An Idyllic Mental Image Of Eileen

Above all, his theme was curiosity about the recesses of other men’s and women’s beings. About this theme he was always ambivalent [my italics], for he knew that his success as a writer depended upon his keen psychological analysis of people he met, while he could never forget that invasion of the sanctity of another’s personality may harden the heart even as it enriches the mind (548).

Thus, he treats her like a child and “laughs at [her]… ” and calls her a “‘...little girl’” (Gilman 90, 94). For these two female characters in “A Rose for Emily” and “The Yellow Wallpaper”, their struggles are a direct result of male dominance, and their coping mechanism escorts them away from the world that devalues them.

In this novel, one could say that the main character, Carrie, is ‘not like other girls’— she’s overweight, with greasy hair and uncontrolled acne. In fact, the novel notes that her excess weight resulted in part from the bullying when her description states that “she felt so miserable…the only way to fill that…hole was to eat” (King 39). She doesn’t have many friends and is the complete opposite of a ‘Cosmo Girl’. In the words of the school coach, “She [had always been] the group scapegoat” (King 21). From her description in the novel, a reader can see that in terms of gender and gender roles, she was not very “feminine”. In 1981, the Journal of Sex Research came out with a study that categorized the results of certain combinations of “low-feminine” preferences in a household could affect it. In the case of Carrie’s household, according to the study, one could characterize Carrie’s bible-thumping mother as having “low-feminine identification”, as she often took the masculine role of disciplining her child. Carrie also had “low-feminine identification”, seen by her carelessness of her appearance. The study falls parallel to the argument that women propelled their own anguish as it says that “A frustrating and rejecting mother, one who keeps her distance between herself and her daughter, may cause such weak

This trait of a submissive female is reversed within Rrap’s exhibition; Persona and Shadow: Puberty 1984. This piece is an appropriation and deconstruction of Edvard Munch’s work; Puberty 1894 which

Sexual Revolution and Changing Adolescence The short story “Where Are You Going, Where Have You Been” by Joyce Carol Oates can be viewed as both a metaphor of the sexual revolution and its consequences on youth in the 20th century and a thematic image of the struggle to understand sexuality and vanity as an adolescent in modern society ruled by sexualized media. Oates published this short story in the 1960s, in a climate of post-war celebration and sexual revolution with the rise of birth control and the decline of sexual abstinence due to a less uber-religious America. This world context gives insight to the extended metaphor that is this story and also shows how this seemingly horrific story of a pedophile attacking a young woman is not what it appears.

Suddenly his previous characterization no longer stands; suddenly it is clear he was described as an outcast because he has access to this higher meaning in a way his audience might not. It’s worth again making explicit that the previously established form of the novella breaks down here. Not only does poetry briefly inhabit the waking life, but so too does the higher meaning it has come to represent. But what’s important here is not only that the narrative structure is broken here, but who breaks it: the male poet. One explanation for this is a matter of difference in class. That is, the poet has access precisely because he did not grow up under the circumstances of high society, while Cecily’s social status renders her incapable of having depth. Yet, the version of Cecily we see in her dreams does not support this reading; even in the presence of poetry she retains her social identity, and is even warned of her “swaddled” (51) upbringing. Rather, the relevant distinguishing feature between Cecily and the poet is that he is a man. While male poets may be seen as lower class or even unrespectable, women who pursue poetry are seen as “pitiable,” and as having a “dangerous illness” (60). In short: poetry is not an option, and thus not even a consideration for women. There is perhaps something to be said that the women are shown

He later recalls that, in the past, “erotic play between children had been regarded as abnormal (there was a roar of laughter); and…actually immoral…and had therefore been rigorously suppressed… [The students] could not believe it” (Huxley 32). The students find it inconceivable that this open erotic play among children could ever be considered abnormal or unacceptable, as it plays an integral part in the function of their society. They are conditioned to ignore the idea of emotional connections and monogamous relationships, and they do not desire to experience them. Complete sexual promiscuity among all ages is what they consider

To do so, Levy turns to the experiences of several young women whom she interviews. From her interpretations of these experiences, Levy reaches the conclusion that these women’s sexual nature revolves around their need

Both “Wild Swans” by Alice Munro and “Flowers” by Alice Walker explore the loss of innocence in young women. Women have historically been seen as delicate and in need of protection. It is no wonder that the loss of a woman’s virginity is referred to as “deflowering,” comparing a woman’s sexual release to the death of beautiful, fragile nature. A woman’s innocence is coveted, as people go to great lengths to shield them from both the reality of death and the pleasures of sex. The loss of certain kinds of innocence, specifically sexual, can be seen as shameful for a woman, as opposed to the masculine pride a man may feel from the same events. Through the choice of point of view, plot, and tone, Walker depicts Myop in “Flowers” as finding more peace in her loss of innocence than Rose does in “Wild Swans.”

Leaves of Grass is Walt Whitman’s life legacy and at the same time the most praised and condemned book of poetry. Although fearful of social scorn, there are several poems in Leaves of Grass that are more explicit in showing the homoerotic imagery, whereas there are several subtle – should I say “implicit” – images woven into the fabric of the book. It is not strange, then, that he created many different identities in order to remain safe. What Whitman faced in writing his poetry was the difficulty in describing and resonating manly and homosexual love. He was to find another voice of his, a rhetoric device, and his effort took two forms: simplified, and subverted word play.

Young Stephen's first romantic interest in the opposite sex comes in the form of his playmate, Eileen, whom he plans to marry when they are older. This assertion, although childishly innocent, is nonetheless the first suggestion that sexual and romantic relationships with women will be important to Stephen as he matures. Indeed, the appearance of punishment, romance, and inspiration at such an early point in the novel creates a sense of the interconnected effect they will have on Stephen and his art. The association of women with each of these essential elements establishes yet another link between them, and emphasizes the central role women will play in Stephen's life.

Throughout A Portrait of an Artist as a Young Man Stephen Dedalus is persistently portrayed as the outsider, apart from the society he and his family inhabit, connecting with no-one and seeking solitude and isolation at every turn. Does this self-imposed exile lead to or directly influence his artistic awakening or not? This essay will examine (both thematically and stylistically)

In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.

When one talks or thinks of architecture, or the architects, there is a great gender gap, and due to these gaps, some women do not acquire the acknowledgement that is rightfully theirs. As one of the finest architects, designers, and artist of the 20th century, Eileen Gray was and still has not been given any attention as a serious designer/architect, unlike her counter parts, Le Corbusier, De Stijl, Mies van der Rohe, or Frank Lloyd Wright.

As James Joyce's A Portrait of the Artist as a Young Man unfolds, the central theme of isolation and rejection becomes evident. From birth to adolescence, the protagonist of the story, Stephen Dedalus, responds to his experiences throughout life with actions of rejection and isolation. He rebels against his environment and isolates himself in schoolwork, family, religion and his art, successively. James Joyce uses Stephen Dedalus' responses of isolation and rejection to illustrate the journey that the artist must take to achieve adulthood.