The Female Images of The Great Gatsby

The Great Gatsby is set in Long Island and New York City in the 1920s.It is the novella written by the American writer Scott Fitzgerald in 1925 and established Fitzgerald’s position in the history of modern American literature.However,the researches about The Great Gatsby are almost always confined to the interpretation of the American dream,writing skills and the fate of the characters analysis and the interpretation of the original language style.The papers on female images from the perspective of feminism are comparatively few.This paper firstly introduces The Great Gatsby and domestic and foreign researches on it.The first part analyzes the three main female characters in the novel in detail,the second part tells their final fates in the novel,and the third part analyzes the deep root causes of the tragic fates of these female characters from three aspects.

An Analysis of the Female Images in Theft from the Perspective of Feminism

In the field of vision of American Literature in the 20th century,Katherine Anne Porter is highly praised by many readers for her flexible artistic style,accurate and vivid description of characters,profound connotation of her works.As a female writer,Porter is good at creating female characters from a unique female perspective,and reveals the inner activities of female characters in self-development and the female individual consciousness and independent consciousness pursued by women through her works.Although she doesn’t consciously involve feminism,we can see that the heroine’s female consciousness is gradually awakening from her portrayal of female characters and her exploration of female inner world.This paper takes Porter’s short story Theft published in the 1990s as an example to analyze the feminist consciousness in her works from the perspective of feminism.

Reconstruction the Female Image From the Perspective of Eco-Feminism in A Passage Into India

Female have a natural connection with nature.Ecological feminism emphasizes the natural intimate connection between female and nature,and believes that the oppression of female and the plunder of nature are dominated by masculine and anthropocentrism that have dominated for thousands of years.Ecological feminism points out that the oppression of female is directly related to the oppression of nature.This paper analyzes the changes in the attitudes of two women,Adela and Mrs.Moore,during the trip to India from the perspective of ecological feminism,and analyzes their relationship with nature.The connections between nature and female are inextricably linked.Female and nature are like a community of destiny.Mrs.Moore and Adela reconstructed a new female image through the connections with nature.

A Study of the Influence of Female Self-concept on Elizabeth’s Garment Behavior in Pride and Prejudice

As one of the visual elements in the film, clothing will undoubtedly contribute to strengthening the visual language. Referred to the fashion design, it is conducive to shaping the character characteristics and setting off the atmosphere. We’ll explore the key role of clothing in revealing the story of heroine Elizabeth with multiple perspectives, such as dress design, collocation style and appearance mode in 1995 TV series Pride and Prejudice.

Analysis of Female Consciousness in Downton Abbey

Downton Abbey is a British-American period drama television series created by Julian Fellowes and co-produced by CarnivalFilms and Masterpiece.The series,set in the fictional Yorkshire country estate of Downton Abbey depicts the lives of the aristocraticCrawley family and their servants in the post-Edwardian era.The story unfolds with the sinking of Titanic in 1912,a time witnesses asurge of feminism.Traces of the awakening of feminism can be found in the depiction of the Crawley daughters.This paper centers uponthe awakening of feminism through analyzing the images of female characters in the series.

Woman as the Trope:Perceiving the Altering Conceptions of Chinese Modernity from Females’Posters before and during Mao’s Era

Woman as a political trope had been essential to the Chinese Communist Party’s state vision of socialist modernization after the establishment of the People’s Republic of China in 1949.The Party valued women’s labor and devoted to emancipating it from the domestic realm so that women could be mobilized to actively participate in the collective socialist construction.Associating the figure of women with modernity is not an unprecedented strategy,for during the early twentieth century the“Modern Girl”embodying the essence of Chinese modernity had already become a conspicuous cultural icon in various kinds of visual cultural products.This paper investigates the ways in which females’public visual images were consciously constructed in the two different historical periods in order to cater to particular political or commercial schemes.It argues that while those images objectively capture the reality of social modernity to some extents,they also imply the artists’imaginary of an ideal vision of modernization.By registering female figures as the center for presentation,they were inscribed with males’desires through envisioning desirable female images that would correspond to their expectations of the concreteness of modernity.