Life Of Ma Parker And Her First Ball

This article analyzes the way Austen portrays women in her novels. Kruger mentions that Jane Austen’s work is often deprived by the

“It was only yesterday she had thought with a shudder, that life might be long.” (Chopin 17). “"Poof!"… gave a revealing look at the victims of domestic abuse and how they wrestle with overcoming their fear and their doubts after suffering years of abusive treatment.” (Toomer 5) Loureen unlike Mrs. Mallard, witnesses her husband’s death first hand during a marital argument. Loureen goes through denial questioning whether her husband’s death. She is happy her husband is dead but also feels guilty, because she knows how a mourning wife should react, but the joy of his demise is greater,” I should be praying, I should be thinking of the burial, but all that keeps popping into my mind is what will I wear on television when I share my horrible and wonderful story with a studio audience…”, Loureen’s husband, Samuel, was physically abusive, as revealed by Florence, Loureen’s best friend and neighbor. “Did that mother***** hit you again?” (Nottage 1563) This abuse, physical by Samuel and mental by Brently, is what allows Loureen in the drama “Poof!” and Mrs. Mallard in the short story “The Story of an Hour” to have the shared freedom they feel in the release from their respective abusive relationships.

The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.

Jane Austen’s novel 'Emma' and Amy Heckerling’s Clueless, as significant and satirical reflections of Regency England and postmodern America respectively, indicate how the transformation process can shape and improve literacy, intertextual and logical importance. The transformation is evident in the compositions Jane Austen’s ‘Emma’ and Amy Heckerling’s ‘Clueless’ enabling us to investigate the assortment of logical subjects. Regarding ‘Emma’ the perspective throughout the Regency time frame examines the strict values of love and marriage inside the inflexible social hierarchy. Austen’s advances the significance of etiquette throughout the text. Austen reveals a neo-women’s activist perspective, shown in the female protagonist revealing the female protagonists’ scholarly capacity and social equity in an otherwise patriarchal society. However, the close resemblance of the story; ‘Clueless’, Heckerling composition conveys entirely transformed values, reflected through the actions of the current upper-working class of contemporary Los Angeles. The critical analysis of commercialism in the informal social class system of modern America reiterating social expectations of gender and social characterisation within the microcosm of the typical American educational system. The transformation in attitudes of Austen, reveals an exhaustive utilisation of setting, a close examination of dialect and various artistic procedure.

“A Sorrowful Woman” features a superficially simple narration style. “Now the days were too short. She was always busy,” Stylistically clipped, with a clear passive, detached, voice the narration style seems to be a banal, unimportant feature of the text. Yet the exact mendacity that prompts this description actually serves as a prerequisite to developing an understanding for the principal character’s mindset, and consequently the theme of the text. The last passage contains numerous examples of detached narration but the clearest occurs when “She was always busy. She woke with the first bird. Worked till the sun set. No time for hair brushing. Her fingers raced the hours.” The concise, third person narration in this segment allows the reader to experience the slightly off viewpoint of ‘the mother.’ Specifically, given the lack of motivation present through the text coupled with the concluding suicide it becomes evident in the text that ‘the mother’ is suffering from depression. Given the societal stigma surrounding mental illness authors generally face an uphill

The following passage is an excerpt from Katherine Anne Porter’s short story “The Jilting of Granny Weatherall.” Read the passage carefully. Then write an essay in which you analyze how such choices as figurative language, imagery, and dialogue develop the complex emotions the character is feeling.

In the story “Marigolds,” the author, Eugenia Collier, uses voice elements to support the poignant tone of the story. In the story, Collier includes a metaphor that evokes a feeling of sadness when her father cried. Lizabeth heard “[her] father, who was the rock on which the family had been built, was sobbing like the tiniest child,” (Collier 404). This reveals that Lizabeth’s father is the strong foundation that built the family and gave it confidence, love, encouragement, and a role model. Although was the foundation of the family, his wife worked every day making her the breadwinner. The metaphor eventually destroys Lizabeth confidence because her dad is crying and that gives her insecurities that something is going wrong. This relates to the poignant tone because the metaphor evokes the feeling of sadness.

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

In “Miss Brill,” Katherine Mansfield utilizes Miss Brill’s thoughts and actions and the surroundings to characterize Miss Brill as a lonely character. Mansfield immediately introduces Miss Brill with a very odd scene that shows her conversation with the fur coat. This quickly and effectively establishes the type of person Miss Brill is. As a result, Mansfield suggests that Miss Brill is a lonely and an “abnormal” person to illustrate to the audience how society treats those who are not considered “normal” through the later actions of a young couple.

Miss Brill is a single woman, probably in her mid to late fifties. She lives alone in a very small space without even a cat or bird. She has a collection of vintage clothing. Her physical appearance is only alluded to in the 18-paragraph short story by Mansfield, but in reading about a day in her life, one has the impression of an intelligent, sensitive

Mansfield created the story with the intention of allowing it to be open for various interpretations; though she includes specific detail concerning the characters Mansfield does not elucidate them in a manner that clearly defines their personalities. The story, like the budding rose, is one that never peaks to maturity, but rather remains in the developing stage because of its ambiguities which cause it to be discussed and interpreted in many varying ways.

Katherine Mansfield’s short story, Miss Brill, is a well-written story of an elderly, unmarried woman in Europe. In Miss Brill, Katherine Mansfield uses stream-of-consciousness point of view to show alienation and loneliness, appearances and reality, and Miss Brill’s perceptions as she attempts to make herself fit in with the park goers. Miss Brill is an older lady who makes a living teaching English to school children and reading newspapers to an “old invalid gentleman” (Wilson 2: 139). Her joy in life comes in her visits to the park on Sunday where she is notorious for “sitting in on other people’s lives” (Wilson 2: 140). It is there that her ritualistic, monotonous journey that Miss Brill refers to as a “play” takes place.

Shenli Song College of Foreign Languages, Zhejiang Gongshang University Office of Foreign Language College at Zhejiang Gongshang University Xia Sha City-University-Town, Hangzhou 310018, Zhejiang, China E-mail: windyforever@gmail.com Abstract Katherine Mansfield, remembered as one of the finest writers of English short stories, enjoys enduring fame and a somewhat awesome literary status with her short stories, Miss Brill as one of her representative pieces. The interest of our Chinese critics, in general, locates more in the modernist techniques and devices she employs to present the inner world of the characters in her stories,

Since the beginning of time, people have written about things they love. As time goes on, writing has become more and more detailed. “At the Bay”, by Katherine Mansfield is about the place where she grew up, and her appreciation for that place. Mansfield was born in New Zealand in 1888. She also spent her childhood there. She finally moved away at the age of nineteen. In the excerpt from “At the Bay”, Katherine Mansfield expresses her love and appreciation for the nature, memories, and routine of the place of her childhood.

From Enheduanna to Jane Austen to Charlotte Bronte to J.K. Rowling. Woman have proved over and over again that the role of author and/or writer can suit females just as much as any man. Mansfield encouraged women to write and used herself as an example with her own writing to try to attract more female authors. Often, women are pictures as just people who birth babies, cook, clean, shopped and stayed around as house wives. Sometimes, they did not have a wide span of education. Even in the early 1900’s women didn’t often go to college, it wasn’t until the 1980’s that women began to attend college in equal numbers to men. Poet laureate Robert Southey said “Literature cannot be the business of a women’s life.” One of the key assumptions that Mansfield and other women modernists faced was the habit of presenting narrative fiction through male eyes and according to male values. Mansfield herself strived for everyone (not limited to just women) to do whatever they wanted. She encouraged people to break rules and branch out.