Hedy Lamarr Personality

In the beginning of the written story the author reveals Hester to be a cold-hearted mother. "She had bonny children, yet she felt they had been thrust upon

From the start of the novel, Hester is portrayed in exile. She begins in the jail, and soon after is paraded through the streets to start her public exile with her child, Pearl. This first public shame caused Hester to feel “as if her hear had been flung in the street for them all to spurn and trample upon (Hawthorne 52).” The

The character of Hester Prynne changed significantly throughout the novel "The Scarlet Letter" by Nathaniel Hawthorne. Hester Prynne, through the eyes of the Puritans, is an extreme sinner; she has gone against the Puritan ways, committing adultery. For this irrevocably harsh sin, she must wear a symbol of shame for the rest of her life.

I believe that Hester returns to Boston because, chooses to settle in an abandoned cabin on the edge of town, where she serves as an

An objection to this detrimental view of Hedwig’s external support is that it gave her control over a part of her life for a short period of time. The wig and Luther were both methods of disguising her feelings about

Nevertheless, in some spheres the two women were different. The most vivid difference between Hester and Edna was the attitude towards children. Hester devoted her life to her daughter Pearl. Although alone, she managed to raised her and gave Pearl a lot of attention. Edna on the other hand acted more egoistically. She identified her children with imprisonment and treated them as an obstacle in her way to freedom.

The first example of Hester being portrayed as a strong-willed woman is when she is being publicly shamed while holding Pearl. Another reason of why the author liked Hester was when Hawthorne described Hester as a “figure of perfect elegance on a large-scale” (Chapter 2). Hester did

For Hester Prynne she experienced how difficult it was to start a life in America. Through her

However, in order for there to be hydrophones there had to be a use for them. The German U-boats were another invention in World War I. They were created so that the Germans could maneuver underneath the surface of the water and shoot missiles into enemy ships. However, they proved to be more used for raiding commercial ships for useful items. It would be much easier for the huge enemy ships to stop these U-boats if they could locate them, and the hydrophone made that possible. The hydrophone was first invented by Reginald Fessenden in 1914. Fessenden was a Canadian inventor who actually started working on the idea as a way to locate icebergs in the water following the titanic; however, it was of limited use because it could not tell the direction of an underwater object, only the distance. The idea was then put to a more useful and destructive use when Frenchman Paul Langevin and Russian Constantin Chilowsky found a breakthrough and were able to locate the distance and direction of another object underwater. It was not used in World War I until 1914, but it was later perfected by the United States and could locate underwater objects from up to 25 miles away (“12 Technological Advancements of World War

With no focus on Hedda’s mother we can imagine that the general did little to prepare his daughter for wifehood or motherhood. Hedda inherited his pride, coldness, and an authoritative attitude toward others of a lower rank. She lacks compassion for weak and submissive characters like Thea and Aunt Julia but has admiration for power and freedom, qualities she finds in Brack and Lövborg. Even after marrying Tesman, she keeps her father’s portrait and guns, which signifies her desire for masculine control as well as her personal form of mourning of the power she has lost by marrying Tesman. This perverse behavior can be attributed greatly to the era in which Hedda lives, because her choices are highly influenced by the male dominated society.

Hedda Gabler is a play in which the author, Henrik Ibsen, demonstrates the heavy shackles of society and the burden it impinges on women through the words and actions of the protagonist, Hedda Tesman. Hedda is a woman living for her own pleasure. At twenty-nine-years-old and having been recently married, she is under enthused with her surroundings and yearns for titillating experiences. Obsessed with the aesthetics of the world, she wants to lead a poetic life filled with lust and luxury, yet is too frightened by what her Victorian values deem proper, to do so. Ibsen constructed a brilliant character that simultaneously arouses both sympathy and scorn from the reader through Hedda’s own words and actions.

Hedda has been interpreted as an “unreal, as a defective woman, as vicious and manipulative in nature, as a failed New Woman, or as a woman who is afraid of sex” (Björklund 1). She also could be seen as a woman who is afraid of sex or her own sexuality because homosexuality wasn’t accepted like it is today. According to Björklund, “Hedda’s masculinity defeats the dysfunctional masculinities of Tesman and Lovborg, but, in the bathe with Brack’s hegemonic masculinity, Hedda’s female masculinity becomes absorbed into the dominant structures. Hedda desires masculinity as represented by Brack—power and control—but, in the end, that masculinity is what kills her; she shoots herself with one of her father’s pistols, and her masculinity is absorbed into the patriarchy. Hedda’s masculinity is rejected, but what it represents—power and control—is mirrored by Brack, whose masculinity is reconstructed: he is the one cock of the walk” (Björklund

Hedda Gabler is a text in which jealousy and envy drive a woman to manipulate and attempt to control everyone in her life. The protagonist, Hedda, shows her jealousy in her interactions with the other characters in the play, particularly with Eilert Loveborg and Thea Elvsted. Because Hedda is unable to get what she wants out of life because of her gender and during the time of the play, her age, she resorts to bringing everyone else down around her. Hedda lets her jealousy get the best of her and because of this she hurts many of the people around her as well as ultimately hurting herself.

For all of these reasons, Hester’s feminist mindset became prevalent throughout the novel. She questions the place of women and becomes heavyhearted when she realizes she does not possess the ability to make an impact. She ponders whether being alive is worth the travesty she believes is engrained

Hedda is the product of aristocratic birth.  She is, as I mentioned earlier, the daughter of General Gabler, whose portrait hangs over this play not unlike the portrait of the absent father in Williams' The Glass Menagerie.  And in case we have missed the significance of the portrait in the stage directions or have overlooked it as an audience member, Miss Tesman rivets our attention to it and the reality of Hedda's aristocratic life:  "Well, you cant's wonder at that--General Gabler's daughter!  Think of the sort of life she was accustomed to in her father's time.  Don't you remember how we used to see her riding down the road along with the General? In that long black habit--with feathers in her hat?"  (Ibsen  2).  Her aristocratic birth and her past is contrasted by her choice of a husband who has neither noble blood nor bourgeois money.  We are told that this motherless child of an aristocratic general often gave in to fits of cruelty as a child:  "At the finishing school the presence of a girl with a head of abundant, wavy flaxen hair irritated her and provoked her to outbursts of cruelty which had their source in equal measure, perhaps, in envy and in a deep-seated temperamental antipathy; for dearth of abundance, physically and temperamentally, is a characteristic of Hedda's nature" (Weigland  246-247).