Examples Of Realism In Family Matters

Single mothers and absent fathers had a big part in The other Wes Moore. They had affected how they did in school, with other people, and in bad situations they had gotten into.

Stephanie Coontz in “The Way We Weren’t: The Myth and Reality of the Traditional Family” emphasizes that the traditional and ideal nuclear family widespread in media and textbooks are false and far from reality. In fact, it is common to see more similarities to the traditional family consistent of “male breadwinner and nurturing mother” (1) today than in the past.

The Family Crucible, written by Augustus Napier and Carl Whitaker (1978), exemplifies a fragmented family system. The family consists of David a VIP lawyer, Carolyn an angry mother, Claudia an enraged teenager, Don the 11-year-old peacemaker, and six-year-old Laura. Co-therapists, Napier and Whitaker have taken on the task of working with the family using a systemic approach to conceptualize the family’s difficulties. Herein, this writer will describe how Whitaker and Napier depict the family struggles, how these struggles relate to the family unit in deference to an individual focus, and how

The character grandmother in O’Connor’s story has grounds the reality of the events and drives the family into tragedy. She is a central character in O’Connor’s story and is depicted to be a dynamic character stuck in the old ways. Through her actions and the idea of being stuck in the old ways of thinking, she leads her family into tragedy. Being the main character in the story, Grandmother significantly adds to the development of the plot. The author manages to win the attention of the reader from this character owing to the manner in which she shapes the storyline. Grandmother’s reminiscing of the old ways claims a distinctive curiosity from the reader and helps in

Her unforeseen actions are due to the rest care tradition, which has progressively worsened her mental state and caused her to overlook her role as a caring wife in desperation to escape the imprisonment of the tradition. As witnessed from the two short stories, conflicts arise amidst families due to the events of old traditions, establishing a divide between family members that is difficult to overcome once constructed.

The envelopment of poor relationships in one’s earlier life often directs a person towards negative actions and shape his/her personality for the worst. Eldin is a prime example of a person who struggles and allows his past actions to determine his destiny. After her husband passed away in the war, Eldin’s mother

The literary movement of realism addresses material in an accurate way that is true to life, regardless of the moral boundaries which may be broken. Several authors have undertaken efforts to define this movement in the most accurate and concise way possible. Theodore Dreiser, in “True Art Speaks Plainly”, strives to identify those components which are necessary to literature that is classified under the realism movement. William Dean Howells’s “Editha” is a literary work that reflects this definition of realism. Dreiser’s arguments regarding the presence of immorality in literature as a precondition for artistic honesty find an example in the actions of the protagonist of Howells’s story. Theodore Dreiser’s “True Art Speaks Plainly” defines realism as literature that speaks the truth regardless of its moral substance, and this definition is observable in Howells’s “Editha” through the corrupt motivations of the protagonist, the critical portrayal of nation states at war, and the ugly manipulation utilized by the protagonist.

Experiential family theory is about the experiences that a family goes through in therapy and what it symbolizes to them. Experiential family theory is also well known as symbolic experiential family theory because the theory is about what the family takes out of the experience and what they use to describe their family. According to Smith (1998), the founder, Carl Whitaker, felt that it was the therapist’s responsibility to create these experiences in the sessions to help the family grow. Carl Whitaker accomplished this with impulse and creativity. He understood the family unit and knew that families could be cruel, but he believed the family had the ability to restore their family unit (Percy, 1990). The theory is not a traditional one,

In this paper, I will compare two artworks that share a similar theme of the portrayal of family meals. Also, I will evaluate a contemporary issue shown in artwork that relates to the theme of family meals. The first work of art, The Merry Family was painted by Jan Steen in 1668 and in this painting, it depicts the theme of the portrayal of a family meal in a joyous and amusing setting, but Steen was known for integrating subtle hints into his work. These hints warned the viewer about what is depicted in the painting. The second work of art, The Potato Eaters was painted by Vincent van Gogh in 1885 and it depicts the portrayal of a family meal but in a more straightforward and somber setting. Van Gogh wanted to truthfully depict the people and their lives. My comparison of the two, chosen artwork will show how they may share a similar theme of the “portrayal of family meals” but differ in the meaning, tone and emotion being projected by the artists. I will also explore how this theme is expressed in modern artwork, particularly Eric McCandless’s What ‘Modern Family’ Says About Modern Families.

Families, which are basic units of human commit, are constructed from individuals with unique character; these individuals taken as a whole, construct the larger character of the family itself. However, because no individual’s character is perfectly compatible with another’s, there exist inevitable conflict within the family, such as can be expressed as conflict between the self and either another single member or the entire group. Naturally, the rational self will seek to ameliorate such as conflict, perhaps by simply accepting it as a natural part of human life. Other instances, which form the basis of the essay and find roots in essays by Alison Bechdel, Joan Didion, and Richard Rodriguez, occur when such acceptance does not. I strongly suggest that the common response to familial conflict, avoidance, that is, escaping the friction between human characters by refusing on some level to participate in family, introduces a new conflict. While Didion, Bechdel, and Rodriguez, provide textual support to the birth of this second conflict, I shall seek to explain its nature. Born of contrasting characters in family and self, conflict will not be replaced, but bolstered in avoidance. Thus, in acceptance, the self finds resolution.

For instance, by using the relationship between the past and present to influence Amir’s character development, Hosseini demonstrates how despite one’s best efforts, there is no way to escape the memories of the past. Memories follow individuals wherever they go and can torment individuals for the rest of their lives. Hosseini reveals how Amir’s past decisions shape his character development and his decision­making as the story progresses. When Amir was young, he was

As early as 1950, television families have depicted not only the way we live today, but also the way we ought to live (Tueth, 2003). Hence, television has continued to present comedies about family life that ranges from the didactic model of domestic conventionalist and gradually to non-conventionalist ways of life. By conventionalist, I mean the depiction of the “nuclear” family that consists of clear roles, responsibilities, and gentle lines of authority that flow from the wise dad and understanding mom to the obedient children (Kutalas, 2005). Examples of these types of shows between 1947 to 1990 that constructed more than 60% of family sitcoms included: The Cleavers, The Cosby Show, Father Knows Best, Family Ties, and Growing Pains

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

In this section of the paper I would like to examine character’s relation to and the ways in which they internalize the mythology of their culture. The book displays many elements of mythology which are quite removed from actual experience and yet become a part of characters’ identity and gain a certain power in their minds. The storyteller’s narrations are an obvious example of a sort of mythology. He voices a stream of rumors of the village garnished with religious invocations which lend his tales legitimacy. The love songs (as well as the cinema), which play a particularly key role in Um Saad’s narratives, are another imaginary depiction of a woman’s experience, which guide Um Saad to beliefs of what she may expect from life and love. The recurring

In the story “The God of Small Things," the term family can be defined as persons that an individual cares about. The obligations of the family members appear to be influenced by the bold ties. Despite the disputes among some family members, the blood ties obligate them to express care and love towards one another. Just like in real life situations, the novel explains that family relations can be frustrating, complicated, and confusing. In most cases, it is apparent that most individuals are forced by the family ties to stick together. The failure to express care towards one another is seen as one of the factors that prompt families to fall apart.