From “the Other” to “the Subject” Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay --- A study by Evelyn Nesbit in RagtimeSummary The purpose of this article is twofold. I will analyze the personalities of Evelyn Nesbit presented in Ragtime as a recreated character that does not come straight from the pages of the history books. With the concept of "the Other" coined by French feminist writer Simone de Beauvoir in her book on existentialism, The Second Sex, I would mainly focus on analyzing Nesbit's struggle and attempt to prove that it ends up changing its position from “Object” to “Subject”. Keywords: Ragtime, feminist existentialism, Evelyn NesbitI. IntroductionRagtime is a historical fiction written by EL Doctorow, and it is presented in the combined writing style of fiction and historical materials. Set against the backdrop of the period 1902-1912 in and around New York, it introduces readers to the American social costume of a decade on the eve of World War I. The novel contains several historical events and celebrities while some of them were still well known today, such as the financial tycoon JP Morgan; the “Motor King” Henry Ford and “The Trail of the Century”. Doctorow added three fictional families as a clue along with the protagonists from the real historical context to represent three main types of citizens and their lives. From different angles, “Doctorow shows how politics, economics, and social class profoundly affect the lives of individuals by applying the theories of new historicism to his novel” (Chen 28). Completed and published in 1975, Ragtime tells divided but connected stories of immigrants, WASPs, and African Americans. There are conflicts as well as connections between the three groups, but they also reveal America's intensifying social problems with economic development. Doctorow writes the novel at a time of second wave feminism, so Ragtime is inevitably influenced by these thoughts. It adapts two historical female characters, Evelyn Nesbit and Emma Goldman, to represent the development of the first wave. As a feminist, although Emma's economic contribution to the United States is obviously less than that of Ford or Morgan, her efforts to promote the social status of women constitute a visible and significant step in the feminist movement. At the same time, Evelyn Nesbit's change with the help of Emma is an example of the awakening of thousands of women during the first wave. In Ragtime, Evelyn Nesbit is a woman of low birth but struggles to get by to gain fame and fortune. So even though the false testimony offends her conscience, she still does it in order to get Harry K. Thaw's money and become a victim in front of the public. But later, she takes care of the little girl, "took the lease and paid the landlord for the pitiful furniture" (94) where the little girl and Tateh resided. After Nesbit's involvement with Tateh and the little girl, his inner space begins to change and becomes more mature and hospitable to the working class. By staying with Goldman, Nesbit gradually realizes that her life is superficial, her testimony as stupid and her marriage to Harry K. Thaw as golden prostitution. She then begins to engage in political movements and, at the end of the novel, “loses her appearance and sinks into obscurity” (369). Since its publication in 1975, analytical articles on Ragtime have mainly focused on these aspects: language, reconstruction of historical figures, postmodernism, neorealism and nostalgia. Ragtime is a genre ofmusic characterized by fast and passionate rhythms. And once this style is adapted in the composition, the context would be more energetic. Thus Clemons writes in his review of Ragtime that "Doctorow has found a new way of orchestrating the themes of innocence, energy and the inchoate nature of America's ambition – with their antiphonies of complacency, of disorder and disillusionment” (76). “Doctorow is praised for his superb attention to detail, and even if this were his only triumph – it is not – this novel would still be something to cherish” (Hart 892). As the creator of several prestigious works such as The Book of Daniel and Loon Lake, Doctorow is known for his subtle yet profound writing skills in recreating historical celebrities and integrating them organically throughout the book. Carl Rollyson wrote in the book Critical Survey of Long Fiction that "In Ragtime, Doctorow goes even further to suggest that much of American history has been transformed into myth. In this novel, historical characters have the same status as fictional creations” (1291). The novel's very title, Ragtime, represents not only famous music of that era, but also the gradually escalating social conflicts and rapid social progress of the United States. However, there are some research materials regarding female characters in Ragtime. And most essays simply mention these characters of Nesbit and Goldman instead of analyzing them with any theory. Li says that “Evelyn left with a ragtime dancer” (115); Maria FS Miguel writes in her review that "Ragtime's characterization functions as a tool to denounce the oppression and, at times, violence that women faced at the turn of the century and which intersected with racial and class discrimination » (103). But these descriptions are too vague to draw such a result without an in-depth analysis of Evelyn Nesbit's personality and the social atmosphere in which she operates. Although Xian mentions in her work that "Nesbit is not only despised by the upper class, but also criticized by the working class. And the reason for her miserable life is her special social status" (14), it's still a shame because she doesn't try to argue about what Evelyn's special social status is and how she acquired this social status. the parts would mainly focus on the identities of Evelyn Nesbit and her struggles to change her social status according to the concept of "the Other" evoked by the French feminist Simone de Beauvoir. However, before moving on to detailed analyses, it would be necessary to review the key concepts used in this article.II. Theoretical frameworkIn her book The Second Sex, Simone de Beauvoir evokes a concept called "The Other", which according to her means that the woman is the "privileged Other", defined as "the accessory, the inessential as opposed to the "essential" (16). Furthermore, Simone also specifies "the Other" as a slave and says that "no more than slavery is the vocation of the slave" (262), which means that the Women must submit to the authority of men because of their lack of violence. This happens in both primitive and modern society, as the patriarchal system still remains the foundation of today's society. And within the framework of this social contract drawn up by men, women have nothing to do other than accept the social role assigned to them. As part of feminist existentialism, the theory of the “Other” focuses mainly on the unequal relationship between man and woman. By comparing women to man's slave or object, Simone reveals that women actually have little or no social status in patriarchal society.Judith Butler says that "Beauvoir uses the word to refer to woman as a construct or idea, rather than woman as an individual or member of a group. The book suggests that “gender” is an aspect of identity that is acquired gradually” (35). To be brief, “The Other” clearly positions the woman as a helper to the man, implying that the woman can only live a good life. by marrying or belonging to a man. This theory would be used when analyzing Nesbit's changes in his behaviors and personality in this article.III. Nesbit's Struggle as the "Other" As a notorious socialite, Nesbit is challenged by traditional moral standards while at the same time being followed by the mass media, no matter when or where. On the other hand, society's dominant value is to criticize Nesbit for his quest for fame and fortune by offering his body to men. But on the other hand, Nesbit has become the kind of celebrity whose face is printed everywhere. Simone de Beauvoir emphasizes that “weakness is objective in women, and she is said to be inconstant and treacherous because her body is such that it devotes her to man in general and not to a man in particular” (181). This is the particular reason why audiences love her and need her to be the topic of their dinner conversation, but hate her for her courageous behavior of having romantic relationships with multiple men who question and undermine the foundations of society, or of the patriarchal system in others. Although Nesbit "is regarded in homes all over America as a licentious and shameless wanton" (68), she is at the same time "a creature of their creation" (68). There is no doubt that the word “their” implies society forcing women to be the tool used by men while they are accused of being capricious. In Nesbit's time, there was no other way for a woman than to follow the standards set by the man. She is a beautiful woman with a pretty face and perfect stature that meets everyone's beauty standards. But the meaning of "beautiful" is defined by the masculine and anyone who wants to satisfy it should wear steel stays to maintain their waist and ensure that "the marks of the stays run vertically like welts around the waist" (69). . The restriction of a woman's body is the public's stereotype of women, and it is actually a miserable but inevitable price for any woman who wants to enjoy an abundant life in this era, or even today . The welt directly represents the owner-servant relationship between men and women. The deeper meaning of this relationship is the dominant power of the man over the woman, which could be interpreted as a hierarchy and sex naturally exists to allow the woman to satisfy the man's carnal desire. “Woman not only flatters man's social vanity; it is the source of a more intimate pride. He is delighted with his domination over her” (Beauvoir 192). From Beauvoir's point of view, Nesbit is actually a stylish plaything of her husband, the upper class and patriarchal society. What really interests others is her beauty and no one pays attention to her feelings, her joys and her sorrows. At the same time, since the man takes the woman's sacrifice and efforts for granted, the entire society, even the woman herself, acquiesces to the fait accompli with little or even no complaint. So it makes sense that sexual abuse would occur to Nesbit and her husband Harry K.. Thaw's first night together, as he treats Nesbit like a tool instead of a human being in an equal position with him. “His body is not perceived as the radiance of a subjective personality,but as a thing deeply embedded in its own immanence” (Beauvoir, 176). A "thing" has absolutely no human dignity and it is not necessary to respect it but to use it as Harry wishes. Then “he took off her bathrobe, threw her on the bed and applied a dog whip to her buttocks and the back of her thighs. Her screams echoed through the stone corridors and stairwells…” (26) This is far from the end, but the beginning of Nesbit’s nightmare, “shocking red marks disfigured Nesbit’s flesh. She cried and moaned all night... In the morning Harry returned to his room... with a razor's strop... She remained bedridden for weeks” (27). There is no humanity in the description of Harry's behaviors or he is in fact a beast under the layer of human skin. Eisler Riane points out that the hidden truth is “the domestication of women and the dehumanization of men” (Riane 202). And Harry's atrocity towards Nesbit could also be explained by "the psychosexual armor which, in our time, continues to push men to ever more sexual conquests" (Riane 208). According to this explanation, his behavior is not about defeating enemies, but about expressing his animal desire and building a sense of conquest, based on Nesbit's suffering. Here's an obvious question: why doesn't Nesbit work to achieve higher social status? As a poor woman without parents to rely on, Nesbit could only obtain her own fortune through her efforts, or in other words, by marrying a rich man. “For the woman's domestic work now sinks into insignificance in comparison with the productive work of the man: the latter is everything, the former an insignificant auxiliary” (Beauvoir, 80) and “it is through heritage that the woman is most strongly attached to her husband” (142). ). What Nesbit could do is extremely limited because women have a much lower social status than men, while the public believes that the best place for women to stay is the home rather than the office or factory. her knowledge of the upper class as a socialite. To be more precise, Nesbit's best choice is to attach himself to a rich man to make himself more popular. Goldman points out that “Like all whores, you value propriety. You are a creature of capitalism whose ethics are totally corrupt and hypocritical…” (64). Even though Nesbit never makes money from selling her body, she remains something of a whore through the marital relationship with Harry because she needs to please her husband in order to feed herself. "Once Harry demanded proof of his devotion and it turned out nothing else would do except a blowjob... Then he brushed off the sawdust... gave her a few bills from his pliers with notes” (29). Women, as a vulnerable group in society, would always like to find someone to rely on through marriage. But subject to the unequal relationship between man and woman, the latter has no choice but to release her husband's desire and follow all directions according to the traditional doctrine of women.IV. Nesbit struggles to be a “subject” “Because it is the man who “takes” the woman, he has a little more possibility of choosing… But since the sexual act is considered a service assigned to the woman… it makes sense to ignore his personal character. preference” (Simone 423). Traditional ethical and moral standards place the woman as a servant who must please her master, or in other words her husband, by satisfying his sexual desire. During Emma Goldman's erotic massage and the short relationship with the younger brother, Nesbit gradually awakens from his former role as an "object" and tries to become a" subject ". Under Goldman's leadership, Nesbit discovers that she is far from a tool. to please the man, but an independent person who could realize his self-worth. “Her eyes were closed and her lips stretched into an involuntary smile while Goldman massaged her breasts, her stomach, her legs” (70). In Goldman's erotic massage, Nesbit gradually relaxes his body and begins to relax. “Nesbit placed his own hands on her breasts and his palms rotated the nipples. His hands moved down her sides. She rubbed her hips… [Nesbit] began to undulate on the bed like a wave on the sea” (71). Traditional sexual morality criticizes masturbation as immoral, loveless behavior. But there is no love between Nesbit and Harry either, and it is in fact sexual desire and a thirst for fortune that unites them. Harry wants to have sex, so he simply treats Nesbit as a tool to play with; Nesbit wants to become one of the riches, so she married Harry. Aware of her status as an “Other” imposed by society, Nesbit finally manages to break the chains by finding a true self. With Goldman's help, she unbuttoned the waist of her shirt and took it off (68). After undoing the chains, Nesbit activates his stiff limbs and enjoys the pleasure of relaxing. As Greil Marcus questions in his review, "What could Evelyn Nesbit's odyssey from the penthouses to the streets be like, if Doctorow hadn't lost his cool with her?" ?" (Mark 61-2). In his relationship with the younger brother, Nesbit had an absolutely pleasant experience. "They made love slowly and sinuously, jostling each other in states of orgasm so flexible that they found very little reasons to talk the rest of the time they were together” (94). But suddenly “the young man was in mourning” and “Evelyn Nesbit had become indifferent to him and when he persisted in his love, she became hostile” (128). Although Doctorow had already ambushed the answer before this, telling readers "All he could do was devote his life to hers and work to satisfy her every whim" (100), the root cause is that “she wanted someone who would mistreat her.” and that she could treat badly. She longed for a challenge to her spirit” (100). In Beauvoir's words, "the man wants to give, and here the woman wants to take for herself" (206), suggesting that men are active while women are passive. Treated as an object that only has a pretty face, Nesbit has had enough of the judgment passed by man because "there is a double demand from man which condemns woman to duplicity... he considers her to be both as a servant and an enchantress” (Beauvoir 204). ). She therefore tries to regain control of herself at the very moment when she no longer wants to be an “Object”. Nesbit begins her relationship with the younger brother out of sympathy and leaves him outside of her free will because “she does not belong to any man, but gives herself over to everyone and lives from such commerce to regain this formidable independence” (Beauvoir 207 ). “All this human progress has been accomplished by men. The women were left behind, outside, downstairs, without any social relationships, just the sexual relationship in which they lived” (Gilman, 45). Although Nesbit has made some difference in his own story, there is no real change towards male-dominated human progress. Doctorow wants to use Nesbit as a character to represent thousands of "human mothers [who] worked harder than a mare, toiling all their lives in service" (47) in his time. As she jumped out of the cage and broke the standards of the patriarchal society, punishment is inevitable because what she did could not be.