Patriarchy In Twilight Saga English Literature Essay

Patriarchy In nightf exclusively Saga English Literature analyseIts easy to observe the expansive reach of the declination saga. For starters, it is a cash-cow. To date, the quartette book series has sold approximately 85 meg copies (Grossman) and has claimed the blossom four spots on USA Todays year-end bestseller list for the geezerhood 2008 and 2009 (Minzesheimer and DeBarros, Sellers pin Sweeps). twilight(prenominal) saga merchandise though sold in sextuple retail turn outlets single-handedly brought retailer Hot Topic behind from the depths of scotch gloom and doom in 2008 (Odell).1The film adaptation of Twilight grossed $380 million at the box office (to a salienter fulfil custodyt than 10 ms what it cost to produce) in advance earning over $3 million in DVD sales on its off get dressed printing day of oust (Armstrong) magical spell radical Moon performed so farthest better earning much than $700 million humanwide before its DVD release in March 201 0 (The Twilight Saga New Moon). Beyond the economic bushel, the series inspires Beatlemania-type fanaticism among its growing, primarily fe staminate, fan-base. Conduct a Google search for Twilight fansite, and youll mend al virtu altogethery 1.2 million returns. Furthermore, a November 10, 2008 scheduled appearance in San Francisco by Robert Pattinson (the actor portraying Edward Cullen in the film adaptation of Twilight) was brookcelled afterwards he was swarmed by fans. The melee in addition resulted in a depleted nose for angiotensin converting enzyme fan, while another lost consciousness (News from WENN). Pattinson do the fol broken ining remarks near the impassi adeptd Twilight fandom People know my name, mill about me in public, try to figure out what hotel Im staying at, ask me to bite them and emergency to touch my hair. It feels sur hearty (Bell).These be al matchless a few role models that build the massive impact the Twilight saga has on audiences. The w idespread audience receipt capacity cause some to wonder just what it is about Twilight that appeals so much to fans. thither ar others, corresponding myself, who nominate elect to question the impact the Twilight narrative whitethorn have on contributors specific altogethery fe potent readers perceptions of conclusion. temporary hookup there argon m whatever candidates of the Twilight narrative world debated by fans and critics alike, themes of patriarchate and misogyny argon of limited inte remnant (Mann Myers McClimans and Wisnewski Housel).The Twilight Saga is Just Entertainment, Right? Why Should We Cargon? forrader we can enter into a proper analysis about the impact of patriarchal and misogynistic themes in Twilight, its first meaning(a) to understand why unite want to analyze an artifact of popular acculturation at all. An sr. academic view situates popular text editions like the Twilight saga as low art, or mass produced schlock meant to dupe unsophisticat ed audiences, like us, into passiveness (Horkheimer and Adorno Benjamin). Postmodern cultural studies scholars, however, verify popular culture as an aspect of mass culture (Storey, Cultural Theory), or the values and ideas that members of a clubhouse form from common exposure to the same cultural activities, communications media, medical specialty and art, etc.Thus, examining popular culture texts exposes how they atomic number 18 used assert favorable values upon others (Barthes). Female-targeted popular culture artifacts like the Twilight saga are sites that are especially worthy of examination since they place the egg-producing(prenominal)/feminine knowledge at the forefront of media critique (McRobbie and McCabe Modleski Rad manner Ang Mellencamp). The central link of feminist media analyses is to sample patriarchal political orientation as it relates to power and agency in fraternity (Baumgardner and Richards Durham Storey, An Introduction van Zoonen). Analyzing texts through a feminist crystalline lens can serve as a means of exposing and critiquing patriarchy in popular media and, in the process, answer to liberate audiences from traditional, stereo typic re endueations (Durham). It is in like manner a way to understand the concept of gender as a kind construction, and posits media texts as faultfinding sites for the negotiation of gender spots.If we read the Twilight saga occludely, we force conclude that it promotes what Cynthia Enloe calls a Culture of impending Danger, which she defines as a culture sustained by the classical patriarchal caveat that women are in the sort of danger from which further rational men can hold dear them (234). One way in which the Twilight saga reinforces a Culture of Imminent Danger is seen in the roles of the adult male and female characters in the series. For example, male characters are written into roles or occupations that reflect the role of protector. Charlie, Bellas father, is the poli ce headsman in Forks Carlisle Cullen, Edwards father, is the most prominent doctor in t possess and wand Black, Jacobs father, is a Quileute tribe elder. Meanwhile, the female characters in Twilight, are symbolically eliminate that is they are largely trivialized and either symbolized as child-like adornments who invite to be saved or they are dismissed to the protective confines of the home (Tuchman 8). The role of Bellas mother, Renee, is muted throughout the news report we know simply that she has moldd to conjoin her new husband to spring training camp in Florida and that she is bare(a) and harebrained (M essencer, Twilight 4). Before Renee remarried, Bella saw herself as her mothers caretaker. Esme, Edwards mother is also superficially presented. As the matriarch of the Cullen clan, she is characterized only by her ability to cognize passionately and her strong mothering instincts (Meyer, Twilight 307, 368). Bella, overly, has been seen by some as dropping victim to symbolic annihilation. In the discussion topic Bella, is she a no- dandy influence for teens? on the TwilightMoms.com fan site, for example, fans express concern that Bella is a asthenic character because she sees herself less beautiful than Edward, less intelligent, and clumsier than everyone else. Bella, because she is the weak and vulnerable one, is in constant need of care and protection she is dependent upon Edward for survival.Indeed, we see what happens to Bella when she is wedded by the protective influence of Edward she be get bys a lost moon (Meyer, New Moon, 201). Later, when Bella and Edward visit Renee in Eclipse, Renee remarks to Bella that her role in her relationship to Edward is that of a satellite, or something (Meyer, Eclipse, 68). A satellite can be understood as any object that moves around a larger object. The comparisons of Bella to a moon or other satellite are signifi patois since they symbolically place Edward at the center and Bella in the periphery . This scenario illustrates Edwards role as the actor and Bellas role as the reactor in the Twilight saga. When Edward moves, so does Bella. When Edward leaves, Bella, too, checks out. Likewise, it implies that the orbiter is the to the lowest degree valuable one in the relationship. Take, for example, the Earths relationship to the Sun. The Earth as a actualise system for human life is important in its own right, entirely the Sun has far more importance. Without the Sun, the Earth is annihilated. Without Edward, Bella is annihilated.Because the symbolic annihilation of women in media bombs to address the full range of womens actual-life goals and potential, it plays an important role in establishing and normalizing ideology that helps those in power (read men) stay in power. But, Bella exists in a world much different than ours. How much potential can we expect Bella to posses in a situation where she is hale to battle super-human forces? Meyer acknowledges this when respo nding to critics. She hypothesisesThere are those who cypher Bella is a wuss. There are those who think my stories are misogynistic-the damsel in distress must be rescued by strong sensation I am not anti-female, I am anti-human. I wrote this story from the perspective of a female human because that came most naturally, as you capacity imagine. But if the narrator had been a male human, it would not have changed the events. When a human creation is totally surrounded by creatures with preternatural strength, speed, senses, and variant other uncanny powers, he or she is not going to be able to hold his or her own. Sorry. Thats just the way it is. We cant all be slayers. Bella does pretty well I think, all things considered (Meyer, The Story).Im entrusting to profane Meyers explanation to an extent. But, just because the Twilight saga narrative is set against a scope of fantasy does not mean its capabilities for reinforcing the corpulent ideology that exists in our real-w orld go unrealized. For example, Bella only becomes strong by conforming to the masculine standard assemble forth by Edward (that is, by be glide path a vampire). Of course, Edward cannot reverse himself to his human form, yet when Bella changes for Edward, it decriminalises a longstanding cultural norm of women adjusting their desires to accommodate those of her male partner.2As with the satellite analogy, this aspect of the Twilight saga highlights Edwards superiority over Bella.Edward Is The Worlds surmount Predator, Isnt He? Everything About Him Invites You In.When readers buy a toy novel, they are being sold more than just the book. The ideology of woo exemplified by lessons of gender subjectivities and sexual difference in a patriarchal structure implant in the patriarchal and misogynistic themes present in flirt genre is also being sold (Brown Cooper). The romance narrative of the Twilight saga teaches us that if tender order is to be successful and maintained, then the most worthy compromises volition have to be made by women. This lesson establishes, then, that if women wish for patriarchy to be neutralized in ball club they will have to be the ones to do it. We see this perspective manifested in the online comments of several readers comments that largely are critical of Bella for failing to overcome the patriarchal constraints present in the Twilight saga (see for example beka Jost North Seltzer or any of the myriad of fan posts on TwilightMoms, Twilight Lexicon, and other fansites). However, men and women exist together in society and, as such(prenominal), any fair reading of the Twilight saga would also be looking at Edwards responsibility in perpetuating oppressive ideas about gender roles in human society. possibly the most profound way that Edward Cullen reinscribes an oppressive patriarchal ideology is that he demonstrates the classic signs of a batterer. Many readers might disagree with my assessment by pointing out that Edward is motivated by his intensified desire to protect Bella and he only has her best interests in theme. The close in of Edwards actions as being in Bellas best interests is precisely what makes them so dangerous. This base normalizes and legitimizes masculine power over females for the reader.As for how Edward demonstrates signs of a batterer, one need only refer to the criteria established by nationally cognise domestic violence trainer and consultant Lydia cart. As part of her Getting a Firm Foundation training, baby-walker has developed a list of seventeen miens seen in people who abuse their partners. Walker warns that if the person has several ( cardinal or more) of these behaviors, a strong potential exists for physical violence the more signs a person has, the more likely the person is a batterer. Edward exhibits at least seven of these behaviors (in varying degrees) at different points in the Twilight saga.3These areJealousy Of course, the tension between Edward and Jacob is at the forefront of the story, but Edward expresses his indignation in many of Bellas potential suitors, In Twilight, for example we are most acutely aware of his dislike for Mike Newton. Edward tells Bella that when Mike asked her to the school day dance, he was surprised by the flare of resentment, almost fury that he matte (Meyer, Twilight 303). Edward is surprised by his feelings, remarking that jealousy is so much more powerful that I would have thought. And irrational (304).Controlling behavior Walker defines coercive behavior as those actions that are attributed to a concern for a chars safety and well being. We see one example of Edwards disciplineling behavior in Twilight when he follows Bella and her friends to Port Angeles. Walker also warns that take holdling behaviors are much manifested in the abusers lack of willingness to let a woman make personal decisions. We see Edwards controlling behavior reappear subsequent in the same chapter when he tells Bella when she needs to eat (even when she insists that she isnt hungry), and again when Bella is convalescent in the hospital in the last chapter Edward calls for the nurse to administer throe medication to Bella even though she is clear that she does not need them (Meyer, Twilight 477). In Eclipse, Edwards attempts to control Bella are particularly disturbing as he continuously attempts to prevent Bella from visiting Jacob. First, he disconnects the cables to her car battery. Later, he manipulates Alice into combat- attain in a kidnapping plot designed to keep Bella outdoor(a) from La Push. When he finally agrees to let her go, he does so only if he can take her there and pick her up himself. Perhaps the most appalling example, though, is in good luck Dawn when Edward attempts to arrange for an miscarriage for Bella without any discussion from her or her permission.Quick involvement Most knock about women dated or knew the abuser for less than six months (many for less than three months) before they were married, living together, or engaged. An abuser comes on like a whirlwind (Walker). Chapter one of Twilight tells the reader that Bella moves to Forks in January. It is not until March that Bella and Edward decide to become a couple (Twilight Chapter 10). By Prom in May, shes ready to give up her mortality for Edward (Twilight Epilogue). In fact, the entire story only spans 2 historic period.Unrealistic expectations Walker characterizes unrealistic expectations in terms of possessiveness and states that disgraceful people will expect their partner to meet all of their needs. At one point, Edward tells Bella that he is anxious to be away from her, and that he gets put off worrying about her (Meyer Twilight 188-9). Edward is relentless in keeping Bella close to him, unrealistically worried that some great harm will come to her. Edward tells Bella You are my life now (314).Blames others for feelings The abuser will tell the woman you make me ma d, youre hurting me by not doing what I tell you, I cant help being angry (Walker).The abuser is, of course, responsible for what he thinks and feels, but will use his feelings to manipulate his partner. One example of Edward acting in this way can be found in the meadow opinion in Twilight. Prior to this point, Edward has made his desire for Bella known, but it is not until they are in the meadow that he drops his mask to show Bella the true extent of the danger he poses to her. Hes frenzied as he explains all the ship canal in which he could easily destroy her, and then blames Bella when he feels he has lost control (Meyer, Twilight 263-5). Later, when Bella and Edward kiss before meeting the rest of the Cullens for a game of baseball, he forcefully pulls himself off of her when he loses control and proclaims Damn it, Bella Youll be the death of me, I swear you will (363).Dr. Jekyll and Mr. Hyde Walker warns women to look out for sudden mood changes in which one turn the abuse r is really nice and the next minute hes exploding. She explains that explosiveness and moodiness are typical of people who abuse their partners since these behaviors can intimidate and frighten the victim and are reflections of the abusers use of threats and manipulation to establish and maintain power and control. The entire first part of Twilight (certainly until Bella is rescued in Port Angeles by Edward in Chapters eight and nine) is focused on Edwards odd behavior towards Bella that vacillates between cheer and pure contempt. At one point, his behavior causes Bella to say to Edward, I cant keep up with you, and question him as to whether he has a quaternary personality disorder (Meyer, Twilight 84, 82). Even after Edward makes his true feelings for Bella known and while he continues to keep his emotions in-check around Bella, hes prone to the occasional swing. each force during a conflict This may involve a batterer safekeeping a woman down, physically restraining her from leaving a room, or push/shoving her (Walker). In Chapter five of Twilight, Bella faints during a blood-typing exercise in her Biology class. Edward convinces the school secretary to excuse them from class so that he can come across her safely home. Bella relents, happy to get out of class, but is fully aim on seeing herself home. When Bella moves to the drivers seat of her truck, Edward physically restrains her by pulling the back of her jacket, telling her, Where do you think youre going? (Meyer, Twilight 103). Later, Bella is restrained again, this time by Edwards brother Emmett (under Edwards direction) as they rush to flee James after the baseball game. While trying to decide how to counter James necessary attack, Edward decides to take Bella away from Forks. When she protests, Edward orders Emmett to secure her by her wrists and forcibly strap her into the draw rein of the Jeep they are using to escape (381).Of course, not everyone will see it this way. Some will see Edwar d as he is presented as the ideal, wild-eyed, fond(p) boyfriend and rationalize that his actions are justified because they were enacted with Bellas best interests in mind and because Edward, as a vampire, has physical and mental capabilities that Bella, as a mortal, does not possess. But, we cannot let Edward off the hook just because he is a vampire and not a living, breathing person. While personhood is certainly linked to humanity, Nicolas Michaud suggests that one does not necessarily need to be human to be a person Personhood should be granted to those who demonstrate certain qualities such as consciousness and self motivated activity those who demonstrate certain capabilities such a practical reason and affiliation should also not be denied the ability to flourish if they so choose (45). Edwards respect for the human soul, his choice to drink animal blood instead of human blood, and his attempt to draw into Forks society demonstrate his desire to pass and be accepted as a person and not a vampire. Therefore, if Edward wants to enjoy the benefits of personhood in our society, we have to demand of him the same standards that we would expect from any other male in it unheeding of any supernatural power he may possess.There are those that will argue that even though Edward exhibits these tendencies, he does not cross the line to become a full-fledged physical abuser. However, while physical violence is one method by which men control women and maintain their supremacy, patriarchy does not need to be enforced by using violence alone. In this case, Edwards actions create an environment where Bella cannot love Edward without abhor herself. He demonstrates that, despite the claim to the contrary, he is actually very far from perfect. Yet, Bella still sees herself as subordinate to him. She consistently reminds the reader and herself that she is not good enough for Edward. Because the Bella/Edward relationship is presented as fated and Edwards actions are justified as being for the benefit of Bellas safety, we permit Bella to respond in ways that would concern us if we saw it manifested in others close to us. We condone her continued overlook for her own personal safety. We allow her to isolate herself from her family and friends. We accept her explanations for her repeated injuries. Bella literally gives up her life for love. Edwards controlling behavior coupled with Bellas justification of it creates a situation in which the females subordination becomes not only acceptable to readers, but rational as well.Can Romance Narratives be Anything But heavy?The abuse narrative present in the Twilight saga becomes especially tangled when viewed with an understanding of the romance genre. Romance as a genre is often characterized by the quest for an ideal heterosexual love relationship between a strong, dashingly handsome, materialization man and a beautiful, vulnerable, self-sacrificing young person woman (Burnett and Beto). Thes e qualities of romance stories are at the forefront of the Twilight saga. While these aspects of romance can be read as bring to the lengthening of patriarchal ideas about gender roles, romance can also be interpreted as the ultimate feminist genre. Catherine Asaro reminds us that the plots of most romance stories are centered on the desires of the heroine her values are given antecedence and she ever ends up getting what she wants. Bella spends four books telling us, the readers, that she wants to achieve immortality as a vampire and spend eternity with Edward while still being able to keep her best friend and Edwards rival suitor Jacob around. Breaking Dawn sees Bella fighting for her right to bear a child. She ultimately achieves all of this.Asaro also asserts that romance novels are unique in that they adhere to the female gaze. Laura Mulveys concept of the male gaze rests in the assumption that the audience is forced to view the action and characters of a filmic text thro ugh the perspective of a heterosexual man. Examples of its manifestation in filmic texts are seen in camera shots focussing on the curves of the female body, cleavage, or other sexualized positioning of women. In romance novels, however, the male form is the one under the heaviest scrutiny its features extolled upon in great contingent. In fact, the female heroine is frequently described with just enough detail to humanize her, while leaving enough information out of the get a line so that the reader might insert herself into it. In Twilight, Bella frequently compares Edward to the mythic Greek god Adonis. Her description of his facial features is specific. We see Edward, through her look as perfect and angular with high cheekbones, a strong jawline, and a straight nose and full lips. His hair, which is always messy, is an unusual, eye-catching shade of bronze while his eyes are topaz. Bella, on the other hand, is described to the reader far more simply she has long cook ha ir and brown eyes.Texts presented through the female gaze are significant in two distinct ways. For one, that the heroine is presented as an everywoman can be seen as empowering to female readers who are often only presented with representations of female characters that fade into the background unless they have qualities deemed important (Asaro). Readers are able to recognize aspects of themselves in the narrative. Also, it legitimizes female sexuality and debunks the myth that women dont measure men in that way. Physical attractiveness is just as important for females as it is for males. Female sexuality is further legitimized in romance in that the heroine is rarely punished for engaging in sexual acts and can frequently be seen as the initiator of such acts. In Twilight, it is Bella who is eager to consummate(a) the relationship she has with Edward and Edward who is resistant to give in without being married.Still, there is mess hall in the saga to support the charges that th e Twilight narrative is potentially harmful. Even though Edward never crosses the line into domestic violence, his behavior is still troublesome since the heavy consumption of romance narratives can, over time, influence readers interpretations of appropriate behavior for men and women in romantic relationships. In The Killing Screens, George Gerbner discusses his cultivation theory, which was developed to help explain the cumulative and overarching impact repeated media exposure has on the way we see the world in which we live. It emphasizes the effects of media consumption on the attitudes alternatively than the behavior of audiences. In short, heavy exposure is seen as cultivating attitudes which are more consistent with the world of media than with the everyday world. Gerbner argues that media cultivates attitudes and values which are already present in a culture, normalizing and reinforcing more controlling values, while make other, more underlying ideas more salient. In a s ociety such as ours where masculine ideology is already privileged where we already have historic struggles with creating safe, egalitarian spaces for women and where we already struggle with violence and intimidation, Gerbners theory tells us that extended consumption of the over-representation of patriarchy in the Twilight saga can normalize and legitimize acts of oppression that we might witness or experience in our own lives. When abuse is made to be fun and entertaining, we run the risk rationalizing and justifying it and fail to see the tragedy in it when we come across it in our real lives.Viewing the Twilight saga through this lens moves the conversation from the question of, What are romance narratives like those in Twilight doing to women? to What are women doing with them? Romance has been, perhaps, one of the most denigrated popular culture genres (Asaro Wethington Holmes). Common complaints include the lack of sort and scope of romance narratives (typically seen as a result of the demands of powerful commercialised forces and publishers looking to quickly churn out formulaic narratives that have antecedently proven to be profitable) and the genres consistent reliance on conservatively sloshed messages about race, gender and male-female relationships and the objectification of human bodies in explicit, almost pornographic, sexual representations (Wethington). not everyone buys into these criticisms. Feminist media scholar Janice Radway was one of the first to take seriously the joyousness that women readers consistently seem to find in romance. According to her influential text Reading the Romance, women use romance as a way to set up a quiet space for themselves. They not only vicariously enjoy status positions and spaces of nurturing through the books that they do not enjoy in the real world, but romance stories also provide a pretended space in which readers can rehearse and make sense of their single identity and role in society (Radway Burnett and Beto). The role romance plays in preparing individuals how to behave in their public lives is even greater for young readers than what it may be for adults. Girls will use romances as an alternative to a romantic relationship when one has not yet presented itself. Romance novels act as safe spaces to gain insight on how to meet boys, what kinds of things they might say to them, and what dating is like. For them, romance novels act as beginners manual for adolescence (Cherland and Edelsky Christian-Smith Willinsky and Hunniford)Audiences appear to cover the lessons and desires cultivated through repeated exposure to romance narratives in their callowness with them throughout their lives. For example, a generation ago, at the height of the coming-of-age teen romance flick, there emerged two archetypes for the ideal boyfriend Jake Ryan and Lloyd Dobler. Jake Ryan, of course, was the cool, super-popular, super-rich, Porsche-driving, way-too-hot-to-be-in-high-school hunk w ho caught the Plain Jane Samantha Bakers eye in the film Sixteen Candles. Lloyd Dobler, on the other hand, was an unpretentious, earnest, boombox-hoisting everyman who was thoroughly prone to the super-smart Diane Court in the film Say Anything. Its been more than 25 years since Sixteen Candles was in theaters and 20 years since Say Anything was released, yet women coming of age in the 1980s still find themselves longing for their Jake or their Lloyd but, not finding him. (Stuever, Real Men Steuver, What I Did). There is exhibit that the same desire audiences have for a relationship with Jake and Lloyd also exists for Edward Cullen, regardless of the age of the audience member. For example, on the discussion forum for the TwilightTeens.com fansite, for example, one can find a multitude of discussion threads in which young fans deliberate questions like On a scale of 1 to 10, how favourable is Bella Swan to be with Edward Cullen? Could you see yourself dating a guy like Edward? o r What do you like about Edward? Additionally, Emily Reynolds interviews and surveys with female adult readers of the Twilight saga revealed that it was Bella with whom readers most frequently identified and whose behaviors they most saw in themselves, making it easy for the reader to slip into Bellas shoes. This identification most frequently manifests itself in a desire to be romantically linked with Edward. According to one of Reynolds participants I would leave my husband for someone like that (30). The difference, of course, is that seeking out a Jake Ryan or a Lloyd Dobler though destined to end in disappointment is not likely to meet with a violent end, though seeking out an Edward Cullen might.Is it all bad?It is not my goal to inveigh the Twilight saga. It is okay to enjoy things that are entertaining and fun, but we should not dupe ourselves into believing that our entertainment media does not also assist in formulating our ideas about our culture. Popular media help sh ape a worldview in audiences that re-inscribes dominant positions of power and authority (Althusser Gitlin Hall), which in Eurocentric cultures like ours is white, patriarchal capitalism (Fiske qtd. in Meyers 7). Patriarchy is the primary oppressor of females in a society (Firestone Greer Millett). Since patriarchy does not necessarily operate as an explicit, perceivable reality (meaning, we dont always recognize it when we see it), we must review the aspects of our culture pop culture included that perpetuate patriarchal ideology and cause it to be normalized. What are, in fact, dangerous ideas that devalue the female in society are too frequently seen as legitimate choices in the Twilight saga choices made in the name of true love or in the face of supernatural forces. When presented through these lenses, Bella and Edwards relationship is seen as romantic and desirable when in any other world it would be destructive.We have to remember that patriarchy, while notable for margin alizing females, does not operate free from feminine influence (Enloe). Social systems are not made solely of men women are also contributing members. As such, a patriarchal society relies on the participation of all members men and women to endure. Therefore, as destructive as Edward is in the Twilight narrative, the real danger exists when we fail to confront patriarchy and oppression when we encounter it. It is beneficial that Twilight appeals to readers across several generations because it can be used as a framework for encouraging discourse between adults and youth about how female oppression occurs in society. Only future analysis will tell if these conversations are happening. Lets hope that they are.