Gender

Question 1

Quote 1:
“Sigga is dumb and pretty and young, and that is why they don’t want to see her die…. They see I’ve got a head on my shoulders and believe a thinking woman cannot be trusted. Believe there’s no room for innocence.”

Answer 1

Argument:
Women who step outside of societal expectations are often persecuted for challenging dominant ideologies.
Analysis:
- Characterisation of Sigga as pretty and dumb indicates how Sigga fits the traditional female role. Whereas, Agnes is characterised as intelligent, a supposedly masculine trait which threatens the power of men within society.
- ‘Thinking’ - smart and knowing’ and not ‘trusted’ underscores how the justice system equates female cleverness with guilt, only perceiving those who abide by societal gender roles as innocent.
- “No room” - society is unwilling to even consider the possibility of Agne’s innocence, positioning readers to question the morality and validity of a justice system who denies the chance of freedom to those who transcend ingrained gender roles, purely out of fear of losing masculine superiority.

Question 2

Quote 2:
“The look on Natan’s face was not of derision, but of scornful amusement… ‘You’re a cheap sort of woman. I was wrong about you.’…He dragged me down the corridor and pushed me over the doorstep. I tripped on the ledge and went sprawling into the snow, naked. By the time I got to my knees, he had slammed the door in my face.”

Answer 2

Argument:
Under patriarchy, women are only of value when they reinforce the authority and needs of men.
Analysis:
- Characterisation of Natan as manipulative and cruel
- ‘scornful’ - suggesting uncaring- reveals Natan’s sense of superiority and lack of genuine emotional investment in Agnes, perceiving her as an object of amusement or disdain.
- ‘cheap’ – worthless and disposable- reduces Agnes to a mere object, emphasizing how Agnes’s value is perceived as dependent upon her conformity to his masculine desires, underscoring the absolute power that Natan holds. Agnes is not seen as an equal partner, but rather as someone who exists to fulfill Natan’s needs. When she no longer serves that purpose, he casts her aside, treating her as something to be discarded rather than a humane person deserving of respect.
- ‘dragged’ and ‘pushed’ – aggression and violence – Natan uses his physical power to assert dominance and power over Agnes. This physical aggression is a manifestation of the gendered power dynamics in their relationship, reinforcing the systemic power imbalance between men and women, where men exert control through both physical and emotional means, serving to degrade and disempower women.

Question 3

Quote 3:
“She said Natan had started giving himself some airs, calling himself Lyngdal, not Ketilsson, … not Icelandic in the slightest. María thought it was probably to make himself out to be a Dane, and I wondered that he was allowed to change his name at all. María told me that men might do as they please, and that they are all Adams, naming everything under the sun.”

Answer 3

Argument:
Traditional gender roles enable men to freely shape their identities while women face stricter limitations and judgment, highlighting systemic gender inequality in 19th century Iceland.
Analysis:
- Allusion to the biblical story of Adam and Eve, specifically Adam’s role in “naming” all of God’s creations, aligns Natan with the authority Adam possessed. This reflects how men hold the power to shape their own identities and the identities of others, while women remain bound by societal restrictions and expectations.
- Natan’s decision to change his name to “Lyngdal,” a non-Icelandic name, reflects his desire to elevate his status by aligning with a foreign, more prestigious identity. Combined with the word “airs”, connoting arrogance or pretension, this highlights the fluidity with which men can navigate social roles with no fear of social criticism, a privilege afforded to them in contrast to women.
- Whereas, when Agnes changes her name to “Jonsdottir” she is regarded with judgment, revealing how society allows men the freedom to redefine themselves but scrutinizes women for doing the same, underscoring the gender-based double standards in 19th century Iceland.