emoir to Support Theory
As a memoir, the idea of knowledge claims as it relates to College Girl, by Laura Gray-Rosendale, seems a bit more open to interpretation. But while Laura Gray-Rosendale is not claiming scientific fact through her story, she shares what she experienced and how it affected her, and, to her, that is her fact. Her claim of knowledge pertains to how her own experiences affected her and shaped her for the time period to come. Throughout the process of her story, Gray-Rosendale makes claims or states what was fact for her. She asserts that this attack was unprovoked and unexpected, that the contrast of life before and after the event is incomparable, that the event was unimaginably disturbing and scarring, that the aftermath
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Gray-Rosendale’s knowledge of her own experience is able to be legitimized as she draws on the use of some of these criteria in order to establish the standpoint with which she approaches her narrative. Laura Gray-Rosendale tells her story. With complete transparency, she reports the scene of her rape. And in her own way, she makes claims about what this means in the lives of women and what affect it had on her. And to do so, she made use of many of this criteria that many feminists use to support their knowledge, including: “(1) what forms of reasoning this knowledge claim depends on… (4) whom this knowing feminist speaks for, why and with what authority… [and] (8) what normative framework structures this process of knowledge production” (Ramazanoglu, 138). While the entire book is written as a personal account, I drawspecifically on what is perhaps the most pivotal, extreme, and intense portion of the book: the rape and attack scene and the immediately surrounding events, both leading up to the event and the immediate responses that ensued. Though the whole book functions as sufficient evidence, this particular section is written from the most extreme standpoint, thereby creating even greater necessity for the establishing of background and point of view for the
Their play opened in the year Two-Thousand, examining what occurred back on that cold evening in 1998. What triggered the killers? What are the people like in the community? The book
Days before the massacre, the thoughts of Quantrill were echoed throughout Missouri, “Vengeance is in my heart, death in my hand; blood and revenge are hammering in my head” (78). These feelings spilled out onto the streets of Lawrence as raiders executed prisoners, threatening to “kill every damn one of them” (92). Goodrich described the trampling, dismembering, and burning of the residents. Throughout the book, Goodrich alludes to locations, residences, and areas of Lawrence. The author included maps of the city, images of troop movement, and time tables to help readers better understand the chaotic scene that was Lawrence, Kansas (36, 85, 139).
The novel is divided into four distinct sections: “Letters from Prison”, “Blood of the Beast”, Prelude to Love”, and “White Woman, Black Man”. The first section details Cleaver’s early experiences and background in prison. “Blood of the Beast” illustrates Cleaver’s thoughts on race relations between black and white people and his views on Black nationalism. “Prelude to Love” consists of love letters written between Cleaver and his attorney Beverly Axelrod, which emphasizes the conflict of Cleaver’s views of white women and his actions with his attorney.
The degree of Geraldine’s injuries serves as a wake-up call, a chilling reminder of the grotesque violence Indigenous women face when they escape their attackers. Erdrich creates a tense situation, prompting thoughts of what could have happened to Geraldine had she not evaded her attacker. Unlike the Indigenous sufferers of physical violence in Source A, Whitey’s girlfriend Sonja, a white woman, although also a victim of physical and emotional abuse, never experiences an equal extent of violence. It is true that more than just Indigenous women face violence. Violence against women in and of itself is an epidemic around the world.
The characters, especially men, in Courage Under Fire and Boys Don’t Cry do not accept or respect the characters who have different genders. They believe that they are better than the other characters, just because they are men. The men in Courage Under Fire either see Captain Karen Emma Walden as a hero and someone who deserves the Congressional Medal of Honor, or as someone who does not deserve the award just because she is a woman. “In the old days, strong sturdy women were almost admired” (Silko, 66), this quote from Yellow Woman and the Beauty of the Spirit show that just like the strong Laguna Pueblo women are admired, Captain Walden is also admired by multiple men in the film.
I could have been any one of the women in this book. They were treated l like they didn’t exist, their opinions and feelings weren’t valued, their freedom and rights were taken away from them. Hundreds of women were falsely accused of nonviolent crimes and never got the forensic help they needed. Hundreds of women were given the death penalty and life in prison for little crimes, like writing fake checks to Toys R Us for one hundred and fifty dollars. These women looked to the justice system to be there for them.
“Women are 51 percent of humankind. Empowering them will change everything” said Isabel Allende during her presentation, “Tales of Passion”, at a TEDTALK conference. Allende, an author, uses storytelling to depict stories of women across the world being abused and suppressed by men; in order, to educate her audience on how women are less empowered. As a speaker, she effectively grabbed the audience attention by asking one question: “What is truer than truth?”. In a split second before she reveals her answer: “Answer:
The vividness and lucidity of the details Welty uses to describe memories of her mother, convey the value and intensity of those experiences and
When questioned about rape, especially most women, they might think or even picture a stranger coming out of a dark place to assault someone. But in reality there’s more to it. According to the University of the Sciences in Philadelphia, “About half of all people who are raped know the person who attacked them. This is known as date rape — forced sex that can happen not only on a date, but also somewhere like a party with someone the victim may know, like, or even be interested in.” Furthermore, social critic and feminist, Camille Paglia, has been discussing this persisting issue about date rape with a personal stance that many women may disagree with.
The viewpoint that a creator uses to recount a story dramatically affects how the occasions of verbally communicated story are seen, and Mark Bowden shifts them until there are couple of points of view left to optate from. By recounting a story like this, he can demonstrate how both sides of the contention, either Somali or American, see the occasions of 1993, and how they were separately influenced. Bowden liberatingly shifts the point of view amongst parts, and the peruser is made to experience how the American invasion of Mogadishu transmutes the lives of the general population of Somali in a more straightforward manner, in lieu of just aurally seeing about them in a post-fight report. His authority of point of view enables the account,
[7] In his book, “Missoula,” John Krakauer analyses the issue of rape in the college town of Missoula. Krakauer begins his work by quoting the article False Allegations of Sexual Assault: Rape is unique. No other violent crime is so fraught with controversy, so enmeshed in dispute and in the politics of gender and sexuality… And within the domain of rape, the most highly charged area of debate concerns the issue of false allegations. For centuries, it has been asserted and assumed that women “cry rape,” that a large proportion of rape allegations are maliciously concocted for purposes of revenge or other motives.
The climax of this story is a rape trial that involves a Negro, Tom Robinson, and a white woman, Mayella Ewell. In the court’s eyes’ her power is clear, but is she that powerful? Because of her vulnerability as a woman and a very low-class status, she’s powerless, but her privilege as a white person in a racist society is very powerful. Mayella is powerless because of her gender. In the trial, it’s revealed that Mayella is physically, verbally, and sexually abused by her father.
With the inclusion of a multitude of perspectives, experiences, and emotions outside her own, her expertise heightens allowing her to be more respected as an influential writer on the subject at
The promise of violence builds up as the next stage direction sets up “[a] dangerous few seconds as the men stand staring at the boy.” (57). Here, Fugard emphasizes violence and creates the climax of tension. Sam and Willie are two black men whom Hally degrades. They could hurt Hally as retribution; however, “Willie turns away, shaking his head”, while Sam’s “violence ebb[es] away into defeat as quickly as it flooded” (57).
INTRO - "An Act of Vengeance" by Isabel Allende is a latin-american piece of literature. - According to feminists critics, literature adapted to this patriarchal society we have, and the feminist author, Isabel Allende, has exposed how men and women are in the society through her characters Dulce Rosa Orellano and Tadeo Cespedes. - The feminism theory is the outgrowth of the general movement to empower women worldwide. It recognizes and critiques male supremacy combined with the efforts to change this patriarchic view.