How Does Dinah Brand Manipulate Red

Alison defies one's expectations. Described by the narrator as a church-going woman nonpareil, she presents herself unflatteringly in her prologue. Blinding herself to her immorality with her verbose diatribe, she interprets the scriptures, classical literature, and mythology to suit her immediate needs. By interpreting Alison's tale as wish fulfillment, however, one can grasp for a handle to her motives, hopes, and agenda. The hag exploits the knight as a means to an end, to be young and beautiful. As she gets older, Alison's fading features will not sustain her narcissism. To love herself, she must be beautiful, even if only in the eyes of her next husband.

The Poisonwood Bible is a novel written by Barbara Kingsolver that takes place in 1950’s New Orleans and the Congo of Africa. This story written in 1998 in reflection of imperialism, The Poisonwood Bible, is a political allegory. The Price family is the center of attention, each member having a specific role in the story as well as the political allegory about the imperialism and colonization of the Congo and other third world countries of the time. The mother Orleanna is an intellectual women for her time, the 50’s where women were supposed to be obedient to their husbands, and has a distinct voice. Barbara Kingsolver creates a specific voice for Orleanna Price to serve the purpose of being the advisory

The bond between the women is like a knot just like the knot tied around Mr. Wrights neck when he was strangled and also how the women will 'knot' tell even through they solved the murder. This theme of the knot is crucial to the plot of the play. The other helpful explaination was of the preservative jars. I thought of the obvious symbolism behind it but Smith discusses how there is one jar left like the remaining secret of the motive. The specific pages I listed for this work were definitely the most helpful.

Opinions, self-assurance, and knowledge – these aspects of one’s character constantly develop throughout one’s lifetime. In some cases, opinions shift from one end of the spectrum to the opposite end of the spectrum, while the knowledge gained from the world guides one to become more self-assured. In The Poisonwood Bible, Leah, the daughter of a passionate preacher, gains several unfamiliar experiences after moving to Congo such as the peoples’ way of life and insight on what the Africans think about her family. Throughout The Poisonwood Bible, Kingsolver thoughtfully uses textual features such as figurative language, syntax, and tone to show how Leah’s character gradually progresses from a blinded worshiper who wants nothing more than to follow in her father’s footsteps to an individualistic young woman who strives to live a life without her father’s influence. To begin the novel, Kingsolver establishes Leah’s beliefs by utilizing different forms of figurative language.

According to the Online Dictionary, the “Chinese Cultural Revolution” is defined as “a movement in China, beginning in the year 1966 and led by Mao Zedong, to restore the vitality of communism in China.” To begin, the Chinese Cultural Revolution performed a significant role in establishing the setting and conflicts in the novel of “Red Scarf Girl”. The setting of the story took place in the city of Shanghai, specifically throughout the course of two and a half years from the year 1966 to 1969. The protagonist and narrator of the story, Ji Li Jiang, was a 12-year-old Chinese girl who lived as a wealthy resident in the brownstone apartments of Shanghai. As the story progressed, Ji Li developed alterations in her relationships with her peers at school, the perception of her goals and responsibilities in life, and knowledge of her family history in relation to her class-status in the community. Therefore, throughout the course of the story, it was evident that significant changes and development of the relationships, perceptions, and knowledge of Ji Li Jiang occurred as a result of the events that she experienced.

However, Susan Glaspell uses the kitchen in the plot as another theatrical metaphor for a domain of gender identification because it is a women’s domestic territory where women’s life is revealed through common kitchen items. Throughout the play, we can distinguish the roles given to women in that era. In this era, women’s roles were generally reproductive, so they have been relegated to the home with less interaction with the outside world. Because kitchens have often served as work spaces, women have found a sense of empowerment through domestic tasks such as cooking, food knowledge, and efficiency of the kitchen. These conditions reveal the state of mind of women in the play. Minnie Wright’s “gloomy kitchen” (Glaspell 443) is “left without having been put in order—unwashed pans under the sink, a loaf of bread outside the breadbox, a dish towel on the table—other signs of incompleted work” (Glaspell 443). She lost her motivation to do housework chores, which represents that her mind is battered and leads to Mr. Wright’s murder—he has distorted her life.

As a slave, Charlotte is resistant to following orders given to her by her masters. At the start of the novel, Charlotte steals her master, Missus’, prized green silk. Charlotte seems to desire the green silk however, her daughter, Handful, learns to understand the true meaning behind her mother’s rebellions actions.

As their journey to and through the Congo is just beginning it is already seen that compromise will be the key source for survival. The Congo did not have much to offer the Price family, though Leah has high expectations for it. She “expected everything: jungle flowers, wild roaring beasts. God’s Kingdom in its pure, unenlightened glory.” ( Kingsolver, 17) The Congo is already revealing an expectation Leah would never have found between the pages of a King James version, the rewiring of her thoughts on equality and her inner need to fight for justice are compelling emotions that are overtaking her. She can see that this place poses a potential challenge much greater than anything a hot Georgia summer put her family through. Still measuring her worth in the few short breaths her father permits her, Leah is still determined the Congo would not stop her from gaining the acceptance of her father. “If only I could ever bring forth all that I knew quickly enough to suit father” (Kingsolver, 37), but little did she know that nothing her female mind could do or say would suit the righteous Nathan Price. Similar to The White Man’s Burden, once given the thought of superiority nothing “beneath’ that was beneficial. Leah’s cognitive thought process is starting its shift into survivor instead of

In Susan Glaspell’s, “A Jury of her Peers”, it is the women who take center stage and captivate the reader’s emotions. Throughout the feministic short story, which was written in 1917, several repeating patterns and symbols help the audience to gain a deeper understanding of the difficulty of prairie life for women and of the bond that women share. The incredible cunning the women in the story demonstrate provides insight into the innate independence that women had even during days of deep sexual discrimination. In “A Jury of her Peers”, the hardships women of the early twentieth century must endure and the sisterhood that they can still manage to maintain are manifested as a mysterious, small-town murder unfolds.

The Poisonwood Bible is a book about a man named Nathan Price who takes his wife and four daughters on a mission into the Congo. All of their ups and downs are documented throughout the story. This novel was written by Barbara Kingsolver in 1998. This story was inspired from her own personal trip that her father took her on, to the Congo, where they lived without and water, electricity, and many other necessities. During the time period that this book was being written, a lot of feminist and post-colonial literature was being acknowledged. Feminist literature is both nonfiction and fiction that supports women by defending political, economic and social rights for women. Many works of feminist literature depict strong willed women who

As a slave, Charlotte is resistant to following orders given to her by her masters. At the start of the novel, Charlotte steals her master, Missus’, prized green silk. Charlotte seems to desire the green silk, however, her daughter, Handful, learns to understand the true meaning behind her mother’s rebellions actions.

Susan Glaspell’s one-act play covers issues regarding female oppression and patriarchal domination. The play still exists as a fascinating hybrid of murder mystery and social commentary on the oppression of women. When Margaret Hossack was charged with the murder of her sixty year old husband John, the man she had been married to for thirty three years. Killed by two blows to his head with an ax, John Hossack was thought to be a cold mannered and difficult man to be married to, but he didn’t deserve his

These three brides represent the femme fatale, the fatal woman. The over sexualised women whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. These women serve as monstrous reminders of what happens if the boundaries of proper behaviour and traditional gender roles are crossed. These women, although beautiful, possess the wrong type of beauty, one of which brands them as evil, openly sexual and seductive women. Who, in addition lack the chaste passivity and fragility of the ideal Victorian lady, thus making them deserving of some form of punishment in order for them to be returned to their pure, innocent, albeit dead, human form.

The play ?Trifles?, by Susan Glaspell , is an examination of the different levels of early 1900?s mid-western farming society?s attitudes towards women and equality. The obvious theme in this story is men discounting women?s intelligence and their ability to play a man?s role, as detectives, in the story. A less apparent theme is the empathy the women in the plot find for each other. Looking at the play from this perspective we see a distinct set of characters, a plot, and a final act of sacrifice.

Glaspell develops the theme of gender roles by what Mrs. Hale and Mrs. Peters fret about at the crime scene. For instance, the first concern that Mrs. Peters voices revolves around Mrs. Wright’s fruit preserves and implies that the women are housekeepers. Both the Sheriff and Mr. Hale remark about how the women are “worryin’ about her preserves” and “worrying over trifles” (Glaspell 3). Later, when the men go upstairs to look for evidence, the women decide to bring Mrs. Wright’s apron, fruit, shawl, and quilt for her in prison. To further establish Mrs. Wright as a domesticated housewife, Mrs. Peters suggests that Mrs. Wright wants her apron “to make her feel more natural” (Glaspell 5). Because of what Mrs. Hale and Mrs. Peters discuss at the crime scene, Glaspell verifies that the women play the role of housekeeper and cook.