Women in 'The Color Crimson' and 'The Handmaid's Tale'

[NM1]"The most common way people give up their vitality is by thinking they don't have any. "[1] [NM2]This estimate from Alice Walker encapsulates the premise of her book 'The Color Crimson' and Margaret Atwood's 'The Handmaid's Tale. ' Both books aim to inform and enlighten their audiences to the mental effects of female subjugation. Walker and Atwood utilise an array of literary techniques, and the energy of the feminine first-person narrative; illuminating to all viewers the victimisation and suppression of women in patriarchal societies and homeowners. Walker's price is reflective of the protagonists in both books; only when they think they haven't any vitality, is when they are truly powerless.

This theme can be ascertained from the opening epistles of 'The Color Purple', the reader is immediately lambasted with the internal ramifications of persecution on the protagonist, Celie, at the hands of her father[2], Alphonse. Walker's deployment of the first-person epistolary structure subconsciously precipitates for the reader becoming Celie's mental muse. Walker pushes us to see Celie's undistorted feelings in the truest form possible as 'Celie' writes her words for God, not an audience, allowing the letters to reflect her emotions, unplagued by an America burdened by institutional racism and patriarchy. Thus, the words highlight the mental health effects of sexual and societal subjugation, undistorted by the surroundings that submerges her. Walker presents African-American homes[3] as parallel to white households, with the dominating male asserting electric power over the ladies and children, much like how the African-American's were cared for by the racist white modern culture of 1930s America. [4] Walker adheres to the traditional literary representation of African-American women[5] in the books inauguration, representing Walker's protagonist, as a sufferer of her modern culture and environment. Psychologist Charles L. Proudfit, publicized, 'Celie's Seek out Identity: A Psychoanalytic Developmental Reading of Alice Walker'sThe Color Purple. '[6], labeling Celie as having gone through the typical way of thinking a child abuse sufferer. Celie's first letter opens: "Dear God, I am fourteen years old. I am I've always been a good lady. "[7] Celie crosses out "I am", changing the auxiliary verb to "have", self-justifying her subjugation[8], believing the abuse is deserved and her treatment is justified[9]. The auxiliary device is jarring to the reader as Celie thinks only God will see the words, yet she doesn't believe that she actually is a "good girl", despite being the most divine personality in the book, epitomised by Walker naming her Celie, a derivative of 'caelum'meaning 'heaven' in Latin. The crossing out "I am" reaffirms Proudfit's examination, she no longer believes that she actually is a "good girl", but instead a tainted stain on the fabric of society; reiterated by the usage of days gone by tense, surrendering the prior image she possessed of herself. Walker's demonstration of Celie shows that she wholeheartedly is convinced that she is deserving of the maltreatment. Celie does not respond with trend to her subjugation in the beginning, bowing to the agonistic authority of her 'Pa' stating, "sometimes it bees because of this. [10]" Eventually, validating the misuse she is acquiring by crossing out her past self-image, swapping it with the new solemn view point. The understated characteristics to the mentality change highlights the damaging psychological effects of the subjugation of women, an obvious reference to Walker's driving estimate. Celie thinks she's no power; but in truth, Celie has more electric power than anyone truly recognizes. Walker includes this showing that only once a woman provides up her electricity is when she actually is actually powerless, illuminated through the composition and deployment of specific terms devices evoking a poignant response from both modern and contextual followers.

Comparably, in Margaret Atwood's, 'The Handmaid's Tale', the 'women' are subjected to incomprehensible oppression. Within the dystopic, fundamentalist administration, Gilead, the feminine heroes are stripped of the individualism that truly makes them women, their identities quashed and slice to match the roles the federal government established to continue their patriarchal agenda. Atwood presents the abrasiveness of Gilead as a microcosm of each day population in conjuncture with 'The Color Purple' being consultant of domestic life. Atwood's heroine, a lady allocated as 'Offred', had the onerous burden to be a Handmaid; given as a surrogate to elitist, Serena and Fred Delight (alias, The Commander. ) In her location, Offred lost all freedoms she loved pre-Gilead, substituted with set dishes, activities so that a prerequisite of her role prearranged sexual activity sessions. Despite displaying the dreadful conditions of Gilead, allegorically this can be interpreted as a public commentary from Atwood, representing patriarchal abusive human relationships. In these 'associations', the misogynistic physique controls every facet of life with maltreatment not only physical. Instead, impacting on every part of the recipient's life, entailing financial and most destructively, mental maltreatment, with real and Gileadean world modelled around the theory that, "A rat in a maze is absolve to go anywhere, as long as it continues inside the maze"[11]. Symbolized further by the prearranged ordinances of the Handmaids, akin to Celie, the Handmaids and the individuals caught in real abusive relationships they cannot evade. Correspondingly, in many abusive human relationships the recipients commence to think what they are facing is 'normal' per se, rather than preventing, recognizing their suffrage as something to be likely; represented at first in both books. Consequently, relinquishing all vitality that they performed reinforcing the thought of Alice Walker, emotional subjugation stretches into every single part in our lives, no matter where you decide to go, you can never evade your own brain. Prior to Gilead establishment, visitors see Offred figure as a rumbustious soul, breaking clear of societal norms, observed in Atwood's analeptic digressions from her unconventional relationship, get together Luke at cheap hotels for intimacy. However, when delivered to Gilead she forgets the energy that she supports, her perseverant psychological point out is disintegrating with the risk of 'the Colonies'[12] reinforcing to the reader the theory Offred must emotionally shackle herself adhere to the limitations of life established. Reflecting to the audience that authoritarian subjugation gets the power to inflict a great deal fear that we strip ourselves of the desire to combat for the liberty and liberty that we know is right. Highlighting the contrast between your protagonists, Offred is aware of her subjugation and is unable to rebel against it because of the potential backlash. Contrastingly, Celie, as aforementioned looks accepting of her role as deserved, or inevitable; otherwise, Offred preaches passive resistance taking liberation from the mental onslaught. This is ascertained by the explanation of her lifestyle as theatrical: 'I stand on the nook pretending I am a tree. '[13] Here, Walker presents to the reader the resilience of women in the facial skin of patriarchal subjugation, and shows the price of Walker. Offred refuses to quit her electric power as can be seen from the choice of verb 'pretend. ' Suggesting, as a woman she's not evolved psychologically credited to her subjugation, somewhat she must show up changed to endure; separating herself from the image expected of her, never losing look of how she perceives herself despite the indoctrination she actually is subjected to. Atwood encapsulates this by the comparability to a tree, trees perceiver throughout history, standing, unmoving, determined by humans for conserving its life, exactly like Offred. Otherwise, others readers may interpret this as, despite not being able to escape bodily from its surroundings but can soar up-wards above the tiny, damaging thoughts of man; and make it through unchangingly preserving its personality, flourishing and blooming along the way. This is where we can see Offred, she conforms to the program, but will not let it determine her changing her self-perception, separating her physical and mental do it yourself. Offred comprehends she is just playing a job; analogous to a tree, despite all those things is certainly going on around her she actually is able to stay strong and unwavering in her search to survive. The only way she can do this is by retaining her mental strength and therefore her power, regardless of the depravity circulating around her. Subsequently, Atwood presents to the reader that Offred, despite not being truly a classic literary hero -submitting outwardly to the regime- is unquestionably powerful, inspiring people in comparable true to life positions, reinforcing the theory via tree imagery that by preserving psychological durability she can never be felled.

As aforementioned, Walker presents Celie in accordance with the traditional representation of African-American women in literature: timid, poor. Nevertheless, she goes through a psychological change becoming an empowered female, when she develops her romantic relationship with the psychologically liberated Shug Avery. Prior to Avery's appearance, Celie idolises her second to God by itself. Shug becomes determined by Celie whilst she nurses her, briefly allowing Celie to feel add up to someone. In the process, Shug fills Celie's psychological void she was deprived of, when Olivia was used, Celie works on Shug "like she a doll or like she Olivia. "[14] Walker's diction, using the common noun 'doll' produces connotations of years as a child and play. Therefore, its prevalence in the word could symbolize that Celie has been deprived of the childhood because of the subjugation she encountered, but now she's Shug as her dependant, she appears psychologically liberated. Appropriately, Walker's syntax metaphorically presents to the audience the progression of Celie's personality development. This interpretation is reinforced by critic and psychologist Daniel W. Ross', 'Celie in the Looking A glass: The Desire for Selfhood in THE COLOUR Purple. ' Ross recognizes the doll as a transitional device for women developing in youth, 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 absolutely all women want to grow up to acquire children. However, when posted in 1982 this is typical of population, especially within the context of any 1930s African-American community in the South. With Ross' interpretation and knowledge of Walker's intentions, you can see that when people have the support to liberate they actually. Celie has obviously begun to hire some of the psychological expansion stunted in her childhood, Shug's existence and later friendship acts as a tool for Celie allowing her to keep maturing regardless of the subjugation targeted against her by Mr. ______.

In conjunction with Walker, Atwood portrays the internal effects of subjugation on Offred as decreasingly harmful, with her resilience resistant to the regime. The structure of Offred's inside dialogue as a palimpsest of past events embodies the idea that Gileadean endeavors to indoctrinate psychologically, but has failed control their private cognitions. This theme is shown in Offred's explanation of the 'Lilies of the Valley' and its own previous work as a theater, "Students gone there a whole lot women independently, creating their brains We seemed to be able to choose, then. "[15] Atwood's analepsis represents to the audience regardless of the subjugation experienced in the patriarchy, an improved way of life is present, almost as a eye-sight of higher simple fact, identically to the role God and Nettie play for Celie. Despite these flashbacks being unpleasant for Offred, by forcing herself to remember she continues her electricity and the tenacity for survival. Atwood uses these flashbacks showing Offred rebelling from the indoctrination as early as Chapter five arranging a precedent for the rest of the novel, and for people in real life situations much like Celie. Section five is when Offred becomes aware of her subjugation and wishes to combat it, pursuing an face with Japanese travellers, "We are fascinated, but also repelled. They seem to be undressed. " This shows immediately quickly right away of the novel, the weak can be indoctrinated, if you aren't strong and do not sustain your mental power in the subjugating area you will show up. Nevertheless, Atwood reveals Offred as a macrocosm of all women with the theory that a female always gets the power to think regardless of what situation she is in. We can see this with the realisation that follows Offred's offer "I think: I used to dress like this. That was independence. " [NM3]This quote explicitly highlights Offred's subconscious development, from receiving the ideas advertised in Gilead to a outright rejection of the school of thought of the role females are supposed to carry out. The punctuation of this quote operates as an audible and obvious barrier between your brain control of Gilead and the mental liberty that Offred dreams. Atwood tactfully uses the intestines instead of a comma to show the separation between her desire to believe and the real thoughts that she has. Atwood's display allows the reader to start to see the cognitive functions of her brain, rejecting the indoctrination that she got received at the red centre. Also, extenuating how far society has damaged her that it requires commitment to come to a judgement that she previously associated with on the materials level. By opening this door, Atwood reveals the theory that having made this primary rebellion, she is reclaiming her electricity and can move to reject other elements of world. Shunning Aunt Lydia's 'liberty from' in favour of getting the 'freedom to', and so we can easily see a reduction in the psychological effects that the authoritarianism has on her. Hence, Atwood's support of Walker's theme, when one becomes emotionally liberated from subjugation they gain the metamorphic potential to change into an unstoppable entity with the power to continue your individual insurgence.

Celie's internal development, isn't reliant on Shug by itself, she also learns to reside alone and work as an independent female; comparable to Offred, just in another type of population. Walker portrays Celie as conquering her subjugation attaining her flexibility from the patriarchal society by taking control of her own life but not restricting her femininity along the way, to be strong and feminine two things often not mutually associated. Celie occupies sewing, typically a matriarchal chore for females who are restricted to a home setting up. But, Walker takes this and becomes it into an wall socket of expression, creative imagination and freedom and a lucrative business along the way, profiting on femininity. Despite being unrealistic an African-American girl will make this monumental transfer in her life, it ought to be remembered these aren't explicitly 'real' people but instead representations of your wider narrative that the creators want to mention. When this is definitely the deus ex machina is powerful symbolism representing, when women are psychologically liberated from subjugation anything can be done for anyone, promoting an idea of feminine expressionism and emotional innovations. We gain this understanding as it exemplifies Walker's own values on feminism and equality as she actually is a firm believer that femininity doesn't imply subjugation[16]. Reflected by Celie's deliverance from subjugation through associating with feminine character types and partaking in womanly interests. If Celie gained her emotional strength by taking on something characteristically male, with men the audience would not have the same veneration towards Celie, breaking from societal convention. In the culture dominated by men Celie's unique femininity flourishes, showing that women don't need men to achieve success highlighting the value of female cooperation and bonding. Teacher Mae G. Henderson[17] reinforces that its "feminine bonding which restores a women's sense of completeness and freedom [Celie] exemplifies the power and potential of the bonding. " Celie's business is metaphorical in the need for feminine empowerment, it's her business and female bonding that has freed her and now she is attaining success Walker reflects this in her state of mind. Therefore, the business serves as an important image in Celie's psychological development. No longer will she feel she deserves the misuse defined by Proudfit, comparably to Offred she's trying to create a much better tomorrow for herself, reclaiming her mental vitality lost in her subjugation.

Atwood concludes Offred's trip from sufferer to rebel through the cassette tapes. These recordings persuade Atwood's visitors that Offred's consciousness and ability to remember her life prior to Gilead allows her to go on, never relinquishing days gone by. Whether Offred observed nov Gilead is still left ambiguous, but she demonstrates the plan didn't take her mental durability. The tapes metaphorically signify her capacity to be read above the federal government, the indoctrination of the Aunts and the fear of 'The Sight' all unsuccessful in their mental health subjugation of Offred. Atwood reveals that the efforts to psychologically subjugate Offred was not as strong as the desire of women to defeat the problems they are faced with. Similarly, Celie's final notice shows the extent to which her persona has developed across the breadth of the book. The novel ends with the realisation that although her technology is growing older, the reunion with her children and Nettie has made her feel younger than ever before; providing internal closure for the absence of childhood that she has endured. Now she can appreciate the virtue of youthfulness that was stripped from her in the beginning of the novel. Walker opened with a quotation from Alphonse, "You do not never tell nobody but God. It'd wipe out your mammy. " Visitors can easily see that in the beginning parts of the novel Celie adheres to the subjugation and her characters are never entitled to anyone other than God, exhibiting how her tone of voice was suppressed by her 'daddy'. However, by the finish of the book Celie is speaking with all things on the planet and otherworldly breaking secular liminality "Dear God. Dear celebrities, Dear trees and shrubs, Dear sky, Dear peoples, Dear everything. " Therefore, we can wee that Walker concludes her book much like Atwood; with both protagonists conquering the psychological ramifications of their subjugators by allowing their voices to be freed. Howbeit, where in fact the authors vary is through the legacy their heroes leave in back of in their communications, both is seen as mutually positive consisting of nov Gilead, and a jubilant Celie reunited with her family, offering Celie's tale a conclusive stopping. But, Atwood's shows, whilst undeniable victories have been made for feminism, society continues to be misogynistic, ascertained from the dialect used by Teacher Pieixoto being almost identical to that being found in Gilead. Thus, whilst delivering the idea that when one woman is freed from the subjugation another shall follow; it's still the work of her visitors and to continue fighting as modern culture, despite learning to be a long was continues to be patriarchal is not the response reinforced by the fact that Offred declined her mother's activism and therefore we are never sure if she enjoys liberation. The creators, via the protagonists take us on a subconscious journey through contemporary society with the first-person narrative. Allowing the reader to gain a personal information into what the average person stories signify, and the simplest way that the authors can do this is through subconscious evaluation. As the mind is something we can't ever escape, both writers aim to teach the reader on the effects that subjugation has and how by coming mutually; women can beat this and triumph against any challenge.

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Critical evaluative application

  • Presents a crucial evaluative debate with sustained textual samples.
  • Evaluates the consequences of literary features with advanced use of principles and terminology.
  • Uses sophisticated framework and expression.
  • Exhibits a crucial analysis of the ways meanings are shaped.
  • Evaluates the effects of literary features and shows a superior understanding of the writer's art.
  • Presents a sophisticated evaluation and gratitude of relevance and affect of contextual factors.
  • Makes superior links between text and contexts.

[1] The Best Liberal Prices Ever : Why the Still left is Right (2004) by William P. Martin, p. 173.

[2] Later unveiled never to be the biological father but at this time of the novel all the audience and Celie know similarly is that he is 'Pa. '

[3] //leading to criticism from many Critics as they think that Walker provides an unrealisitic interpretation of African-American men making them seem to be barbarous.

[4] -2

[5] Valerie Sweeney Prince, Burnin' Down the House: Home in DARK-COLORED Literature, New York: Columbia College or university Press, 2005

[6] Charles L. Proudfit, Celie's Search for Identification: A Psychoanalytic Developmental Reading of Alice Walker's "THE COLOUR Purple", University of Wisconsin Press, Madison, JSTOR.

[7] Alice Walker, The Color Crimson, Hachette UK, google catalogs, p. 6.

[8] https://books. yahoo. co. uk/books?id=jhPGJeTIIisC&pg=PA182&lpg=PA182&dq=heroine+celie&source=bl&ots=D1Y9ayFzjA&sig=y2h-11mMOkKSFBJu_FiyItjcYxA&hl=en&sa=X&ved=0ahUKEwjQnO2t4cfSAhWJA8AKHSULDs0Q6AEIPjAI#v=onepage&q=heroine%20celie&f=false keep coming back to

[9] Charles L. Proudfit, Celie's Search for Identity: A Psychoanalytic Developmental Reading of Alice Walker's "The Color Purple", College or university of Wisconsin Press, Madison, JSTOR. P. 17.

[10]

[11] P. 174

[12]

[13] Alice Walker, The Handmaids Story, 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 discussing themselves as guys, and in essence erasing their femininity at every opportunity. I don't get it. "

[17] S peaking in Tongues and Dance Diaspora

[NM1]AO1: Articulate prepared, personal and creative replies to literary text messages, using associated principles and terminology, and coherent, correct written appearance. 26. 7%

AO2: Analyse ways that meanings are shaped in literary texts. 26. 7%

AO3: Demonstrate understanding of the importance and influence of the contexts where literary texts are written and received. 21. 9%

AO4: Explore contacts across literary texts. 14%

AO5: Explore literary text messages prepared by different interpretations. 11%

[NM2]Handmaids tale society is so oppressive

See Libby Barton for essay title

[NM3]Puritan link

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