Germinal Zola

This fond memory of her childhood was a time when the Walls family was not starving or homeless, and Jeannette’s father had a true job that was providing food and shelter for their family. This period was one of the few times in Jeannette’s life during which the Walls family was at peace with one another. Education was the main way the family bonded, so the constant presence of literature and reading in this part of her life demonstrates that this could have been a time where the relationship between parents and children in the Walls family was at its strongest and

The culture of set societal rules and conventions urges Catherine to be with Edgar, compelling her to be ‘the greatest woman of the neighbourhood’ due to them being relatively firm in their gentry’s status. This suggests the importance of her social status against the nature of her love for Heathcliff stating, ‘we would be beggars’, through employing the word ‘beggars’ the reader crafts the idea of her belief that she won’t survive without her status. Catherine admits ‘It would degrade me to marry Heathcliff now; so he shall never know how I love him’ Thus implying a swelling sense of her vanity and pride; enough to enjoy the position she gains from being married to Edgar despite her admiration for Heathcliff, being ‘more than (herself) than (she is)’and

In this line, “He was in the bedroom pushing clothes into a suitcase when she came to the door”. The husband was anxious from his wife’s complex attitude. He had already decided to leave the house. This scene gave

A main conflict throughout the plot of Catherine, Called Birdy is person vs. fate. As daughter of a country knight and Lady Aislinn, Catherine must behave a certain way. The conflict of person vs. fate is first introduced in the inciting incident. “Now my father, the toad, conspires to sell me like a cheese to some lack-wit seeking a wife” (Cushman 6). Once her father decides she ready for marriage, he begins to invite suitors to the manor. However, Catherine will not allow her father to force her into marriage. Throughout the rising action, Catherine scares away each suitor. Despite, all her schemes, Lord Rollo arranges a marriage between Catherine and Lord Murgaw. Catherine strongly opposes this marriage but it seems she will not be

The novel begins and centers around Salie, the narrator of the story and her football fanatic brother Madicke. Salie is struggling in France whilst her brother still in Niodior, Senegal, dreams of coming to France and becoming the next African football star in Europe by paying a fortune to be smuggled in illegally. Salie does not want to crush her brother's dreams, but she knows that coming to France is not the solution and understands how hard it is to convince him, especially when she “seems” to be doing well there from his point of view. ‘Salie was an outsider on the little Senegalese island of Niodior because she was illegitimate. She left to marry, got divorced, and now feels that she belongs nowhere’. Home is neither France nor Senegal for her. The novel recounts the fates of various immigrants who have tried to make it abroad with high hopes and dreams only to be crushed. For example, Moussa, the promising football player with lots of potential who is scouted and brought over to France only to have his dreams come crashing down when he is not qualified to join the team. ‘In leaving Niodior he had triumphed, but he will never return having conquered France and cannot let his family know he has failed’. ‘Salie knows that her brother Madicke may succeed as a footballer, but he will always be used by the colonial country. She sees this clearly in the French’s

The narrator’s varying stately yet fervent tone illustrates her obligatory feelings as well as her true emotions regarding her husband and lifestyle through her descriptions of the “nursery” where she is confined (Gilman, 648). John, since he is both her husband and doctor, “hardly lets [her] stir without special direction,” characteristic of patriarchs of the family; he also “laughs at [her], of course, but one one expects that in marriage.” (Gilman, 648 and 647). Since the narrator feels

The “closeted” framework that the film is surrounded by causes the audience to inquire why Yolanda and Mari choose not to be more public with their affection. The answer is a result of the

The Face of Decline proceeds with the chronological coverage from the start of the mines/mining industry to the decline of the mines/mining industry. First, the book gave a very clear and concise description of the different topics that would be discussed. Also, they discuss how many people’s lives were affected from the mining industry. According to the many different details listed throughout the book, the book focused generally on the importance of the coal mines, the employees, and the hard times that everyone went through during the rising and declining on the mining regions. Next, the book focuses on how being in the mines led to many health problems and even death. Many health problems led to “black lung” which is caused from inhaling the fumes and dust from being in the coal mines. The integration of the personal input and interviews about how their lives were directly affected by the coal mining industry was a very effective strategy.

In both sections, people have a superficial view of the protagonist’s relationship. The women insist that Mrs. Pontellier’s husband is the best; their views, however, fail to take into account any emotional connection between Mrs. and Mr. Pontellier, instead only taking into account the gifts he gives her that she shares with them. They only view the relationship from a material standpoint. The same rings true of Janie’s relationships. The townspeople envy and support her relationship with Jody, outright ignoring his abuse and treatment of her as an object. They only appear to see the material goods he gives and shares with her, the material goods that they themselves desire but yet do not have. On the other hand, they judge a relationship devoid of that material element, outright critical of her dating Tea Cake, ignoring the deep, emotional connection between the two. Through this, I feel that both authors pull on the idea of people only understanding a relationship form a superficial, materialistic standpoint. It brings out the fact that from the outside, many people fail to take into account any true emotional connection between two people. They fail to examine a relationship from a deeper stance. Such occurrences claimed to occur by these authors can be found consistently. Oftentimes, toxic and abusive relationships are idolized or envied because the people

In the modern Paris, society is divided into different classes of people, different jobs, and different features of modern life. The Belly of Paris, written by, Émile Zola is about a man named Florent who was wrongly put in prison from Louis-Napoleon’s coup-d’etat. He escapes from prison and returns from the countryside to find an unrecognizable Paris. The Belly of Paris describes the class differences in the 1870s - there is the bourgeoisie, which is defined as the middle class, typically with reference to its perceived materialistic values or conventional attitudes; the capitalist class who own most of society's wealth and means of production contrasted with the lower working class. By portraying and describing characters as the food

After this first point of contact, the couple enters the next interpersonal stage of 'involvement,' as they get to know one another. Despite their differences, they become convinced that they have a future together and view their differences as potential positives rather than negatives. The couple moves in together and begins to establish greater intimacy. Unfortunately, it is at this juncture that the relationship begins to fall apart, as they try to establish a more private form of 'intimacy,' even though they are publically a couple.

While the theme of love itself, may it be positive or negative, is reoccurring, Marie’s presentation of romantic relationships and their differing qualities can be considered a theme alone. In “Guigemar”, the relationship between the knight and his lady represents loyalty, and an ability to heal or cure. Yet, the relationship between the beast and his wife in “Bisclavret” demonstrates the selfish and traitorous behavior that can occur between partners, especially if one has proved to be adulterous.

The film opens with the arrival of Etienne Lantier (Renaud) at the Voreux coal mine. An out-of- work machinist, Etienne is willing to do almost anything to make money, including descending into the pit and taking pick-axe to coal. He is befriended by Maheu (Gerard Depardieu),

Zola cleverly presents capitalism as a living, breathing entity in order to properly show how it is a system that is conscious of its actions, and is driven by its gluttonous and malicious nature. The form that capitalism takes on in 'Germinal ' is Le Voreux, and Zola isn 't subtle when it comes to portraying its monstrous properties. Early on in the novel Zola describes the coal mine as "an evil crouching beast, Le Voreux curled still more tightly and breathed still more heavily, as if troubled by its painful digestion of human flesh." This single sentence accurately anthropomorphizes the systematic oppression of

The girl’s innocence derives from her young, naïve outlook on life. No matter how many times she is asked about her siblings, she responds, “We are seven.” This baffles the man because he cannot grasp the concept she is explaining; that regardless of their absence on earth, they are still a very large part of her everyday life. “‘My stockings there I often knit,/ My ‘kerchief there I hem;/ And there upon the ground I sit--/ I sit and sing to them/… I take my little porringer,/ And eat my supper there,’” she notes. Clearly, she stays very active with the two.