Carol Ann Duffy and Alan Bennett present deliberately provocative attitudes toward matriarchy and patriarchy through their respective uses of narration. In "The World's Wife," Duffy uses a variety of poetic forms to displace and reinsert mythological and literary female figures into roles of dramatic cultural centrality, or, conversely, into singular roles in history and society in order to accentuate their oppression, while subverting it. Duffy therefore uses the revisionist method of revaluation to criticize the superficiality that inhibits modern society, allowing reinvention to move away from an unacceptable truth towards a more attractive alternative. Similarly, Bennett's "The History Boys" exploits revisionist methods to encourage its audience to reevaluate the nature of history itself and to question the function and value of literature in modern society. However, while Bennett uses revisionism as a technique to sell "false" truths through the presentation of Irwin's "backdoor" approach to knowledge and teaching, Duffy uses revisionism to reevaluate what it means to be a woman, while criticizing the superficiality and materialism of modern lifestyles. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Both Duffy and Bennett encourage their reader, or audience, to re-evaluate the patriarchal nature of literature and history, as well as the displacement of women. However, both authors re-evaluate the role of women in society for different purposes and using contestation techniques and re-evaluation methods. Bennett almost seems to parody the existing patriarchal biases of history and literature through the gender imbalance among the characters in "The History Boys", which features only one speaking female character, reflecting gender inequalities of the society of the 1950s and 1980s on which it is based. However, lacking a feminist agenda, Bennett actively promotes an openly masculine society, while emphasizing the typical role of female servitude through his recreation of the male-dominated society of the 1980s. In contrast , Duffy, in a decidedly feminist manner, deliberately highlights the historical oppression of matriarchy through her use of cultural references and intertextuality. This allows her to persuade her readers to re-evaluate female figures, previously displaced by patriarchal versions of history or literature. This can be seen at the beginning of "The World's Wife", where Duffy subverts the fairy tale figure of Little Red Riding Hood in her opening poem, "Little Red Cap". This poem is a bitter revisionist parody of the traditional fairy tale in which Duffy suggests that women's liberation from male oppression lies in the need to reverse expected gender roles. Little Red Hat actively takes responsibility for his own “loss of innocence” by eagerly following the wolf into the woods, then ultimately challenging the patriarchy by killing the wolf: “I took an ax to the wolf.” Duffy shows the death and destruction of patriarchy by the stronger force of matriarchy, with the wolf symbolizing masculinity as a whole. The active verb "took" emphasizes the activity and force of femininity over masculinity, showing that "The Woman of the World" "marks a critical shift from earlier poetry in that men and masculinity are constantly attacked by more abrasive female narrators". Therefore, Duffy uproots traditional expectations about the strength of patriarchy within society, destabilizing the reader through typical subversive techniques, irreverently coupled with a postmodernist twist, and encouraging the reader to reevaluate the supposed "inability" of patriarchy. femininity, placing matriarchy above the latent misogyny of 1980s society. Lintott as a dramatic device, conforming to the characteristics of the contemporary "submissive" stereotype of women who accept the role assigned to them in society ("...my role is patient suffering and not devoid of the predilections and concerns of men.") Duffy also draws on gender stereotypes, but shows Little Red Hat as capable of manipulating them in his favor, playing on his supposed innocence to seduce the wolf and seduce her. Duffy uses the condescending "label" of a "little girl", as well as the list of condescending female identities: "sweet sixteen, never been, baby, waif..." in order to expose the stereotypical perspectives of women as being at both sexualized and innocent. objects. Duffy directly addresses normalized views of the diminishment of women in history, subverting the degrading connotations of these identities, allowing them to reinforce femininity. Therefore, in her initial poem, Duffy instantly constructs the newly established notion of a matriarchal world, which progresses throughout "The World's Wife." Bennett similarly presents a partially repressed female figure through his characterization of Mrs Lintott, giving her "the role of astute and insightful commentator". This comment extends to Mrs. Lintott herself, recognizing that she has little influence on the events of a patriarchal society other than as an observer and confidante: "I am what men call a peer with safe hands.” Bennett constructs the image of a male-dominated story using bitter metaphor and an active passive division: "They're kicking in the street and I'm watching", in which Mrs. Lintott inhibits a passive, typically female role . The non-action verb “watch” further hyperbolizes Mrs. Lintott’s inactive and docile role, offering a feminine critique of the story. Bennett juxtaposes this subservient female figure with the rather self-centered nature of the male characters, through his use of the active verb and third person pronoun "they kicked", allowing Mrs. Lintott to play an invaluable role. As part of his postmodernist narrative, Bennett draws attention to Mrs. Lintott's "function" as a "self-reflexive" character within "The History Boys" by allowing her to highlight her own very limited role in the piece (“I have not yet had an inner voice attributed to him…”). In a similar way, Duffy reevaluates the stereotypical identities of women and girls in society, but instead reestablishing a newly heightened sense of femininity and Little Red Hat, directly addressing repressive stereotypes. Both authors use social commentary and satire to encourage the reader to re-evaluate social values ​​and concerns within society, such as the different ways in which Duffy and Bennett attack materialism. Duffy uses social commentary, coupled with wild satire, as a means of encouraging a reflection and re-evaluation of materialism within late 20th century society. While Bennett creates a divide between the importance ofeducation for life, knowledge and wisdom to present the commodification of the education system. Bennett uses revisionism as a technique to sell "false" truths through the presentation of Irwin's "spin" approach to knowledge. Like Duffy, Bennett uses satire to encourage his audience to reevaluate a key social construct that is the education system. Through his characterization of Irwin as an Alastair Campbell-style spin doctor, Bennett focuses on attacking so-called innovative educational methodologies, in order to mock the Blairite years of New Labour. This was a government designed to exploit the political power of “manipulation” and its obsession with “education, education, education.” This relates to Irwin's repetitive teaching of journalistic methods of 'selling' their exam papers to achieve better results and win 'the pools', by getting into Oxbridge. Duffy deliberately attacks late 20th century class lifestyle aspirations in "Mrs. Faust" and "Salome." By creating a revisionist version of the myth of Faustus (in which Faustus sells his soul to the devil via Mephistopheles receiving unlimited power and wealth in return for 25 years), Duffy satirizes the "soullessness" of society modern because of its materialistic value system, an idea also covered in "Mrs. Midas". Multiple status symbols are referenced in “Mrs. Faust” through a series of elliptical phrases: “Fast cars. A boat with sails. / A second home in Wales,” generating the feeling of infinite wealth that makes up an inextricable lifestyle, meant to create contentment. Most of the poem is actually a list of acquisitions, continuing the attack on the cumulative mindset and lack of "soul" present in this relationship. Bennett also attacks social values, as evidenced by the idea that "Irwin is largely a product of the '80s", resulting in a reduction of all aspects of boys' knowledge to how they may be used for personal purposes in an examination context. Irwin's commodification of knowledge is directly linked to the emphasis on materialism in the late 20th century, whereby even knowledge itself is objectified in terms of value. Furthermore, Duffy also highlights the lack of consequences of a selfish and materialistic lifestyle in "Salome", where she revisits the mythological and biblical narrative of the original story, presenting a soulless and unapologetic female figure. The lack of compassion of the pre-corrupt cultural female figure echoes the "lack of soul" of the dissatisfied character, Madame Faust. Duffy's use of repeated rhetorical questions: "a head on the pillow next to me, whose?" - /what did it matter? Salomé, is presented as showing no remorse or regret for her violent actions through her admission at the beginning of the poem: “I had done it before/and I will no doubt do it again…”. This absence of compassion or regret is suggested by his immediate and casual confession of his intention, emphasized by Duffy's use of the contracted form of the modal auxiliary "I will." Salomé's lack of achievement and soullessness is linked to Mrs. Faust's greed: "I bought a kidney/with my credit card", showing Duffy's use of social satire to attack the values ​​of society at the end of the 20th century. Therefore, Irwin's presentation of Bennett's distortion of knowledge for personal gain is closely linked to Duffy's satire on the soullessness of modern society, through the selfish and greedy attitudes of Salome and Mrs.Faust. Where Duffy uses revisionism to re-evaluate alternative representations of femininity in history throughout "The World's Wife", Bennett encourages the reader to re-evaluate the nature of history through Irwin's revisionist versions, thereby introducing the idea of ​​historiography, in which historical accounts depend on personal experiences or cultural context. Duffy deliberately distances his characters from sentimental idealism regarding the role of the female protagonist, creating "real" voices of suppressed female voices through his use of the dramatic monologue form. However, Bennett presents the historiography of the subjunctive through Dakin's characterization, leaving the reader wondering how minor changes in historical events can have a significant impact on the course of history. Dakin seems to follow Hector's emphasis on constantly questioning the alternative outcomes of history, thinking about both the alternative history and the subjunctive ("It's the story of the subjunctive. You know, the subjunctive? The mood used when something may or may not have happened (when it is imagined). Dakin finds pleasure in "summarizing the sometimes accidental nature of history" arguably merging Irwin's and Hector's conflicting perspectives on history. Duffy also uses subjunctive history to convey a provocative and sympathetic portrait of English serial killer Myra Hindley, in the poem "The Devil's Wife." Here, Duffy uses revisionism and subjunctive history to provide possibilities for what may have happened in the ambiguous events of the "Moor Murders" (1963-1965). Duffy is subversive through her portrayal of Myra Hindley as a victim, rather than a violent criminal, through her objectification and public judgment of her appearance and voice (a very central topic among the media and public of the 1960s) : “No one liked my hair. Nobody liked the way I spoke.” Duffy's use of repetition of "Nobody", combined with the emphatic nature of the phrases, elicits a sense of victimization. Myra Hindley's objectification encourages the reader to question and revise what it means to be a woman in an intensely critical modern society. Duffy subtly uses revisionism to criticize society and the media for their frivolous judgment of Myra Hindley, rewriting history by depicting Hindley as a victim. In contrast, Dakin presents a striking example of subjunctive historiography in “The History Boys.” This is reflected in his reinterpretation of the day Winston Churchill was elected British Prime Minister, due to the absence of Halifax (the candidate most likely to be elected: "Halifax more generally acceptable" - Dakin ) while he was. at the dentist. This is a great example where the events of the story would have unfolded to create alternative outcomes, showing how Bennett emphasizes the concept of the serendipitous nature of history. Dakin's obsession with subjunctive history and the possibilities of different events is illustrated by his pleasure in considering minor details of the past: "If Halifax had had better teeth we might have lost the war." Bennett's use of the conditional "if" highlights the interchangeability and probability associated with the history of the subjunctive. Bennett's comedic writing highlights deeper concepts regarding alternate history and consequences, chance, and storylines that determine history. Similarly, Duffy uses the history of the subjunctive in presenting various interpretations of Hindley. It is partly described as.