Bonjour Tristesse

Valjean’s Protective Ways Over Cosette Jean Valjean has full custody over Cosette after her mother died. Although Valjean is not Cosette’s biological father, he wants to be the best father figure for Cosette. He is very protective over her because he has never had anyone to love before. Because of his

State how marriage is presented in the stories, “Desiree’s Baby” and “The Story of an Hour.” In “Desiree’s Baby” and “The Story of an Hour” there are two distinguishable women who are dependent on and controlled by their husbands both physically and emotionally. In “The Story of an Hour” Mrs.

Desiree?s words show that her life depends on the race, notions, and social class of her husband and consequently, she feels obligated to obey his every desire. Desiree is presented as vulnerable to whatever Armand wants and tells her to do when she says, ?Do you want me to go?? (177). Desiree displays through her actions that in many ways, her happiness only comes from pleasing her husband. Therefore, Desiree must decide whether to live completely separate from Armand, or to live with him in constant fear and unpleasantness. Desiree achieves personal freedom and independence from Armand when ?she disappeared among the reeds and willows that grew thing along the banks of the deep, sluggish bayou; she did not come back again? (177). It is not even an option and is unheard of that Armand, being a male holding a respectable background, could possibly be black. Consequently, Desiree feels compelled to leave because she wants to please him. When Desiree decides to kill herself and her child, she shows that she is sensitive and vulnerable to her husband?s thoughts and actions.

As is inherent within the tradition of confessional poetry, a subgenre of lyric poetry which was most prominent from the fifties to the seventies (Moore), Sylvia Plath uses the events of her own tragic life as the basis of creating a persona in order to examine unusual relationships. An excellent example of this technique is Plath’s poem “Daddy” from 1962, in which she skilfully manipulates both diction, trope and, of course, rhetoric to create a character which, although separate from Plath herself, draws on aspects of her life to illustrate and make points about destructive, interhuman relations. Firstly that of a father and daughter, but later also that of a wife and her unfaithful husband.

Not only that but her questioning of gender role was a concern for her. After her parents were separated, her father’s expectations of her were no longer there and did not speak to one another. After a while, blaming one-self after a separation of the parents is always expected from young children and so Roberta’s feeling that the separation of her mother and father was due to her misbehavior at home allowed her to be not happy. The separation of her parents did not only cause Roberta to feel not happy but also her thinking was shaped in ways that blamed all men to be the exact same way and that on one could be the same. This can be related to what each child feels and thinks if that were to happen to their own family, and unfortunately in our current society there are people that still the same way as Roberta’s father and

Question: Rewrite your Martin Guerre essay with relevance to whether the ideologies of society if being reinforced or challenged; make sure to mention in respect to the book’s context, contemporary society and your own context. Literary writers incorporate narrative elements in order to convey the flaws of humanity in society,

As a comment on the resolution to Kate Chopin’s The Awakening, an anonymous figure once stated, “A defeat and a regression, rooted in a self-annihilating instinct, in a romantic incapacity to accommodate to the limits of reality.” The main protagonist of The

Unfortunately, Armand’s over value of race rubs off onto Desiree. Not knowing her true race, Desiree cannot live with the dissatisfaction of herself, her husband’s disgrace, nor that fact that he does not love her or the baby anymore. She cannot awake from the nightmare that her life has turned into. She takes the baby and wanders out into a deserted field where she and the baby perish. Thus Armand is to blame for destroying his family because of his obsession with status and the white race.

For her article in the 1976 publication of the Journal of Women in Culture and Society, Helen Cixous writes, “Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies—for the same reasons, by the

Each of Edna’s romantic relationships are important for each step of her awakening. Her marriage to Mr. Pontellier allows Edna to realize her domesticated role in society. Her relationship with Mr. Pontellier is established in the first chapter as Mr. Pontellier is disgusted by the parrot’s noise and moves away

Throughout the novel “The Awakening” by Kate Chopin, the main character, Edna Pontellier travels through her journey of finding herself. A complete foil to Edna’s open-mindedness, her friend, Adéle Ratignolle is one of the most influential characters on Edna’s awakening. Remaining a static character throughout the plot, her devotion to

The friendship between Edna and Robert blossoms into romantic love, or infatuation. They enjoy being together. They talk with each other rather than at each other, with Mr. Pontellier and Edna often doing the latter. Robert is young and fun, which is appealing to Edna. She needs someone who can relate to her,who will pay attention to her and her needs. Robert is openly affectionate and concerned about her. He is attracted to Edna because she is a mature, sensitive woman. They each need someone who is willing to listen to them. They find themselves increasingly depending on each other as they spend more time together thoughout the summer.

Desiree is dependent upon Armand like a slave to a master.  Her unconditional love for Armand despite her subordinate position in the relationship illustrates how truly dependent she is upon him.

Her relationship with the wealthy, charming Rodolphe Boulanger is a diversion from tedious country life as well as an intentional subversion of the establishment of marriage and an attempt to undermine her husband’s authority. After her first conjugal transgression, Emma distinctly feels “the satisfaction of revenge” and “savoured [sic] it without remorse, without anxiety, without worry” (161). Though her husband Charles is guiltless of cruelty or vice he is representative of a patriarchy that is entirely neglectful of the emotional, psychological, and intellectual needs of women and assertive of its superiority and power. She is expected to fulfill the duties of a simple-minded, submissive, and sexless creature who is devoted to the comfort of her family and upkeep of the home. By pursuing a sexual relationship with Rodolphe, Emma invalidates the authority of the prohibitive government institution over her actions and demands autonomy in the face of a banal provincial life.

Throughout literary history, authors have categorized mothers as nurturing, critical, and caring; works of literature characterize fathers, however, as providers who must examples for their children and embrace their protective, “fatherly” instincts. However, many works’ fathers fall short when it comes to acting the role of the ideal dad. Instead of being there for their children, they are away and play very miniscule roles in their children’s lives; instead of protecting he actually ends up hurting their kids. Thus, the paternal literary lens tries to determine whether or not the work’s father figure fits the “perfect father” archetype. This lens questions whether or not the father figure is his children’s active example, provider, and