Lost Lady Essay

In a world usually depicted as a “man’s world,” a woman’s role is not considered as significant and thus can be repressed. It is why a feminist perspective or criticism comes into place, especially in literature. By definition, a feminist criticism consist of scrutinizing “the ways in which literature reinforces the economic, political, social, and psychological oppression of women.” (Tyson) In Gail Godwins’s A Sorrowful Woman, the leading female character is concentrated in her efforts in distancing from her structured lifestyle. A feminist would critic Godwins story by as the female character is in pursuit of peace and happiness and wants to escape from the role she has been implanted. The critic would concentrate on the experience woman

In the beginning, Janie is captivated by a bee that associates with the blossom of a flower. She sees a “bee sink into the sanctum of a bloom” and meet with the “love embrace and the ecstatic shiver of the tree” which was “creaming in every blossom and frothing with delight” (p 11). Hurston incorporates the bee and the blossom symbol to represent Janie’s desire for love’s pleasure. The author reveals to the audience of how she is taken away by the overwhelming desire and passion shown from the “creaming” of the tree and the bee. This marks her virginity as she is presented pleasingly to the desire of lovemaking, yet also conserve her purity through creating her expectations for her later affectionate lovers. Further, Hurston portrays the shattering of Janie’s bee and blossom dream when she is left to realize that being with Joe and his personality is an illusion as he slaps her. She “stood where he left her for unmeasured time and thought” and saw that “her image of Jody tumbled down and shattered” causing her to have “no more blossomy openings dusting pollen over her man” (p 72). Hurston revealing Joe’s actual image to its reader depicts Janie’s apprehension of how he was never the man of her dreams and just persuaded herself to believe that he was just a better man than Logan. She is left with the

The play also highlights that individuals may enter their relationships with certain expectations. However, what they gain from these relationships may not always be as they initially expected. This is shown as Muriel catches the bouquet of pink and white flowers, which symbolises marriage, happiness and success. The stage directions “Muriel pulls a face, something she does when she’s feeling self-conscious” reveals how Muriel believes that marriage will help her attain an identity she desires and lead her to a successful path in life. Furthermore, her statements after her wedding with David, “…and here I am famous and they’re at my wedding. I showed them.” and “I’m as good as they are” convey how Muriel believed marriage to be a sign of success, which was her expectation. However, her realisation “I thought I was so different. A new person. But I’m not. I’m just the same as him” indicates how Muriel finds out that marriage itself has not changed her nor lead to the success which she desired. (needs evaluation sentence to conclude paragraph like “Hence we are shown how expectations of a relationship…blahblahblah)

The Book of the City of Ladies During the renaissance many different views of leadership surfaced. Christine de Pizan’s The Book of the City of Ladies, Niccolo Machiavelli’s The Prince, and William Shakespeare’s Richard III each present distinct views of what would make a good leader during the renaissance period. Shakespeare and Christine de Pizan’s views align most closely with Plato’s.

Mrs. Mallard had, "in that brief moment of illumination"(15), stumbled upon a truth: she was now her own person, free from the confines of her husband. She had loved her husband, "sometimes"(15), but that didn't matter: "What could love ....count for in the face of theis possession of self-assertion which she suddenly recognized as the strongest impulse of her being! THE theme of the story unfolds at this point: Mrs. Mallard, through the death of her husband, is able to experience the joy of the realization

Connie, the heroine of the book Woman on the Edge of Time by Marge Piercy, is put in a mental institution, once for abusing her child, and again for attacking a pimp, trying to save her niece. She appears completely sane though, until she starts seeing visions of people living in the future who claim to have contacted her because she is "receptive" to them. The question is, is Connie sane and her trip to the future is reality, or is she insane and just hallucinating? Although the book offers no easy answer to this question, there are enough reasons that prove her sanity.

When the narrator first encounters the girl, his friend's older sister, he can only see her silhouette in the “light from the half-opened door”. This is the beginning of his infatuation with the girl. After his discovery, he is plagued by thoughts of the girl which make his daily obligations seem like “ugly, monotonous, child's play”. He has become blinded by the light. The narrator not only fails to learn the name of his “girl”, he does not realize that his infatuation with a woman considerably older than himself is not appropriate. He relishes in his infatuation, feeling “thankful [he] could see so little” while he thinks of the distant “lamp or lighted window” that represents his girl. The narrator is engulfed by the false light that is his futile love.

The author carefully crafts the story so that every detail contributes to a certain unique or single effect, whether it is as complex as irony or as simple as depiction of feelings. The Husband describes his absolute love for Ann as he reminisces about the years he spent with her and how deeply he "knows"

Enter a Woman, Pretty Enough: Embracing Differences and Developing Confidence The production of Enter a Woman, Pretty Enough emphasizes how an individual’s confidence starts from within themselves. The characters of the play have been on different journeys, which results in them all carrying themselves differently. As the play progresses, and the characters conquer new obstacles, they begin to find themselves and develop confidence that they did not previously possess. Diana Small’s play, Enter a Woman, Pretty Enough, uses lighting design and sound design to emphasize how everyone must go on their own journey to find themselves and develop confidence by embracing their differences.

(page 83) These issues and more, however, do not keep Neil from falling in love. Brenda is both beautiful, and from a wealthy family; both distinctions of which are intoxicating to Neil, and would most assuredly improve his position in the social hierarchy of New

To discover an erotics of place in Willa Cather's A Lost Lady, takes little preparation. One begins by simply allowing Sweet Water marsh to seep into one's consciousness through Cather's exquisite prose. Two paragraphs from the middle of the novel beckon us to follow Neil Herbert, now 20 years old, into the marsh that lies on the Forrester property. This passage, rich in pastoral beauty, embraces the heart of the novel-appearing not only at the novel's center point but enfolding ideas central to the novel's theme:

The story that is A Sorrowful Woman seems to be a story told from the point of view of a narrator who focuses only slightly on the inner conflict of one of the main charters in the story. The character of which I am speaking is never referred to by name, instead is called she, the woman, mommy, and wife throughout the entire story which lends credence to the conclusion of the viewpoint as being told from the outside. The first indication that the focus of the story will be not of a warm and loving nature is the line “The sight of them made her so sad and sick she did not want to see them again”(1). This is where a hypothesis can begin to be formed as to who the antagonist of the story is, bearing the statement above in

Two very powerful female figures are presented in Error of The Faerie Queene, and Sin of Paradise Lost. These two characters are quite similar in description, Milton making a clear tribute to Spencer's work. Both characters have the same monster qualities, and both posses allegorical names and qualities.

Marion Hall commonly known as Lady Saw was born in Galina St. Mary, Jamaica on the 12th of July 1972. Marion Hall started her career in reggae music at the age of fifteen, while recording with some local sound systems. Hall’s stage persona as Lady Saw is a distinct contrast to her true self, the way she is now and when she was growing up. Her decision involved taking on a name that paid tribute to the influential male deejay, Tenor Saw, and writing lyrics that were heavy on the slack (the term used for extremely explicit sexual lyrics and performances). Most of her songs are heavily influenced by dancehall music and it reflects some of the major issues that are prevalent in the Jamaicans’ society today. Dancehall Music is popular type of music that originated in the late 1970s, as a result of varying political and socio-economic factors. Dancehall music was heavily influenced by the Rastafarian culture and it is characterized as a deejay singing and

A woman is standing in her kitchen, cooking dinner for her husband and her three children. She has many things on her mind other than food: her children, her health, her life. During her distraction, the bread that she had put in the oven to toast begins to burn and it smells of smoke in the kitchen. She desperately pulls the pan out of the oven and begins to fan the bread, hoping that her husband in the living room does not smell it. Her husband enters the kitchen, smells the remnants of the smoke, and walks slowly over to her. She uses her body to shield the seared bread while realizing that the relief she just felt is gone. Her husband asks what happened and she opens her mouth to answer…when he smacks her across the face. “Can you ever do anything right?!” he yells. The children glance in through the open door, then scatter when they see their mom’s wide-eyed expression. The bruise begins to form already and the scar tissue around her broken heart opens back up again. This, unfortunately, is a reality for many women around the world, especially in the United States. They live in fear every day, wondering if today is the day that their spouse will end their lives. Others endure endless verbal abuse, killing their self-esteem and their will to live. Domestic violence is an epidemic that is on the rise around the world. We must come together and propose a solution to help women feel safe and secure in their homes and in their relationships.