Yale-New Haven Teachers Institute Female Stereotypes in Literature (With a Focus on Latin American Writers)

by D. Jill Savitt

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Contents of Curriculum Unit 82.05.0 ! Narrative Resources for Students and Teachers Notes iblio!ra"hy "o #ui$e %ntry That men view culture and society as male is understandable# !iven that the male sector of the "o"ulation need not thin$ about the worlds !ender# as there is no visible difference or conflict between what a men is about and how the world is su""osed to run. That women also view the world from masculine eyes is a sad but unfortunate fact. The difficulty in achievin! chan!e in this "erce"tion lies in its subtlety. It is easy enou!h to "oint out the discre"ancy between a male and females "ay for the same %ob. It is a decidedly more laborious tas$ to try and e&"lain why a man and a women doin! two different %obs receivin! dis"arate wa!es may also be a reflection of !ender-"roduced ine'uality. (hy is the woman wor$in! at a %ob that "ays consistently lower wa!es then the mans %ob does) To reveal the underlyin! truths# the ri!ht 'uestions must be as$ed. *ale is the norm+ humanity is viewed as masculine. ,n the one hand# what male and female have come to mean at the "resent time is chan!in! our definition of society. These chan!in! roles and im"ressions are 'uite visible in what we read# in what is bein! written. (hat is fascinatin! to note is the wide ran!e of male roles# everchan!in!# and the steadiness with which female literary characters adhere to the classic modes. If in fact literature is a reflection of our reality# that des"ite individual "erce"tions it mirrors social manners# then womens chan!in! roles# be they social# "olitical or emotional# in life and literature# must not be i!nored. ut# if in fact society is male# then literature must also be male. Thou!h writin!s about females by males may be sus"ect# all literature# even womens writin!s about women may also need to be re-read. -s Susan .o""elman /ornillon states in her essay# The 0iction of 0iction# (omen internali1e the male idea of the feminine and create themselves in the sha"e of that idea.2 ecause of this re-sha"in! many women writers have strayed little from the !iven stereoty"es of the female character that so "la!ue literature. 0rom the Dic$ and Jane readin! series that we shall loo$ at later# to the classics# women have held ti!htly to several role models as their !uides. (hile male characters have been !iven free rei!n to be and become what they li$e# even to fail if they choose# women characters have been written to "lay and re-"lay the same themes# limited as they are. Thus# when the female character deviates from the norm# from these strin!ent stereoty"es# more attention is then called to the "urity of what the female character is su""osed to be. The narrowness# the confinin!

nature of the womens stereoty"es in literature is as nullifyin! as are the ima!ined strictures on her in real life. *en are encoura!ed to become men in both novels and life. (omen are forced to rise above bein! a woman. (omen strive to be more man-li$e and are condemned when they ta$e on male characteristicsa!ression# ambition# etc. 3nfortunately# most of what our students read in school "er"etuates the se&ist myths that "revail in our society. Year after year the students are "resented with material that inculcates the malesu"erior4female-inferior tenet. No 'uestions are as$ed. 5verythin! is acce"ted. It is horrifyin! to me to be faced with a blatant se&ual stereoty"e in our boo$s and to have no student refute its inherent se&ist undertone. ,n the other hand# the subtlety with which the new non-se&ist te&ts "resent their material ma$es the sur"rise-clic$6 effectof course a woman can be a scientistdifficult for the ine&"erienced student to "erceive. Te&ts with se&ist views of men and women are much more available than are the more well-thou!ht out non-se&ist te&ts. ,ne can wor$ within the framewor$ of a ne!ative role-model and study it "recisely for what it says about the nature of stereoty"es. ut# one must be able to reco!ni1e these stereoty"es and understand what the characters and author are tryin! to say. Thus# students must he e'ui""ed with some very "ractical $nowled!e of what is in effect# a mani"ulative device. 5ven before our students reach a literary readin! level# they are bombarded with se&ist ima!es from the "a!es of their te&tboo$s and "rimers. -n analysis was done by a !rou" of researchers# (omen in (ords and Ima!es# with the e&"ressed aim of eliminatiny se&-role stereoty"in! in school readers. This analysis# Dick and Jane as Victims 7Sex Stereotyping in Childrens Readers8# "oints out the enormous lacuna between boys and !irls in res"ect to their "otential as men and women. The restraints "laced on !irls and women are vividly de"icted in most "rimers. what comes throu!h so often is the messa!e of what women4men should and shouldnt be.
lf Janey does become a doctor# she will feel !uilty at not bein! a mommy# or as !ood a mommy as she ou!ht to be. Johnny will not feel at all !uilty about bein! a doctor# whether he is a Daddy or not.9

,u!ht to and should are 'uite !uilt-ridden terms# too often shrouded in a womans selfesteem. (hat is im"licit here are sacrifices and selflessness as an inte!ral "art of a womans ma$e-u". In this revealin! study of what !oes on in school boo$s# it was found that certain "ositive traits are manifested much more often in the boys. These traits include: in!enuity# creativity# bravery# elevates the men who love her. She# as a literary fi!ure# will most certainly be the love ob%ect of some !rand "assion# usually adulterous or tra!ically finite. The Mother 7Wife8 role differs from the motherly ;ir!in role in several ways. The Mother 7Wife8# or the flesh and bones mother# starts out as all !ood# as the "rovider of life# a nurturer. Soon# however# her offs"rin! learn that she can also deny them her !ifts. Thus be!ins an arduous love-hate relationshi". (hen *other is bein! an!elic# accordin! to 0er!uson# she is mee$ and submissive. (hen she is an!ry or devilish# she becomes a shrew# a na! or witch-li$e. The writers of Dick and Jane as Victims "oint out that in the ma%ority of school boo$s#

wives and mothers are not only dull+ sometimes they are actually un"leasant6 ,ne mother chases the children with a rollin! "in and a wife na!s her husband until he misses his three wishes. *om s"an$s# yells# !ets mad. She hates fun and s"ontaneity almost as much as she hates dust.<

This Mother/7Wife8 role carries with it a host of schi1oid tendencies. The "ure idea of wifeliness smac$s of submission# inferiority and a willin!ness to "lease. ,n the other side of this "assive woman is the wife who dominates her s"ouse and belittles him. She is the $ey to her husbands drive and failure who also threatens the very core of his manliness. -t the instant the wife tries to liberate herself from her submissive role# she immediately becomes a domineerin! character# nasty and un$ind. (ho doesnt remember the childhood rhyme that concludes with when she was !ood she was very# very !oodand when she was bad she was horrid) 5ven at her worst# the Mother/7Wife8 is heads above the role of the Old Maid# for the Mother/Wife has achieved a modicum of res"ectability by bein! married. The Old Maid in literature carries a ne!ative connotation. She is the ultimate in re%ection. She is almost always "hysically unattractive 7what else) since a woman is valued for her beauty8# and is seen by others as either cra1y or "itiable. She is sometimes seen as a maiden aunt ty"e where she falls in and out of the *other 7;ir!inal# of course8 role of bein! a surro!ate "arent to some stranded niece or ne"hew. She most often ree$s of frustrated motherhood and always of frustrated se&uality. The ,ld *aid is ase&ual at best. ecause she didnt choose her role# she is usually characteri1ed by e&treme "assivity. She may manifest !reat reli!iousity or "iety# but not s"irituality. To what end these classifications) *y students are adolescents "erserverance# achievement# adventurousness# curiosity# stren!th# heroism# ima!ination and mobility. The few 'ualities most often alloted to the !irls are confinin! ones: "assivity# incom"etence# fearfulness# docility and de"endence. The !irls are "ictured as com"liant and altruistic to a faulta !ood audience for mens wor$. The study shows that the !irls are usually drawn as smaller# stunted almost# which feeds directly into the confinin! nature of a womans role. The bi!!est fault seems to be the !eneral lac$ of selfhood that is e&"ressed by these !irls4women. The omission of issues of conscience for females reinforces 0reuds stereoty"es of women as creatures who have underdevelo"ed e!os.< The subliminal messa!e in these "rimers is that !irls barely e&ist as real "eo"le while boys are multidimensional. How can this conce"tion of male4female not effect the social relationshi"s of all human bein!s) The stereoty"es of womens roles in more literary wor$s are often "receded by a view of woman and the traits# more !enerali1ed# which she embodies. In *ary 5llmanns Thinking !o"t Women# the author s"ea$s of certain characteristics associated with women that hel" form the archety"e of what role a female character may ta$e in a literary wor$. These elements of womanhood !reatly reduce the "ossibility of role develo"ment for the female character. 5llmann describes the way women are seen as formlessi.e. a soft body is a soft mind. This can only lead one to believe that a womans

intellect is inferior to the males clarity and "recision of thou!ht. 5llmann writes of women as passi#e# as unable to move to action# in direct o""osition to a mans activity and a!ression. (omen are also described in terms of insta!ility# the hysterical female. $iety is another attribute so characteristic of womens stereoty"es . This idea of "iety can be seen over and over a!ain in the characters women so often "ortray in literature# as in the ;ir!in or the *other. 5llmann also s"ea$s of the spirit"ality of womenthe way women ennoble their men. This ennoblin! of men comes throu!h curiously in not only a s"iritual way# but also when the woman is seen as a seductress or !oddess. The two traits that most define the role of women in literature for me# and to which 5llmann so elo'uently s"ea$s are confinement and compliancy. /onfinement can be seen as the e&treme o""osite of what is strictly masculine in literatureran!e of character. /onfinement allows women to thrive in innocence# "urity and seclusionin smallness. The woman who comes to life in the $itchen is symbolic of the narrowness of womens roles. The dullness im"licit in the limits of women characters can only lead to tedium for the character and the reader. Compliancy in women ta$es various forms accordin! to 5llmann. (omen# are com"liant as submissive dau!hters and wives+ as mothers or whoresthey may all share the same sense of submission. These broad cate!ories that 5llmann reveals for us are "recursors for the more formali1ed literary stereoty"es that we will be!in to e&amine.= The list of stereoty"es of womens roles in literature may include many sub-cate!ories with e&otic names. Yet# the most oftrecurrin! are the most basic. Rarely are the stereoty"es heroic. (omen have somehow been e&cluded from the real stuff that ma$es heroes tic$. -s /arol >earson and .atherine >o"e state in Who am % This Time): &emale $ortraits in 'ritish and merican (iterat"re#
>atriarchal society views women essentially as su""ortin! characters in the drama of life. *en chan!e the world# and women hel" them. This assum"tion has led to an inaccurate literary terminolo!y and criticism.?

The authors "oint out that althou!h male and female archety"es in literature 7"re-heroes# if you will8# start off at the same "oint# very im"ortant "articulars "reclude similar resolutions. These details that influence character develo"ment are often caused by the diver!ent roles and o""ortunities afforded to the se&es. The roles of women in literature may be seen as ca!essmall and unnaturally restrictin!. -nd as birds in ca!es# if one fla"s her win!s too lon! and hard a!ainst the steel bars# the win!s will brea$. 0ew women characters are !iven the stren!th or coura!e to resist these limits. (omen are $e"t innocent and i!norant# are "rotected from all that may threaten the sanctity and "urity of what the world 7male8# wants a women to be. -nythin! that "unctures the womans stereoty"e also invades the males sacred territory. If a woman is not what she is su""osed to bewhat then# must a man do to to $ee" u" with her) Since women are "revented from bein! heroes# it is only fittin! that men will overdo their own heroic role. - woman is seen as eternally waitin! to be saved# constantly de"endent# a victim# usually in the name of love. The list of female stereoty"es and sub-ty"es is lon! and varied on the surface# but it can be reduced to a basic core !rou". (hether the innocent in!enue is thusly named or called a modest maiden# she is sure to be an outshoot of The Virgin. Tem"tress# !oddess or seductress# shes still born of The Whore/&allen Woman. e she a schoolmarm or s"inster# shes still $in to

the Old Maid. It is interestin! to note %ust where these roles overla". The ;ir!in tem"ted by earthy deli!hts 7man8# can 'uic$ly become the (hore. It is also curious that the stereoty"es for females a""ear as diametrically o""osed "airsvir!in4whore# saint4devil# mom4old maid. There is no netherland termthus# no room to err. In %mages of Women in (iterat"re by *ary -nne 0er!uson# the author s"ea$s of several stereoty"es: the mother# the wife# the mistress4seductress# the se&-ob%ect# the old maid# the educated woman# and the lady. She !oes on to delineate and brea$down these terms to include the submissive wife# the dominatin! wife and even the new-formthe liberated woman.@ I have chosen to e&"lore the followin! stereoty"es in this unit due to their "revalance in literature and to their a""eal to the students. These are the Virgin# the Sed"ctress)oddess# the Mother 7Wife8 and the Old Maid. The Virgin# called the !ood an!el in >o"e and >earsons The &emale *ero in merican and 'ritish (iterat"re# is always chaste# innocent and i!norant of wordly thin!s. This naturally im"oses strict limits on her mobility# $nowled!e and curiosity. She is "assive and worshi""ed. The role of ;ir!in when it s"ills into the *other role is life !ivin!. The ;ir!in stereoty"e allows the female to always remain a !irl# to never have to ac$nowled!e her se&uality. She has the ability# due to her "ro&imity to saintliness# to cleanse# heal and save. Thou!h she "ossess not the sensuality of carnal $nowled!e# men adore her. -s 0er!uson notes# she brin!s life and she nurtures it. She is somewhat li$e Aittle ,r"han -nnie who never !rows u"# whose fairness and sweetness are revered by all. She is safe. (hen the ;ir!in ty"e fails in her innocence# she may well fall into the ne&t stereoty"e# the Sed"ctress/)oddess or &allen Woman. The fallen or ruined woman may or may not be e&actly the Sed"ctress )oddess ty"e. She may have fallen "rey to the "ower of some man. Her cul"ability may be resolved if in fact she was of virtuous character or vir!inal.
Se&ual trans!ression loses its overwhelmin! character as a wron! or a mista$e when the "ersons have virtues of a com"ellin! sort or s"irtual !oodness# or the !randeur of !oodness.B

However# if she as$ed for the betrayal# if she is seen to have caused the man to fall to her beauty# then she is in fact seen as evil# as the "er"ertrator of the trans!ression. In fact#
Novelists are often rather hard on those seduced and betrayed !irls who are bereft of heroic 'uality+ without a transcendent "urity of some de!ree to free them from rebu$e and condescension# the !irls cho$e in a

tan!le of wea$ness# se&uality# vanity# illusion# irresolution.C

,f course# the Sed"ctress+)oddess is the o""osite of the Virgin. The Sed"ctress+)oddess ta$es life away# revels in mens wea$ness at the same time that she# throu!h her !reat beauty and sensuality# of a Aatin bac$!round. They are very resistent to brea$ new !round where se&ual stereoty"in! is concerned. The roles mentioned above are strictly adhered to in their lives. She who resists these roles in life# or literature# will be heavily chastised either throu!h alienation or re%ection. The stereoty"e of male and female in the Aatin world is even more heavily demarcated. Therefore# the wor$ of reco!ni1in! these archety"es# ac$nowled!in! their inherent wea$nesses and crushin! them# is a monumental tas$. (hat I "ro"ose to do here is to "oint out these classic modes and "ut certain literary te&ts to the test in order to understand the "ervasiveness of these stereoty"es in literature. -fter len!hty discussion and analysis of these aforementioned stereoty"es# certain "oems# short stories or e&cer"ts from lon!er wor$s will be "resented for study. ecause the ma%ority of my students are S"anishs"ea$in!# I am selectin! the literary te&ts from amon! several S"anish lan!ua!e writers. Since many of my students also read in 5n!lish# the sam"le and some su!!ested readin!s will be in translation. This will ma$e the unit easily usable by the monolin!ual teacher. 0or e&am"le# -lfonsina Storni# an -r!entine "oet# writes e&"ressively in It *ay eof her mothers lon!in! to be free and reveals much about the servitude of Aatin women# to their homes# their families# their church. In one "oem she admits that shes much su"erior to most of the men who surround her# yet she reco!ni1es that "hysically# as a woman# she is mans slave# clay to be molded. ,n the other side of Aatin -merica in /hile# Dabriela *istral writes in vivid meta"hors of love# birth and "re!nancy# revealin! a Nobel "ri1e "oet totally frustrated by her lac$ of motherhood. ,ne ho"es that by learnin! about stereoty"es and seein! them in very concrete form# students will be encoura!ed to understand the ludicrousness of restrictin! women 7and ultimately men also8 to narrow roles# both in literary forms and in life. y lettin! down the barriers to !irls# the boys will also be set free. >erha"s throu!h the use of literary forms# the students will be less threatened or intimidated than if their "ersonal styles were 'uestioned or attac$ed. It is ho"ed that throu!h the e&"osure to these se&ist themes and forms in literature# the students sensibilities will be awa$ened to other ways of bein! and viewin! the world. Aiterature ma$es it easier because#
Aiterature both reflects and hel"s to create reality. It is throu!h their "reservation in wor$s of art that we $now what the stereoty"es and archety"es have been and are+ in turn# $nowin! the ima!es influences our view of reality and even our behavior.2E

O"tline of O"tstanding Traits of &emale Stereotypes (hile certain characteristics "revail in most of the literary stereoty"es of women: formlessness# "assivity# subordination# selflessness# narrowness of character# etc.# the followin! outline wil hel" to

further identify the archety"es. I. The Virgin is . . . -. "ure in thou!ht# word and deed . chaste /. an!elic D. innocent 2. untouched 9. i!norant of wordly life 5. "assive 0. worshi""ed in a s"iritual way D. reli!ious4"ious4s"iritual H. comfortin!4healin! I. life-!ivin! J. ase&ual4nonse&ual Symbolically she may be described in terms of lightness# clarity# ,hiteness# shapelessness# with an ethereal l"minescence. II. The Sed"ctress/)oddess is . . . -. attractive . se&ual4sensual"leasure "roducin! /. e&alted4adored by men in an earthy way D. envied by other women 5. free of wifely-motherly 'ualities or tas$s 0. "owerful in a limited sensecan brin! men to failure or also move them to !reat wor$s D. somewhat evil by nature of her se&uality III. The Mother/Wife is . . .

This role may overla" with the Virgin in its motherliness# but is seen as more worldly# more flesh and bones than the ;ir!in. -. (hen she is !ood she is . . . 2. submissive4totally de"endent 9. su""ortive <. life-"roducin!4nurturin! =. comfortin!4healin! ?. a wor$horse @. selfless4sacrificin! B. confined C. $ind4sweet . ut when she is badshe is . . . 2. strictthe disci"linarian4"unitive 9. domineerin!4dominatin! <. a na!4shrew4witch-li$e =. nasty4harsh ?. unattractive4matronly4dull4dowdy4not very sensual @. driven 7always behind her man or her children8 I;. The Old Maid is . . . -. unattractive . ase&ual4se&ually frustrated /. ridiculed4"itied D. cold4'ueer4weird 7as viewed by others8 5. unha""y 0. nosey

D. alienated from real society H. a frustrated mother# sometimes a surro!ate "arent I. e&tremely "assiveas she never chooses her role J. a tra!ic fi!ure You Would Have Me White (Tu me quieres blanca) by -lfonsina Storni# translated by Rachel enson You would have me white# You want me to be foam# You want me to be "earl. To be a lily chaste -bove all others . (ith subdued "erfume. /losed corolla. Nor should a moonbeam Have filtered in to me. . Nor may a daisy /all herself my sister. . You want me s"otless. # You want me "ure# You want me snow white. You who have held all !oblets in your hand# Your li"s stained "ur"le (ith fruits and honey. You who at the ban'uet# /overed with vine leaves# Ne!lected the meat In feastin! to acchus. You who dressed in red S"ed to Ruin In the blac$ Dardens of envy. You who $ee" Your s$eleton intact I still dont $now You see$ to have me "ure 7Dod for!ive you8# To have me chaste 7Dod for!ive you8# To have me snow white6

FFFF0lee to the woods+ Do to the mountain+ (ash out your mouth+ Aive with the she"ards+ Touch the dam" earth (ith your hands+ 0eed your body ,n bitter rice+ Drin$ from the roc$s+ Slee" u"on frost+ Renew your tissues (ith salt"eter and water+ S"ea$ with the birds -nd rise at dawn -nd when your flesh Has altered -nd when you have "ut into it The soul That you left entan!led In bedrooms# Then# my !ood man# You may see$ to have me white# To have me "ure# To have me chaste.22

y what miracles T Me Quieres Blanca T me 'uieres alba# *e 'uieres de es"umas# *e 'uieres de ncar. Gue sea a1ucena Sobre todas# casta. De "erfume tenue /orola cerrada. Ni un rayo de luna 0iltrado me haya. Ni una mar!arita Se di!a mi hermana. T me 'uieres nivea# T me 'uieres blanca# T me 'uieres alba. No s todava >or cuales mila!ros# *e "retendes blanca 7Dios te lo "erdone8# *e "retendes casta 7Dios te lo "erdone8# *e "retendes alba6 Huye hacia los bos'ues+ ;ete a la montaa+ Am"iate la boca+ ;ive en las cabaas+ Toca con las manos Aa tierra mo%ada+ -limenta el cuer"o /on ra1 amar!a+ ebe de las rocas+ Duerme sobre escarcha+ Renueva te%idos /on salitre y a!ua+ Habla con los "%aros Y lvate al alba# Y cuando las carnes Te sean tornadas# Y cuando hayas "uesto 5n ellas el alma Gue "or las alcobas Se 'ued enredada# 5ntonces# buen hombre# >retndeme blanca# >retndeme nivea# >retndeme casta.

T 'ue hubiste todas Aas co"as a mano# De frutos y mieles Aos labios morados. T 'ue en el ban'uete /ubierto de "am"anos De%aste las carnes 0este%ando a aco. T 'ue en los %ardines Ne!ros del 5n!ao ;estido de ro%o /orriste al 5stra!o.

T 'ue el es'ueleto /onservas intacto

S"ggested (esson $lans for -o" Wo"ld *a#e Me White This "oem "rovides a very clear e&am"le in literature of what a woman feels her role should be# im"osed by a male dominated society. She describes how she should be# how he would have her be+ "ure# chaste# i!norant of the real world. Throu!h the use of lily white ima!es# we understand the im"ossibility of such a constrictin! role. *an is described as "arta$in! of all lifes e&"eriences# of action# of tastin! the bitter and the sweet. The true feelin!s of the "oet concernin! these restrictions on her total bein! are revealed when whe declares that men# for all the life they have

tasted# will never have the soul of a woman# can never confine the soul of a woman to such smallness. *en have lost their soul in all their activity. This "oem offers a !reat many "ossibilities for study. The "oem should be read aloud several times by teacher and students. The first readin!s should be for totality and sound. Thereafter# it may be read for meanin!. Thin$in! in terms of the "revious outline and discussion of how women are "ortrayed in literature and what characteristics the stereoty"es entail# the followin! 'uestions4e&ercises are desi!ned to focus on the details of this "oem. ST ./ O.0 2. (hat do the !rammatical constructions# You ,o"ld ha#e me . . . and you ,ant me . . . im"ly as to "ower and domination) (hat !rammatical chan!e could you ma$e to chan!e the tone and meanin!) 75&. You wish I were white8. 9. (hat do the words ,hite# foam# pearl# lily all have in common) (hat do they brin! to mind in terms of color# form# stren!th and "urity) /han!e the words foam# pearl and lily and see if the "oem chan!es. /ome u" with a list of symbolically similar ad%ectives and nouns for this stan1a 7i.e. an!els# snow8. <. (hat word best encom"asses how he wants her to be) 7chaste8 =. (hy does the "oet describe the "erfume as s"!d"ed) How does this chan!e the very nature of "erfume) ?. (hat does the "oet evo$e with the use of closed for corolla) Ta$e out s"!d"ed and closed and read the "oem a!ain. Does the meanin! of this stan1a chan!e) How) ST ./ TWO 2. (hat does moon!eam brin! to the total "icture of "urity) (hy moon!eam and not s"nlight) 9. How does the contrast between daisy in this stan1a and lily in stan1a one relate to womens "urity) (hich flower is more "ure# "erfect) (hy) <. How does spotless ma$e you feel) (hat other words could you "ut in "lace of spotless1 =. -!ain# the you want me . . . structure# this time p"re. (hat must one do to remain "ure) 7i.e. remain i!norant# innocent# hidden# hel"less8. *a$e a list of words you could "ut in for p"re 7i.e. untouched# clean# etc.8 ?. Snow white here may only evo$e a feelin! of "urity# maybe of coldness. /ould it not also be associated with the fairy tale fi!urea fantasy# myth-li$e creature) How would that relate to a womans role) ST ./ T*R00 2. (ho is yo" here) 9. (hat does the contrast between the whiteness and colorlessness of the woman in the

"revious stan1as and the use here of stained p"rple# fr"its# red# !lack describin! mans life tell us about the difference between mens and womens lives) (hy the use of red4blac$) <. (hat do the ima!es of feasting# eating# drinking and !an2"ets "rovo$e) 7i.e. sensuality# ri"eness# lust8 =. (hat does Storni mean by all go!lets here) Does she im"ly that man has "arta$en of all of life) ?. (hat are the )ardens of 0n#y) (ho envies what# or whom) ST ./ &O3R 2. (hat does the "oet mean by $ee"in! Your s$eleton intact) 9. (hat is the overwhelmin! tone im"licit with the use of Dod for!ive you) 7i.e. cynicism# an!er# irony8 ST ./ &%V0 2. Aist the action words in this stan1a. 70lee# !o# wash# live# touch# feed# drin$# slee"# renews# s"ea$# rise8 (ho is actin! here) How do these actions contrast with the inactivity that man so wants for woman) FFFF/han!e all these action verbs to see what you can create with new words. (hy so much variety in these lines) Does this "ossibly relate to the wide ran!e of actions available to man) 9. (hat words im"ly that mans life may not be all smooth# innocent "leasure) 7i.e. damp# !itter# rocks# frost8 <. (hat is saltpeter) (hy does the "oet use it in this conte&t) =. (hy will the mans flesh alter) ?. (hat does this last stan1a tell us about how the "oet truly re!ards men and women) (ith all of mans full life# does he have the soul that a woman has) (hat does the author mean with this last stan1a) (here has he left his soul) How do you feel about this "oem) Does this "oem reflect todays men and women4!irls and boys) (hy or why not) &ther %'ercises These !eneral 'uestions4e&ercises may be a""lied to any te&t where a female stereoty"e is to be studied. They may also be used as a "re-test and "ost-test to !au!e if any attitudes about women and womens roles in literature have been altered. This unit "retends to cast li!ht on the "revailin! nature and "ernicousness of the narrow limits "laced on !irls4women in literature and life. It is thus ho"ed that some chan!es in attitude amon! students will occur.

2. (hat $ind of boo$s do you li$e to read) 9. How are the !irl characters treated in these boo$s) the boy characters) <.(hat is your idea of a !irl) woman) =. (hat thin!s can a !irl do that a boy cannot do) (hat thin!s can a boy do that a !irl cannot do) (hy) ?. (hat %obs4"rofessions can a man choose that a woman cannot choose) (hy) @. (hat three 'ualities do you most admire in a woman) in a man) B. (hat are the advanta!es of bein! a !irl4woman today) FFFFDisadvanta!es) (hat are the advanta!es and disadvanta!es of bein! a boy4man) C. (ould you choose to be the other se&) (hy or why not) The follo,ing 2"estions may !e asked a!o"t any chosen text to determine ,hat stereotype the ,oman characer may fit: 2. Is the main character a man or a woman) 9. Is the author a man or a woman) /an you tell from an initial readin!) How) <. How is the woman character described) =. (hat is the ran!e of activity allowed the female character) the male character) Is the woman active or "assive) ?. (hat are some of the characteristics of this character) Is she warm# de"endent# seductive# nasty# etc.) @. (hat symbols or ima!es are used to describe her) B. How do these ima!es corres"ond to her "ersonality) to the messa!e of the te&t) C. Does she fit easily into any of the ma%or stereoty"es of women)The Virgin# Mother# Sed"ctress# Old Maid) H. Is she rebellin! from or adherin! to the stereoty"e) nother ,ay of treating a chosen text may !e as follo,s: 2. Dive out the ,utline of ,utstandin! Traits of 0emale Stereoty"es "rovided herein. 9. Read the te&t.

<. ased on an initial readin!# what is the students first im"ression of the female character) Does she readily fit into a cate!ory) =. Students list traits of this character that hel" "lace her into one of the stereoty"es 7i.e. whiteness# "urity# may lead her to the Virgin ty"e8. ?. (hat are some of the symbols or fi!urative lan!ua!e em"loyed to describe this character) 7i.e. lilies# moonli!ht# snow# etc.8 @. Is she doesnt easily fit into one of the stereoty"es# what could you call her) Students may invent a new name for her ty"e. dditional exercises may incl"de: 2. Students draw u" a list of additional stereoty"es and sub-ty"es 7i.e. Shrin$in! ;iolet# Aibber8 9. Students develo" an outline of traits and symbols that can be used to define these new ty"es. <. Students draw u" a list of male stereoty"es in life and literature with a""ro"riate descri"tions 7i.e. male macho: tou!h# rou!hly-hewn8 Describe these male stereoty"es in terms of their ideal women. =. - list of traits and descri"tive terms may be discussed while students try to !uess what the stereoty"e is.

(esources for Stu$ents an$ "eachers

Stornis "oem included here is only one !ood e&am"le of stereoty"es in literature. I am includin! here a list of several S"anish lan!ua!e writers# men and women# with titles or wor$s that may be used for the study of stereoty"es of women. The "revious e&ercises may be a""lied to any of these short te&ts. It is ho"ed that this $ind of re-readin! could ta$e "lace with any te&t in any lan!ua!e. This list will ta$e the form of a student biblio!ra"hy or teacher resource biblio!ra"hy. 2. -!ustini# Delmira 73ru!uay8 Su!!ested readin!s may be found in $oesias Completas uenos -ires: 5ditorial Aosada# S.-. 2H==. See the followin! "oems: ;isin 0iera de -mor 5l /isne Desde Ae%os

Intima *is -mores 5&"losin Aa /o"a del -mor Ser"entina oca a oca 5rotic# sensual "oetry with woman as a!!ressive and seductive. 9. ombal# *ara Auisa 7/hile8 5&cer"ts may be ta$en from the followin! boo$ that the author wrote in 5n!lish: *o"se of Mist New Yor$: 0arrar# Straus and /o.# 2H=B. >rota!onist is totally de"endent and sub%ected to fantasy and dreams of love. <. /at# -lfonso Hernnde1 7/uba8 C"entos Aa Habana: Insituto de Aiteratura y Ain!uistica -cademia de /iencias de /uba# 2H@@. Two very !ood short stories in this collection are: Dia del Sol- womam who can only live if shes abused and victimi1ed. Aa /ul"able(oman brin!s fishin! "arty to tra!edy by her seductive but natural bein!. =. Ibarbourou# Juana de 73ru!uay8 mtologa $otica Santia!o de /hile: Ii! Ia!# S.-.# 2H=E. Ibarbourou was a ha""ily married womam whose "oetry reflects a sensual# erotic# intuitive# natural liberated woman. See: 5l 0uerte Aa1o Aa In'uietud 0u!a1 Aacera Timonel de *i Sueo ,ther "oems by Ibarbourou may be found in: -ntologa 7$oesa y $rosa 4546+457489 '"enos ires: 0ditorial (osada# S. .# 2C?<. See the followin! "oems: >asin Toilette Su"rema ,frenda 7The last two deal with women as love ob%ects.8 See the followin! "rose: 5l Desto *othe smallness of womens roles.

-lma de llama"assion 5nsuenosmall woman4bi! man. Aa Tentacin Aa Auna /anciones de Auna Aa Dulce >alabra 7These last four deal with a mother frustrated in her role who loves her child but wants more from life.8 Aunitamother4fantasy Diario de 3na Joven *adre Aa Nia y el >rnci"e y el /af con Aeche ?. *istral# Dabriela 7Dodoy--lcaya!a# Aucila87/hile8 Dabrielas "oetry 7and "rose8 s"ea$s most often of her love for childrenher maternal feelin!s. Her reason for e&istence was maternity# both material and s"iritual# thou!h she never had children and raised a ne"hew who died youn!. She writes of solitude and love. The followin! material is su!!ested: Selected $oems of )a!riela Mistral 7translated and edited !y Dorise Dana8. altimore: Johns Ho"$ins >ress# 2H@2. 5n!lish4S"anish editiona !reat resource. 5s"ecially see: Aa 5s"era4The 3seless (ait alada4 allad ;olverlo a ;er4To See Him -!ain Dios lo Guiere4Dod (ills It Aa ,racin de la *aestra4The Teachers >rayer *eciendo4Roc$in! Aa *adre Triste4The Sad *other -"e!ado a *4/lose to *e Nio *e&icano4*e&ican /hild Todas Ibamos a Ser Reinas4(e (ere -ll to be Gueens Aa 0lor del -ire4The 0lower of the -ir Aa 0ervorosa4The 0ervent (oman Aa Dran%era4The (oman Dran!er *u%er de >risionero4The >risoners (ife Aa Aiana4The Aiana -yudadores4The Hel"ers ,ther boo$s by *istral that can be used as resources are:

$oesas Completas. *adrid: -!uilar# S.-.# 2H@@. Includes her wor$s from Desolacin# Tern"ra# Tala and (agar# I. 7S"anish8 $oemas de las Madres. Santie!o de /hile: /uadernos del >acifico# 2H?E. eautifully illustrated "oems for motherhood 7S"anish8. Todas %!amos a Ser Reinas. /hile: 5m"resa 5ditora Nacional Guimantu Atd.# 2HB2 7S"anish8. @. Neruda >ablo and /esar ;alle%o 7/hile and >eru8 .er"da and Valle:o: Selected $oems. 5dited by obert ly. oston: eacon >ress 7 ilin!ual 5dition8. .er"da from Veinte $oemas de mor y 3na Cancion# See: ody of a woman# white hills# white thi!hs Valle:o# see:. Aa >a!ana4>a!an (oman5vil# lusty woman. Aos >asos Ae%anos4The Distant 0ootste"sselfless# sacrificin! mother. 5l uen Sentido4The Ri!ht *eanin!mother. oth ;alle%o and Neruda may be found in other te&ts. This edition is easy to use in its bilin!ual form. -nother useful te&t in 5n!lish that contains both ;alle%o and *eruda 7amon! others8 is: *one!al# 5mir Rodr!ue1 7ed.8. The 'or;oi nthology of (atin merican (iterat"re. New Yor$: -lfred -. .no"f# 2HBB. B. Ro%as# *anuel. 7/hile8 ntologa "to!iogrfica. /hile: 5m"resa 5rcilla# S.-.# 2H@9. See the story 5l ;aso de Aechewoman as nurturer# motherclear ima!es. C. Storni# -lfonsina 7-r!entina8. The followin! te&ts may be used: O!ras Completas I $oesas. uenos -ires: S5A-# 2HB@. S"anishcollection of Stornis "oetry. lfonsina Storni by Sonia Jones. oston: Twayne >ublishers# 2HBH. 5n!lish te&t that s"ea$s about Stornis life and wor$ includin! several "oems in S"anish. Dood for bac$!round material. It is obvious that these are not the only writers in Aatin -merica# nor are they the only ones who address women and their roles in their wor$s. Nor are these the only boo$s available that contain these writers. I have added here some additional names that the teacher can research to introduce women who write or have written in S"anish. Sor Juana Ines de la /ru1*e&ico 72@?2-2@H?8. ;ery erudite# im"ortant woman of letters. - discussion of the followin! Aatin -merican novelists can be found in: 0o&-Aoc$ert# Aucia. Women .o#elists in Spain and Spanish merica. New Jersey and Aondon: The Scarecrow >ress# Inc.# 2HBH. Dertrudis Dome1 de -vellaneda /uba 72C2=8. /lorinda *atto de Turner >eru 72C?98. *ercedes /abello de /arbonera >eru 72C=?8.

Teresa de >arra ;ene1uela 72CHE8. Silvina ullrich -r!entina 72H2?8. /lara Silva 3ru!uay 72HEC8. *arta runet /hile 72CHB8. Rosario /astellanos *e&ico 72H9?8. eatri1 Duido -r!netina 72H9=8. 5lena Darro *e&ico 72H2B8. Auisa Josefina Hernnde1 *e&ico 72H2B8. 5lena >oniatows$a *e&ico. 0or more information on Aatin -merican women 7includin! women writers8 see *s. ma!a1ine# *ay 2HC9.

)&"%S
2. Susan .o""elman /ornillon# The 0iction of 0iction# in %mages of Women in &iction: &eminist $erspecti#es 7 owlin! Dreen# ,hio: owlin! Dreen 3niversity >ress# 2HB98# ". 22<. 9. (omen on (ords and Ima!es 7!rou"8# Dick and Jane as Victims< Sex Stereotyping in Childrens Readers# 7>rincetom# N.J.# 2HB98# ". @. <. Ibid.# ". 9E. =. *ary 5llmann# Thinking !o"t Women 7New Yor$: Harcourt race Jovanovich# 2H@C8# "". ??-2=?. ?. /arol >earson and .atherine >o"e# Who am % This Time1 =&emale $ortraits in 'ritish and merican (iterat"re8 7New Yor$: *cDraw Hill# 2HB@8. @. *ary -nne 0er!uson# %mages of Women in (iterat"re 7 oston: Hou!hton *ifflin# 2HB<8# "". ?-22. B. 5li1abeth Hardwic$# Sed"ction and 'etrayal 7New Yor$: Random House# 2HBE8# ". 2C9. C. Ibid.# ". 2C@. H. (omen on (ords and Ima!es# ". <=. 2E. 0er!uson# ". ?.

22. -lfonsina Storni# you (ould Have *e (hite4Tu *e Guieres lanca in .ine (atin merican $oets 7 Verse Translation8# 7New Yor$: Aas -mericas >ublishin! /o.# 2H@C8# "". 9?=-9?B. Re"rinted by "ermission from .ine (atin merican $oets = Verse Translation8# 72H@C8 by Aas -mricas >ublishin! /o.

*+*L+&#(A,-.
-""i!nanesi# Aisa. &emininity and the Creati#e %magination< St"dy of *enry James# Ro!ery M"sil# and Marcel $ro"st. Aondon: ;ision >ress Aimited# 2HB<. Introduction on 0emininity: Definitions and >ers"ectives is useful for clarifyin! terms. enson# Rachel. .ine (atin merican $oets = Verse Translation8> New Yor$: Aas -mericas >ublishin! /o.# 2H@C. Nine well-$nowm "oets in a bilin!ual version. Dood for classrooms. /ornillon# Susan .o""elman. %mages of Women in &iction: &eminist $erspecti#es. owlin! Dreen# ,hio: owlin! Dreen 3niversity >ress# 2HB9. 5ssays about women and writin! that loo$ to literature for what women are or may be. 5llmann# *ary# Thinking !o"t Women. New Yor$: Harcourt race Jovanovich# 2H@C. ,ri!inal and at times humorous study of how the conce"t of female is defined in literature. Dood !eneral readin!. 0er!usom# *ary -nne# %mages of Women in (iterat"re. oston: Hou!hton *ifflin# 2HB<. - !reat selection of stories by men and women arran!ed around certain female stereoty"es as a means of illustratin! these ty"es. Dood stories. 0etterly# Judith. The Resisting Reader< &eminist pproach to merican &iction. loomin!ton: Indiana 3niversity >ress# 2HBC. Scholarly loo$ at several male writers and the ima!es of women inherent in their writin!sJames# 0it1!erald# Hemin!way# *ailer# etc. 0o&-Aoc$ert# Aucia. Women .o#elists in Spain and Spanish merica. New Jersey and Aondon: The Scarecrow >ress# Inc.# 2HBH. Dood boo$ for bac$!round material on various $nown and un$nown women writers in the S"anish-s"ea$in! world. 5ach author has one central wor$ studied. Hahner# June. Women in (atin merican *istory< Their (i#es and Vie,s. Aos -n!eles: 3/A- Aatin -merican /enter >ublications# 2HB@. 0ocus on several im"ortant but "erha"s un$now women and their im"act of history "olitics literature. Dood for students. Hardwic$# 5li1abeth# Sed"ction and 'etrayal. New Yor$: Random House# 2HBE. Insi!htful and "ersonal essays om women writers and writers women. *c.endric$# *elveena. Women and Society in the Spanish Drama of the )olden ge: St"dy of the M":er Varonil. /ambrid!e: /ambrid!e 3niversity >ress# 2HB=. 5s"eciallly useful for those interested in the Dolden -!e of S"ain and what the world of women was li$e then. >earson# /arol and .atherine >o"e. The &emale *ero in merican and 'ritish (iterat"re. New Yor$4Aondon: R.R. ow$er /o.# 2HC2. -mbitious study of the doin!s and undoin!s of female literary heroes. 5&tensive biblio!ra"hy of wor$s by and about women. >earson# /arol and .atherime >o"e. Who am % This Time1 =&emale $ortraits in 'ritish and merican (iterat"re8. New Yor$: *cDraw Hill. - novel loo$ at womens chan!in! and unchan!in! roles in

literary wor$s. Showalter# 5laine. (iterat"re of Their O,n< 'ritish Women .o#elists from 'ronte to (essing. >rinceton: >rinceton 3niversity >ress# 2HBB. Some ori!inal observationsfocus on ritish writers. S"ac$s# >atricia *eyer. The &emale %magination. New Yor$: -lfred .no"f# 2HB?. 5&cellent study of "ower4"assivity# woman as artist. >ersonal style!ood readin!. (omen on (ords and Ima!es 7!rou"8# Dick and Jane as Victims: Sex Stereotyping in Childrens Readers. >rinceton# N.J.# 2HB9. 0ascinatin! study that demonstrates the se&ism inherent in most schoolboo$s.

/ontents of 2HC9 ;olume ; J Directory of ;olumes J Inde& J Yale-New Haven Teachers Institute K 9E2= by the Yale-New Haven Teachers Institute Terms of 3se /ontact YNHTI