Joseph L. Mankiewicz's All About Eve

Milton’s Paradise Lost has been praised as being the greatest English epic of all time, most stunningly in its author's depiction of the parents of humanity, Adam and Eve. How Milton chose to portray the original mother and father has been a focus of much criticism with contemporary readers. One of the main subjects of these comments is in reference to Eve, who, according to many, is a trivial character that is most definitely inferior to her mate. Nonetheless, many do not recognize that, after the fateful Fall, she becomes a much more evolved character. When Eve is introduced to the storyline of the epic, her character is shallow and extremely undeveloped, meant simply for display. She is quite firmly set as being inferior to her mate

To analyze the impact of women in the picture, one must examine Philip Marlowe, the hero and epitome of masculinity. Throughout the novel, Marlowe displays the admirable qualities of a man: intelligence, strength and justice. Additionally, Marlowe’s role as the hero of the film creates an example to which all men should strive. He represents the goals and desires of men, and as such his behavior helps define the position of women. Women constantly throw themselves at Marlowe, allowing him to pick from a fairly wide selection. His choice of Vivian holds considerable weight in determining the traits that make a woman popular. Marlowe’s interactions with all women help reveal the complexities of 1940s feminine attraction.

The first essay, “The Roles of Women in British Drama,” represents my first exposure to a new genre of literature. The essay was also one of my first formal and interpretative essays at the college level. As a woman and a student of literature, I feel a special connection to this essay’s topic of women’s roles in literature. In addition, this essay shows my “knowledge of the social, political, philosophical, and religious forces that influence authors and the people they write about” (Oral/Portfolio). After reading some of the most prominent British plays of the twentieth century, I observed a discontinuity in the roles of women in this genre. Sadly, women’s roles in literature were very similar to their role in society. During the twentieth century, women were still trying and failing to emerge out of the roles they had been cast in by a male dominated society. Even though women were almost always portrayed as inferior to men, I found a strong exception to this stereotype through the role of Thomasina. I admire Thomasina’s intelligence and wit, but I truly admire Tom Stoppard for creating this character.

At first glance, Kate Chopin’s “The Story of an Hour,” Susan Glaspell’s Trifles, and Henrik Isben’s A Doll House seem to have nothing in common. However, the short story and plays have many similarities. Particularly, five women from these tales— Louise Mallard, Minnie Wright, Mrs. Peters, Mrs. Hale, and Nora Helmer—make drastic decisions that appear to be motiveless. Without context, any reader could be confused by Louise’s death, Nora’s departure, and Mrs. Peters and Mrs. Hale’s unanimous effort to cover up the murder that Minnie Wright committed, which also seems to lack serious motive. However, all of these women’s settings, situations, and lives have connections that make their motives similar. Emotion motivates all five women—not just

Throughout history great writers have brought women’s struggle under male dominance to light. Shakespeare’s Othello and Glaspell’s Trifles bring great female characters to the stage that share similarities. Both Glaspell and Shakespeare follow the same theme, while using both foreshadowing and irony to illustrate that Desdemona, Emilia, Bianca, Mrs. Wright, Mrs. Peters, and Mrs. Hale live under similar oppressive conditions.

You are right, in my previous submission I neglected to discuss and compare the spatial size of the figures on the two artworks. It is a common feature of Romanesque art, both in manuscript illumination and sculptures, that figures are contorted and almost squeezed in to fit in and fill in the space that they occupy. As with the Expulsion of Adam and Eve on the Doors of Bishop Bernward, the figures are small in the composition, whereas the figures fill the space in the Creation of Adam and Eve, Fall of Man by Wiligelmo. The figures fill the space so much that they go almost completely from the top to bottom, and as I had mentioned before it looks like the sleeping Adam could almost roll off the sculpture. The figures in the Bernward Doors

by eating the fruit even though he didn't want to. Eve was brainwashed by the serpent because she was mentally weak. Adam and Eve later go on to get married and have two kids named Cain and Abel. Cain ends up killing his brother Abel because Abel’s heart was faithful and was devoted to God and his commitment was trustworthy in God’s eyes. When Cain realized that God was not pleased with his sacrifice but accepted Abel’s, he became extremely jealous and felt a strong hatred in his heart and jealous of his brother and killed him out of envy. One thing that I noticed when it came to gender roles was that the serpent understood who to manipulate. God directly talked to Adam then next in line was Eve. The serpent understood that Adam was more than

3. My family is very close, fortunately. Even though, I live together with Lloyd for two/three years already, my mum and dad always want to see me at least once or twice a week just to know how I’m doing. I have one older brother

Eve felt strange. A dull, buzzing feeling in the pit of his stomach had started up, somewhere between the end of his last battle and waiting for someone to call his name for the next round. It ate away at the adrenaline that had consumed him in the heat of the moment and demanded that he acknowledge its existence, despite not having any idea what it was. He knew emotions. Wasn't an expert in the matters, or even very good at identifying them in others, but some part of Eve had always considered his knowledge of himself as a sort of given. After all, who was he to attempt to understand other people when he couldn't even understand everything about himself?

The plot of both Susan Glaspell’s “Trifles” and Henrik Ibsen’s “A Doll House” provides scope for a few scenes that lack the presence of all or any men. These scenes, consisting of communication between the female characters, assist in developing the theme of women openly defying the fact that the society they live in is primarily run by men. All the power and authority in their society, no matter the situation, belongs to the men while the women are simply excluded. The women in these plays defy the norms set by society and manage to evade the expectations of their patriarchal societies.

Clare Croft’s article talks about the physical responses to prompts, as she removes the word “girl” from rehearsals and gives them words such as “bossy” or “scarred.” With this she achieves a less hetero-normative performance as it removed the idea’s of femineity and gender. She also talks of the loudness of the male actors in comparison to the females, and how it draws the eye away. This is one way in which IF THERE’S NOT DANCING AT THE REVOLUTION, I’M NOT COMING… achieves feminist goals. By removing the male from the stage, directing the focus to the Julia Croft and paying attention to her representations of gender.

Presenting literature to the public that is meant to be a commentary on social or political issues, masked under the guise of entertaining and fictional, is a tool implemented by authors and activists for centuries. While not all satire is as overt as Jonathan Swift’s suggestion that we eat the babies, it does not diminish the eyebrow raising suggestions that are conveyed once the meaning has been discovered. In Aphra Behn’s The History of the Nun and Eliza Haywood’s Fantomina, the established expectations of the female role within society are brought into question then directly rejected. These expectations establish that women should be deferential to men, morally unblemished, and virtuous at all times. Men, however, are not held to these expectations in the same way. The masculine roles assumed by Isabella and Fantomina demonstrate a private rebellion against the established patriarchal society as it warns against the under-estimation of women and proves that women exist independently.

She argues that the playwrights present a character who has a knowledge unlike her Londoners, whose perception of her results in their ironic insistence that Moll is the object, rather than the subject, of understanding. Hirschfeld argues that Moll's special knowledge is comparable to the knowledge of the mythical figure of Tiresias, who possessed knowledge of the pleasure and desire of both sexes. Stage, Kelly J. “‘The Roaring Girl's’ London Spaces.”  Studies in English Literature, 1500-1900, vol. 49, no. 2, 2009, pp. 417–436.

The comparative study of texts and their appropriations reflect the context and values of their times, demonstrating how context plays a significant role. Virginia Woolf’s novel modernists Mrs Dalloway (1925) and Steven Daldry’s post modernists film The Hours (2002), an extrapolation, explore the rapid change of social and philosophical paradigms of the 20th century, focusing on women whose rich inner lives are juxtaposed with their outer lives. They place the characters in their respective context, to respond to, the horrors of the consequences of war and AIDS and the vagaries and difficulties of relationships, sexuality and mental illness. Through their differing intertextual perspectives the film and novel represent similar values, within different contextual concerns.

We can see the poem deals with the entire story of man's fall from grace, including background for Satan's motives. In Paradise Lost, Eve was tricked by Satan, who assumed the form of a serpent, into eating from the Tree of Knowledge. Satan had whispered into her ear when she was asleep, and when he spoke to her later, he used his cunning to mislead her: