female bonding which restores a womens sense of completeness and independency Celie exemplifies the power and potential of this bonding. Celies business is metaphorical in the need for female empowerment, its her business and female bonding that has freed her and now she is gaining success Walker reflects this in her mental state. Therefore, the business acts as an important symbol in Celies psychological development. No longer does she feel she deserves the abuse described by Proudfit, comparably to Offred shes striving to create a breach tomorrow for herself, reclaiming her mental power lost in her subjugation.Atwood concludes Offreds journey from victim to rebel through the cassette tapes. These recordings elevate to Atwoods readers that Offreds consciousness and ability to remember her life prior to Gilead enables her to live on, never relinquishing the past. Whether Offred witnessed the fall of Gilead is left ambiguous, but she proves the regime didnt take her psychological strength. The tapes metaphorically represent her ability to be heard above the government, the indoctrination of the Aunts and the fear of The Eyes all unsuccessful in their psychological subjugation of Offred. Atwood presents that the attempts to psychologically subjugate Offred was never as strong as the desire of women to have the silk hat the problems they are faced with. Similarly, Celies final letter shows the extent to which her character has unquestionable crossways the breadth of the novel. The novel ends with the realisation that although her generation is growing older, the reunion with her children and Nettie has made her feel younger than ever providing psychological closure f or the absence seizure of childhood that she has endured. Now she can appreciate the virtue of youthfulness that was stripped from her at the start of the novel. Walker opened with a quote from Alphonse, You better not never tell nobody but God. Itd kill your mammy. Readers can see that in the opening parts of the novel Celie adheres to this subjugation and her letters are never titled to anyone other than God, showing how her voice was check by her father. However, by the end of the novel Celie is talking to all things on earth and otherworldly breaking secular liminality sound God. Dear stars, Dear trees, Dear sky, Dear peoples, Dear everything. Therefore, we can wee that Walker concludes her novel similarly to Atwood with both protagonists overcoming the psychological effects of their subjugators by allowing their voices to be freed. Howbeit, where the authors differ is through the legacy their characters leave behind in their messages, both can be seen as mutually optimistic consisting of the fall of Gilead, and a imperious Celie reunited with her family, giving Celies tale a conclusive ending. But, Atwoods shows, whilst undeniable victories have been made for feminism, society is still misogynistic, ascertained from the language used by Professor Pieixoto being almost identical to that being used in Gilead. Thus, whilst presenting the idea that when one woman is freed from the subjugation the next shall follow its still the logical argument of her readers and to keep on fighting as society, despite becoming a long was is still patriarchal is not the answer reinforced by the fact that Offred rejected her mothers activism and consequently we are never sure if she enjoys liberation. The authors, via the protagonists take us on a subconscious journey through society with the first-person narrative. Allowing the reader to gain a personal insight into what the individual stories represent, and the best way that the authors can do this is through psychologi cal rating. As the brain is something we can never escape, both authors aim to educate the reader on the effects that subjugation has and how by coming together women can worst this and triumph against any challenge.Hit thisCritical evaluative applicationPresents a critical evaluative argument with sustained textual examples.Evaluates the effects of literary features with sophisticated use of concepts and terminology.Uses sophisticated structure and expression.Exhibits a critical evaluation of the ways meanings are shaped.Evaluates the effects of literary features and shows a sophisticated understanding of the writers craft.Presents a sophisticated evaluation and appreciation of consequence and influence of contextual factors.Makes sophisticated links between text and contexts.1 The Best Liberal Quotes incessantly Why the Left is Right (2004) by William P. Martin, p. 173.2 Later revealed not to be the biological father but at this stage of the novel all the reader and Celie kno w alike is that he is Pa.3 //leading to criticism from many Critics as they believe that Walker gives an unrealisitic interpretation of African-American men making them seem barbarous.4 -25 Valerie Sweeney Prince, Burnin Down the House Home in African American Literature, New York Columbia University Press, 20056 Charles L. Proudfit, Celies Search for Identity A Psychoanalytic developmental Reading of Alice Walkers The Color Purple, University of Wisconsin Press, Madison, JSTOR.7 Alice Walker, The Color Purple, Hachette UK, google books,p. 6.8 https//books.google.co.uk/books?id=jhPGJeTIIisCpg=PA182lpg=PA182dq=heroine+celiesource=blots=D1Y9ayFzjAsig=y2h-11mMOkKSFBJu_FiyItjcYxAhl=ensa=Xved=0ahUKEwjQnO2t4cfSAhWJA8AKHSULDs0Q6AEIPjAIv=onepageq=heroine%20celief=false come back to9 Charles L. Proudfit, Celies Search for Identity A Psychoanalytic Developmental Reading of Alice Walkers The Color Purple, University of Wisconsin Press, Madison, JSTOR. P. 17.1011 P. 1741213 Alice Walker, The Ha ndmaids Tale, Random House, New York. P. 30.14 Color purple pg. 42.15 HT pg. 40.16 https//www.theguardian.com/books/2013/mar/09/alice-walker-beauty-in-truth-interview women, at this point, are comfortable referring to themselves as guys, and basically erasing their femininity at every opportunity. I dont get it.17 S peaking in Tongues and Dancing DiasporaNM1AO1 Articulate informed, personal and seminal responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression. 26.7%AO2 Analyse ways in which meanings are shaped in literary texts. 26.7%AO3 Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received. 21.9%AO4 Explore connections across literary texts. 14%AO5 Explore literary texts informed by varied interpretations. 11%NM2Handmaids tale society is so oppressiveSee Libby Barton for taste titleNM3Puritan link