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Gender, : - Coggle Diagram

- - - - Offred is also mocked by the Commander when he responds "that's very clever. Butter. He laughed" to her methods of connection with her body after abjection. Offred distances herself and experiences a breakdown of the distinction between what is self and what is other - an idea Julia Kristeva refers to as "corporeal reality". To regain a relationship with her body, Offred uses butter to moisturise and physically bond with her body. By doing this, Offred further abjects herself and objectifies her body, referring to it with the simile "like a piece of toast".
      - The Historical Notes further sneer at Offred and dismiss her experience in Gilead. The Professors only care about the facts and wish Offred "had the instincts of a reporter or a spy". Shows Professor Pieixoto's lack of empathy towards Offred's situation, downplaying of women's suffering, demonstrates that society has not learnt and continues to remain deeply sexist, Offred does have these instincts but chooses to report on private matters, providing a counter-discourse which challenges Gilead’s patriarchal narrative, Professor misses the point as Offred had to be extremely careful about researching or spying because her life was at risk. Offred shared a typical feminine approach to narrative telling, focusing on emotions and relationships, rather than facts and evidence that are considered more masculine. This links to Helene Cicoux's notion of 'L'ecriture Feminine', which is arguable a form of female empowerment as Offred is adopting a more feminine form, however the Historical Notes suggest her ability to tell the story has been arranged by male professors. Link to Canterbury Tales.
    - - The notion of the monstrous is also explored by Atwood when Moira's feet function as a visible warning for handmaids considering escaping. "Her feet did not look like feet at all. They looked like drowned feet, swollen and boneless." This plays on the idea that monster derives from the Latin words 'monstrare' and 'monere', meaning demonstrate and warn respectively.
- - - - Reinforced by Victor saying "To me the idea of an immediate union with my Elizabeth was one of horror and dismay". He is scared of consummating his marriage, which makes it idea that the creature is a manifestation of Victor's sexual desires more feasible.
- - - - Handmaids being associated with the colour red links to the sumptuary laws that were in place in England from the Middle Ages until into the 17th century. They dictated, by law, the fabric, colour and styles of clothing worn by different members of society. Gilead's theocracy reintroduced strict sumptuary laws relating to social and reproductive value.
        
        The Commander’s car is “black, of course, the colour of prestige or a hearse” which implies his masculinity is exaggerated, which in turn, gives him power and authority. In addition, the colour connotes to sin, evil and death, linking to Victor’s sin of usurping God, using religious imagery like “pilgrimage,” “white steeple” and “disciple.” Line between science and religion is blurred.
        
        The Wives wear blue, and Serena Joy’s eyes are described to be “the flat hostile blue of a midsummer sky in bright sunlight, a blue that shuts you out.” Sky represents freedom and unlimited possibilities, yet the “shuts you out” highlights the restrictions that Gilead now imposes. The regime removes individuality and prevents emotional contact, which directly relates to the monster fighting for his individual liberty by demanding “you must create a female for me” and his loneliness and uniqueness where there is “none like me.”