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(1) Define and explain the literary critical prism that your group is exploring

(2) Provide appropriate and plentiful text examples, quotes, definitions, etc., that illustrate and validate your group’s critical focus and “reading” of the novel to the class.

Some chapters will provide more examples than others. Make sure you are indicating which chapter your example is from. Explain your examples!

(3) utilizes practical illustrations, images, and color stickies and uses VISIBLE text size for presentation - anything to make it visually attractive and informative to your peers!

(4.) When you post to the Padlet, make sure to include your initials on your post. 1 person creates the Padlet and then adds the others as “Collaborators” through the Share Button.

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#6 Feminist--Approaches literature with a special regard to the feminine consciousness;  notes how women are portrayed socially, politically, sexually, economically, and  religiously, especially in a society with a male dominance and takes as a central precept  that the patriarchal attitudes that have dominated western thought have resulted,  consciously or unconsciously, in literature "full of unexamined 'male-produced'

assumptions." Feminist criticism attempts to correct this imbalance by analyzing and  combating such attitudes-by questioning, for example, why none of the characters in  Shakespeare's play Othello ever challenge the right of a husband to murder a wife  accused of adultery. Other goals of feminist critics include "analyzing how sexual identity  influences the reader of a text" and "examin[ing] how the images of men and women in  imaginative literature reflect or reject the social forces that have

historically kept the sexes from achieving total equality."

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In the first two paragraphs of the novel, Chopin introduces two types of birds to her readers: a parrot and a mockingbird. The parrot is trapped in a cage, while the mockingbird is free to fly wherever it pleases. The parrot represents women in their society, and the mockingbird represents men. The parrot is caged and is continuously saying, "Go away! Go away!" The mockingbird stays outside of the house and sings his song with "maddening persistence." (Chapter 1)

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Chapter 1:

The first example of feminist themes I noticed was the caged parrot in chapter 1. The parrot is said to be, "repeating over and over... a language which nobody understood." This quote, coupled with the imagery of the caged bird, helps Chopin convey to readers how she views the current state of the world in regards to feminism. That is, she believes women are viewed as caged property who are constantly "chirping" about ideas of freedom but are subsequently silenced and shut down. Mr. Pontellier's "privilege of quitting their society when they ceased to be entertaining," starkly represents the ability and freedom that men had in comparison to women.

Chapter 2:

In Chapter 2 there was one quote I noted, "...flanked by its dozens or more cottages...it enabled Madam Lebrun to maintain the easy and comfortable existence which appeared to her birthright." This indicates that for women specifically, a comfortable life was only available for them WITHOUT a husband if it was their birthright. Since Madame Lebrun is a widow, she was still reliant on her husband when he was alive, but now she is able to sufficiently support herself with the cottages.

Chapter 3:

I think that chapter 3 is where Chopin's feminist criticisms seep through more intensely. The first example of this is a quote at the very beginning of the chapter; "He thought it very discouraging that his wife, who was the sole object of his existence, evinced so little interest in things which concerned him, and valued so little his conversation." Mr. Pontellier's perception of his wife here is that she is nothing but a recipient for his ideas and comments, and that she should always be alert to him and his existence. However, Edna feels trapped by this in her marriage, as we can infer from her frequent crying and her acknowledgement that, "such experiences as the foregoing were not uncommon in her married life." Overall, I think that chapter 3 marks the beginning of Edna's "awakening" into the desire for an independent, free life as a woman.

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In chapter 3, Robert's inconsiderate actions towards Edna give readers a glimpse into a expectations that women are held to during this time. Robert is angered of Edna's neglectful attitude towards their children stating, "If it was not a mother's place to look after children, whose on earth was it?" (Chopin.7) During this time it's the wife's job to care for the children, and the husbands job is to provide the income. There is no co-parenting, it's solely up to the woman to nurture and care for the kids. Even though Robert was already awake and could have helped Raoul he chose to disturb Edna and ask her to do it. During this moment Edna feels an "indescribable oppression" that fills her with "vague anguish"(Chopin 7) That night Edna is feeling suppressed and forced into a small box. Women aren't treated with the same respect or given the same freedom as their husbands.

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In chapter three, Mr. Pontellier comes home from the club late in the night to find one of the children feverish. While Edna knows that her child doesn't actually have a fever, Mr. Pontellier insists that he does because he is "too well acquainted with fever symptoms to be mistaken." (Chapter 3) In this scene, Leonce questions Edna's abilities as a mother, at which he believes she should be naturally adept. This scene showcases Chopin's view that men view women as simply wives and mothers before themselves. Edna loses pieces of herself in taking care of her children, and Leonce does next-to-nothing to help her find who she is after becoming a wife and mother.

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In chapter four, Chopin introduces Adele Ratignolle. Adele is the epitome of the "mother-woman" and the "embodiment of every womanly grace and charm." (Chapter 4) Chopin uses Adele as a character foil for Edna because they are such opposites. As the novel continues to develop and Edna starts to find herself, becoming less like the male blueprint of the "perfect woman," Adele stays steady so that we, the audience, can compare the two and see just how dramatic the changes in Edna's character have been.

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The chapter starts of with Leonce's disappointment towards Edna and how she "failed in her duty" (Chopin.9) towards their children. Through a man's eye, women are seen as the sole care giver to the children. That is their only job, so to Leonce, Edna should be exceptional at it. Most women are categorized into a subgroup of mothers as "mother-woman"(9) Now typically most woman during this time exemplified a mother-woman, but Edna is different in this way as she does not. The mother-woman is described as woman who "idolized their children" and "worshipped their husbands"(9) Edna loved her children, but doesn't idolize them or taking particular interest in them as most mothers would. Edna cares for her husband, but she doesn't love him. Edna is dissimilar in this way and does not want her whole purpose to revolve around her duties as a mother and wife, but more as a person.

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During the conversation with Adele, Edna, and Robert. Robert jokes to Edna of his past admiration and passion for Adele. The "words of love" (Chopin.13) he expressed to her and his "adoring dog" (Chopin.13) like actions. Edna is relieved that Robert doesn't act the same around her as it would have been "unacceptable and annoying"(Chopin 13) Most women would be flattered to have words of love thrown at them, and like Adele would play into it. Edna has more of a matureness about her when she states that it would be annoying. She doesn't feel the need to be praised or reassured by a man even one she likes.

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At the beginning of chapter six, Chopin says, "In short, Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her." In this part of the novel, Edna is beginning to see where she stands in the grand scheme of things. Chopin chooses to emphasize this realization because she wants her audience to recognize this as the beginning of her awakening. Edna knows that she is stuck where she is; just a woman bound to her husband and children.

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Chapter 4:

The concept of the "mother-woman" is introduced and expanded upon in Chapter 4, where they are described to be, "woman who idolized their children, worshipped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels." This establishes the belief that women in this time period are meant to be perfect beings (as alluded by the use of the word "angels") and wholly subservient to their families (as alluded by the uses of "idolized" and "worshipped"). An example of the mother-woman is introduced following the description: Adele Ratignolle. Adele's importance in Edna's journey of self-discovery is critical as we continue into the later chapters.

Chapter 5:

One subtle piece of foreshadowing for Edna's awakening is displayed in chapter 5, where she and Robert are sitting on the porch steps and he tries to rest his head on her arm. She, "gently... repulsed him," then he tries to do it again, to where she, "believed it to be thoughtlessness on his part; yet that was no reason she should submit to it." The idea of "disobeying" or not submitting to a man in this time period is controversial for women and demonstrates how Edna is evolving in her awakening.

Chapter 6:

In this short chapter, Edna is described as, "beginning to realize her position in the universe as a human being." This is a critical point to note--even though this chapter is short, it is an example of how Edna is continuing to evolve socially and with her self-perception. She is more frequently challenging established stereotypes of women in this time period and embracing her desire for independence.

Chapter 7:

I find that one quote in particular greatly represents how maintaining femininity in such a restrictive and oppressive time period as 1899 is. In chapter 7, while Madam Ratignolle and Edna are on the beach, the wind that "whips the water into froth" also "fluttered the skirts of the two women and kept them for a while engaged in adjusting, readjusting, tucking in, securing hair-pins and hat-pins." The sequential list of actions is a great example of Chopin's "show, don't tell" writing style. She is using the wind to represent the restrictive reminders that women in this time period live under, while showing the effects of such restrictions. As a result, the audience's exposition is developed so that they can understand the source of Edna's awakening.

Chapter 10:

Chapter 10 is groundbreaking for Edna, as Chopin uses Edna's swim to represent her desire for independence in a male-dominated society. This concept is best represented by the quotes, "She wanted to swim far out, where no woman had swum before," and, "as she swam, she seemed to be reaching out for the unlimited in which to lose herself." Even though we can conclude that swimming is a great feat for Edna, it has a deeper representation for her; awakening and rebirth. She is discovering that her potential is unlimited and starts to crave the power and control she feels by being free of her "mother-woman-ly" responsibilities.

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Edna's relationship with the beach is a metaphor to her upcoming freedom, independence, defiance, and love. In chapter 6 it states "A certain light was beginning to dawn dimly within her,-the light which showing the way forbid it."(Chopin.16) At first read I thought the light Chopin referred to was love and the forbidding was because of her marriage. At second glance I believe the light she is referring to is this "new Edna" being awakened that consists of a liberated, new woman. Society forbids what Edna is becoming which is a self-reliant female who doesn't relay herself to her husband.

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In chapter seven, more of Edna's character is introduced to us, the audience. Chopin says that Edna "sometimes held religious and political controversies" which was very uncommon for women during this time. The fact that Edna has beliefs and recognizes that those thoughts are hers, and not her husband's, was very scandalous for Chopin's readers when the book was first released. At the time, women hadn't even won the right to vote yet.

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In Chapter 11, we see Edna begin to defy the strict societal expectations placed on women of her time. Women were expected to obey their husbands unquestioningly and were rarely part of a mutually respectful partnership, but even in more affectionate marriages, the husband’s authority remained at the top. Edna challenges this norm when she refuses to follow her husband, Mr. Pontellier, into the house, asserting her independence by telling him, “I don’t wish to go in” and demanding that he not “speak to her like that again” (Chopin, 42). This moment directly opposes the social expectation that women must submit to the patriarchy, illustrating Edna’s growing desire to break away and carve her own path. By standing up to her husband, she signals her resistance to male control, setting the stage for her larger journey toward self-discovery.

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Chapter nine is set in the Lebrun's house for a party over the weekend. Near the beginning of the chapter, the parrot comes back into the story and continues to yell and squawk at the house guests. Eventually, Old Monsieur Farival insists "upon having the bird removed and consigned to regions of darkness." (Chapter 9) Like in the first chapter, the bird represents women during this period, and how they are trapped by their society to be what they are told to be. The men want the bird [women] to be cast out and shut up.

Later on in chapter nine, Victor and the guests start talking about the food that was served at the party. While the food was actually made by two black women in the kitchen, Victor takes credit for "his achievement." (Chapter 9) While women can do amazing things and accomplish things that some men cannot, men, like Victor, like to take credit for what's not truly theirs.

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In chapter ten, Edna finally learns how to swim. She gets up enough courage to swim out farther than she was originally comfortable with and is incredibly proud of her achievement. Edna realizes that she "wanted to swim far out, where no woman had swum before," a sentiment that she carries out throughout the rest of the novel. Edna continues to "swim out" where other women had fallen short and begins to test the boundaries of what her society will accept from her. Later on, as Edna is telling Leonce about her accomplishment, he says, "You were not so very far, my dear; I was watching you." By saying this, Leonce is minimizing her accomplishment and is basically telling her that she didn't really do anything spectacular, even though it was incredibly important to her.

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In chapter eleven, Edna wants to sit outside by herself to collect her thoughts and relax, but Leonce wants her to come inside, and tells her that he "won't permit [her] to stay out all night." (Chapter 11) While the old Edna would have yielded to Leonce's command, the new Edna found her power and told him, "Don't speak to me like that again, I shall not answer you." Edna is becoming more independent from Leonce, and this is one of the first instances in which he is realizing that she is stronger and more stubborn than she used to be.

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In Chapter 3, Mr. Pontellier arrives home expecting his wife to drop everything and attend to him. Displeased by her “inattention,” he assumes that she should immediately engage with him, despite her being asleep. He also criticizes her supposed neglect of their children, likely because as their mother, she is expected to prioritize caregiving as part of her household duties. Eventually, Mr. Pontellier’s demands wake her, and she finds herself overcome with emotion, her “steaming and wet” (Chopin, 8) eyes revealing the weight of both his expectations and society’s pressures.

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In chapter 16, Edna tells Madame Ratignolle that she "would give up the unessential" things in her life for her children, but that she wouldn't give up herself. This shows that she cares about herself and that she recognizes that even though she is a wife and mother, she is also an individual who needs to prioritize herself. This is a very modern, feminist perspective that Chopin illustrates here, which is probably one of the reasons her book got so much backlash from its original readers.

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In Chapter 1, Mr. Pontellier’s view of his wife reveals a dismissive and possessive attitude that reflects the patriarchal norms of this society. When he remarks that she is “burnt beyond recognition,” he looks at her “as one looks at a valuable piece of personal property which has suffered some damage,” (Chopin, 3) indicating that Leonce sees her as an extension of his own status rather than as an individual. He isn't concerned for her well being but rather how her appearance affects the perception of her value (being burnt decreases her value). This comment about her appearance reflects the broader expectation that women should adhere to roles that align with male desires and societal standards. By objectifying Edna in this way, Mr. Pontellier exemplifies how patriarchal views restrict Edna’s independence and subtly pressure her to conform to his expectations, setting the stage for her eventual struggle against these constraints.

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In chapter 10 Edna undergoes a change. It starts after she learns how to swim by herself after being fearful of it. She is ecstatic and is "intoxicated" by her "newly conquered power" (Chopin. 34) I think this is monumental, because it opens up this freedom for Edna. Away from what is expected of her and her worries on the island. Not many woman get to do things on their own during this time, but Edna has overcome this challenge she has been struggling with. She has something she can call hers. When she tells Leonce his condescending tone leaves Edna angered. He states "You were not so very far"(Chopin. 35) almost anchoring her to this life she does not want or fits into.

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In Chapter 2, Mrs. Pontellier’s (Edna) physical description and interaction with Robert offer insight into her emerging sense of self, which contrasts with the traditional roles expected of women in her society. Her “quick and bright” eyes, which seem to delve into a “maze of contemplation or thought,” (Chopin, 4) hint at a more in depth self reflection, which sets her apart from the passive roles typically given to women. Her easygoing conversation with Robert and her interest in topics outside domestic concerns signal her desire for a life beyond the roles of wife and mother. Through this conversation, Chopin suggests Edna's individuality and hints at her inner conflict with societal expectations, illuminating the feminist theme of self-discovery and resistance against patriarchal norms.

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Chapter 5 critiques societal expectations of women by showing Edna's growing self-awareness. As Edna sits with Madame Ratignolle and Robert, Edna feels fulfilled while “dabbling” in her sketching, which satisfies her like “no other employment," (Chopin,15) highlighting her yearning for independence beyond her pre-determined roles. She has quiet resistance to Robert’s casual physical advances of him resting "his head against Mrs. Pontellier's arm" (Chopin, 15), gently denying him without explanation, illustrates her assertion of personal boundaries, a small but nonetheless significant act of self-ownership. Through Edna’s actions, Chopin critiques the passive, self-sacrificing ideal of femininity, suggesting a deeper potential for autonomy in women that society often suppresses.

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I find this chapter to be critical to our feminist lens because of its portrayal of the lack of control women had during this time period. On page 66 of chapter 27, Edna stormed to her room in anger after Leonce leaves her to go to the club for dinner. In her room, she tears a thin handkerchief into ribbons, and "once she stopped, and taking off her wedding ring, flung it upon the carpet... she stamped her heel upon it, striving to crush it... her small boot heel did not make an indenture, not a mark upon the little glittering circlet." This quote demonstrates Edna's frustration at her failing marriage as a result of her "awakening". It also represents the fragility of female independence in this time, as it was a topic often rebuked and unsupported. Because Edna's awakening is socially unsupported, she does not have the strength she needs to pull herself away from her responsibilities (yet) and thus makes no progress in her independence. ((again, yet))

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In chapter 15 when Robert is in the midst of leaving for Mexico, Edna feels betrayed and lost in herself. Robert leaving solidifies Edna's "newly awakened" self. (Chopin 57). For the first time she comes to terms with the feelings she has developed for Robert and this ache in her heart as he leaves. Edna feels "denied" of which has "impassioned" her. Edna has discovered emotions she has never felt and is happy with how Robert makes her feel, so when he leaves her she's angry and feels abandoned.

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Edna has all her life "harbored thoughts and emotions" that never "voiced themselves" (Chopin 60). Most women are taught to keep their emotions in check and not express them too much. If they do they are deemed as dramatic or crazy, if they don't they are seen as indifferent. Edna talks about her emotions as if they are a tangible thing that no one else is allowed to know. Edna comes to realization that her feeling belonged to her and were her own" and that they don't "concern anyone but herself" (Chopin 60). Edna wants something of her own, not just what is given to her because of her marriage to Leonce. She doesn't want people telling her how to behave or feel.