How Does Rose Present Eva In The Semplica Rose

This trait of a submissive female is reversed within Rrap’s exhibition; Persona and Shadow: Puberty 1984. This piece is an appropriation and deconstruction of Edvard Munch’s work; Puberty 1894 which

Her vulgar language about Miss. Moore represents how resistant she is to listen to her lessons. Silvia’s mind is elsewhere, comparing these activities during the summer to be like school and she hates it. It’s summer, and Silvia like most children want to spent their summer having fun.

“A&P” and “Girl” both symbolized the protagonists’ oppression by an older, more experienced generation. However, Kincaid’s “Girl” was artistic with an undercurrent of selfless love and hope while Updike’s “A&P” was uninspiring with selfishness and lust. The protagonist of “Girl” discouraged her daughter’s dreams out of love. The protagonist of “A & P” encouraged the antagonists’ out of a selfish desire for self-promotion.

Esperanza, the speaker of Sandra Cisneros’s vignette “Sally,” feels bittersweet admiration towards her classmate because of her bold maturity, but the abuse that Sally receives from her father breaks Esperanza’s heart. The clothes that Sally has makes Esperanza want them too, which highlights the strange, alien feelings of growing up in a society that pushes young girls to mature, but not too quickly. Also, the abuse that Sally receives confirms that society views women inferior to men. Imagery in the vignette reveals strictness in Sally’s home: “You pull your skirt straight, you rub the blue paint off your eyelids…” Sally is forced to conform to the ways of society by having to dress modestly or else she will attract unwanted attention.

Adjectives and nouns depict the feminine existence as a passive object of fragmentation. The open classes that apply to the character Helen, whose name is only identifiable in the title, reveal the subordinate position of women in western civilization. The first adjective that references Helen is “still” to describe the noun “eyes” (Doolittle 65). “Still” portrays Helen as a stagnant figure, while “eyes” presents her as an isolated organ. Eyes enable humanity to perceive their environment with clarity, however, cultural dispositions assign Helen a subservient identity that adulterates her perceptions of reality. Doolittle further objectifies Helen in the phrase “the white face” (65). The usage of the impersonal determiner “the” instead of the personal pronoun “her” communicates the dehumanization of women. The adjective “white” describes an appearance that manifests from experiences of oppression, while the noun “face” details an impersonal trait that the population views as a commodity for possession. Furthermore, citizens perceive Helen solely for the “beauty” of her “cool feet” and “slender…knees” (Doolittle 66). The adjectives and nouns represent women in terms of their body parts, rather than valuable members of the population. Doolittle’s linguistic technique reflects the modernistic proposition that socio-cultural factors determine a subordinate

Sula by Toni Morrison highlights the themes and expectations that we have been discussing throughout the course. This story illustrates the community expectations for women. A strong basis for a thesis statement for the book Sula could be betrayal. Betrayal in the novel Sula is the central theme that changes the course of life for all characters involved. One example of betrayal happens when Sula sleeps with Nel’s husband. Another basis for a thesis statement could be a mother’s love. In Sula, Morrison revitalizes a theme that is explored in much of her writing: the nature and limits of a mother’s love. When you consider the character of Eva, she is an example of what a mother’s love is and the lengths a mother

validity figures in the play often would undeniability to them as “children”, but today’s anti-rape

Also, in relation to Neiman we have discussed how recognizing uncertainty is part of being an adult. In the case of Eva I think that being put in a situation where you are pushed outside of your comfort zone it is okay to feel uncertain. I also think that being in this situation forced her to grow up and in a way she had to act like an adult even though she was only a child. This portion of the play also reminded me of Neiman’s notion of how different cultures arrive at their beliefs differently. Having

Two young girls, coalescing on a grass-laden field while lying on their stomachs, dig a hole in unspoken harmony. A picture of youth and innocence, this scene depicts an innocuous moment which the two girls share as a result of their juvenescence--or does it? In Toni Morrison 's Sula, this scene, among others, appears at first to be both irrelevant to the novel’s underlying theme and out of place with regard to the rest of the plot. Yet, when analyzed further, the literary devices that Morrison uses in these scenes bring readers to a vastly different conclusion. These scenes serve as windows into the mind of Morrison and even into the larger themes present in the text. So, perhaps two girls sharing a seemingly casual experience is not as

In John Patrick Shanley’s play, “Doubt: A Parable”, and Paula Vogel’s play, “How I Learned to Drive”, both have strong themes of sexuality in the forms of sexual predation and pedophilia. Although these two stories are considerably different, the message is the same. “Doubt” is a play that concerns a mystery over whether or not a boy (Donald) has been raped by a priest, and “How I learned to Drive” is a play about a woman (Li’l Bit) who reminisces about the sexual molestation and the emotional manipulation she had to endure at the hands of her uncle. Although these plays both have main theme of sexuality, they each have vastly different settings, desires, and outcomes. In this essay, I will compare and contrast the theme of sexuality in both of these plays.

“The fictional narrative of Precious’s tragic young life reminds readers and viewers of the real tragic experiences of young girls much like her,” says Mia Mask in The Precarious Politics of Precious: A close reading of a Cinematic Text (Mask 98). Many girls can relate to Claireece Precious Jones in some way through race, class, gender, sexuality, or looks. Many girls are abused, sexual harassed, are teen moms, face financial issue, or are struggling with confidence and school from external conflicts. Precious has a huge impact and effect on the audience because we can see ourselves as Claireece in some way.

Violet is a pretty, popular, soccer player with an equally popular soccer player boyfriend. However, Violet 's world comes crashing down when the women 's soccer team is cut from her high school due to lack of funds. Violet in turn decided to impersonate her twin brother Sebastian at her rival school so that she can tryout for the male soccer team and show her now ex-boyfriend that girls can play just as well as boys. At her new high school she falls in love with her brother 's roommate. The problem is, he thinks she 's a boy. Violet is not your typical movie heroine, in the beginning of the movie she seemingly has everything a girl could want, however her passion for soccer drives her to step outside the norm and prove herself. Although the main character in this movie contradicts Denby 's view of teen movies, there are many other characters in the movie who fall directly in line with Denby 's theory. For example, Sebastian 's girlfriend Monique is a typical cheerleader type character. She has no regard for anyone 's life but her own. Also, Violet 's divorced parents are completely unaware that their son Sebastian is in London playing with a band, and their daughter Violet is impersonating him in order to play soccer.

Being on the verge of adulthood and having just left the simplicity of childhood, teenagers have always been particularly complex and enigmatic individuals. While most people struggle to see things from an adolescent perspective, Canadian playwright Joan MacLeod is well-known for her accurate portrayal of teenagers. In 2002, she published The Shape of a Girl, a play related to the dramatic story of a young girl named Reena Virk who was tragically affected by bullying, a characteristic behavior of adolescent development. Throughout The Shape of a Girl, MacLeod effectively exploits the Aristotelian dramatic elements and she uses Reena Virk’s story as well as the thoughts that it produces in the antagonist’s mind to portray both adolescent character traits and behavioral patterns.

In order to properly view a story from a feminist perspective, it is important that the reader fully understands what the feminist perspective entails. “There are many feminist perspectives, and each perspective uses different approaches to analyze and interpret texts. One is that gender is “socially constructed” and another is that power is distributed unequally on the basis of sex, race, and ethnicity, religion, national origin, age, ability, sexuality, and economic class status” (South University Online, 2011, para. 1). The story “Girl” is an outline of the things young girls

Thus, he treats her like a child and “laughs at [her]… ” and calls her a “‘...little girl’” (Gilman 90, 94). For these two female characters in “A Rose for Emily” and “The Yellow Wallpaper”, their struggles are a direct result of male dominance, and their coping mechanism escorts them away from the world that devalues them.