Miss Julie and Swedish Culture

The narrator is always trying to fit into ‘coats’ that are “too big” and “too long” that Rebecca has left. Everyone around her is subconsciously comparing her to Rebecca and the narrator feels very uncomfortable around most people. In some way it is almost like Daphne du Maurier takes the conventions of a romance-genre and twists them so although Maxim apparently ‘saves’ the narrator from Mrs Van Hopper in fact he destroys her life. His world is full of pain and torture and now she has to go through that too. Another way in which Rebecca subverts the conventions of the romance-genre is by incorporating a murder into the plot. The narrator thinks Maxim to be dark and mysterious, which he is, because he has been hiding the fact that he killed his first wife and apparently his child. Daphne du Maurier has written a romance novel that actually subverts the conventions of a romance in many ways.

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.

Mallard both lead distinctive lives due to their beliefs, environment and health. At an early age Janie married Logan Killicks because of her grandmother’s dying wish (Hurston, 15). Janie soon left Killicks and married Joes Starks a prosperous man who’s desire was to become rich and well known (Hurston, 29). Starks passed away and Janie married a younger man than her named Tea Cake (Hurston 116). Janie left her home town with Teacake and had the privilege to travel to new places and experience freedom, love and happiness (Hurston, 131). A hurricane arrived to the muck and Teacake was bitten by a dog with rabbis, Teacake tried to kill Janie, and in self-defense Janie killed Teacake. After Teacake’s death Janie was able to “pull her horizon like a great net” (Hurston, 173). Janie accomplished her dreams through perseverance and was satisfied. On the other hand Mrs. Mallard was a house wife that constantly obliged her husband’s orders and felt trapped. She was also “afflicted with a heart trouble” (Chopin, 1). A railroad accident occurred and Mr. Mallard was pronounced dead. Mrs. Mallard began to seek for freedom and said “free! Body and soul free!” (Chopin, 15). Mrs. Mallard was going to exert herself to a life filled with freedom and happiness however, Mr. Brently returned and Mrs. Mallard then died “of a heart disease”(Chopin, 21). Mrs. Mallard was going to fulfil her ambition to lead life with privilege but, unfortunately she died before she could begin.

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

Symbols of aristocratic authority in Miss Julie, facilitate societal discussion on ethically acceptable behaviour as sexual, gender and class conflicts emerge through individuals having challenged hierarchal structure despite having internalized distinct ideological frameworks. Strindberg utilizes uncertainty and the reveling Midsummer atmosphere to justify aristocratic need for isolation in order to maintain a guise of dominance. Julie’s failure to embody submissive characteristics and conform to social paradigms by alienating herself from the servitude, threatens the hierarchal structure, using social structure to dictate ethical behaviour within society. Hence, Julie’s death is justified as necessary to reinstate social order through isolating and subjugating the proletariat. Liberation and freedom are impossible to obtain due to the anxiety producing agency of the Count, symbolizing the omnipresence of repressive Capitalist dictates due to the impact on psyche as a product of nurture.

In Henrik Ibsen’s play A Doll’s House, pointedly captures the reality of the Victorian Era within the play. Nora Helmer, the protagonist of the story, represents the typical women in society during that era. The audience’s first impression of Nora is a money obsessed, childish, obedient house wife to her husband, Torvald Helmer. However, as the play progresses one can see that Nora is far from being that typical ideal trophy wife, she is an impulsive liar who goes against society’s norm to be whom and what she wants. Her husband is illustrated as the stereotypical man during the 19th century, as he is the dominate breadwinner of the family, who too deserts his position as the play reaches its end. A key theme that is brought to light in A

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.

In the society of the 1920s when the play was written, the confinement of women was at an all-time high, however the breakout of women’s rights was just starting. The tone of this play helps show just this view, by promoting a character such as Mrs. Peters, who is stuck on whose side be on in the mystery of the murder. As they uncover the motive of Mrs. Wright, Mrs. Peters character begins to understand her, although the deceased husband was murdered in such a gruesome way, and know there should be a punishment for the crime for the crime because of her background with her husband as sheriff, who said she is “married to the law”, she comprehends the “stillness” that Mrs. Wright must have felt, with the house being as gloomy as it was on a bright character such as she before she was married. Such as

During the late 1800’s and early 1900’s women were not treated as equals and had extremely low expectations on them.All their existences consisted of was cleaning,cooking,and taking care of their husband and kids.With these types of duties expected on to them you could imagine how it would eventually cause them to feel empty ,unfulfilled,and restricted in their life.These types of emotions are expressed through the main character in Mrs. Mallard in the book ‘ Story of An Hour’ ,and is the main reason why She rejoices when her husband is said to be dead.

In the play “A Raisin in the Sun” written by Lorraine Hansberry, she is able to take us to place to see what it was like for an African American family to survive in the mid-twentieth century. The play details how the main characters are going through an evolving social and economic position, as well as the evolving gender roles. Hansberry uses the characterization of Beneatha, Ruth, and Walter in order to show the expectations and assigned gender roles for the characters in the story. In short, Beneatha is depicted as a woman who is challenging gender norms and expectations upheld by her family, whereas Ruth is seen as an example of a submissive housewife fulfilling her expected duties. Using “A Raisin in the Sun,” as well as “Marxists

The death of the main character Louise Mallard is a commonly debated topic when discussing “The Story of an Hour.” In Mark Cunningham’s article “The Autonomous Female Self and the Death of Louise Mallard in Kate Chopin’s ‘Story of an Hour’” he makes arguments for the common interpretations of Mrs. Mallards death. He states that “it is critical commonplace” to assume that the sight of her husband alive kills her (n.p.). Even though the story never directly states that Mrs. Mallard sees her husband, it is easier for ones brain to jump to the conclusion that her

The play is set in 1914 and Europe is on the brink of war. The main protagonist Richard Hannay is bored with life, until he runs into a mysterious German woman names Annabella Schmidt at the theatre. Richard then takes the woman home with him and she reveals that she is tracking down

What I liked about most about this article was the used of psychology to help the reader fully grasp the characterization in the play. With the use of Freud, Erickson, and Kohlberg’s work we are shown that throughout history women have never been fully understood; leading them to be categorized as “less” than a man. The article also goes over how different the developmental years for males and females are because of gender roles placed on them. This helps to understand the built up frustration the murderess and women in the story felt. The underestimation and the belittlement the women experience from the men, their own husbands, leads up to them keeping the evidence to themselves and leaving the murder case

The setting takes place inside the House of Mrs. Mallard. She hears the news of her husband’s death and goes and locks herself inside her room. “When the storm of grief had spend itself, she went away to her room alone.

Author, Kate Chopin, presents the character of Mrs. Louis Mallard. She is an unhappy woman trapped in her discontented marriage. Unable to assert herself or extricate herself from the relationship, she endures it. The news of the presumed death of her husband comes as a great relief to her, and for a brief moment she experiences the joys of a liberated life from the repressed relationship with her husband. Finally, she recognizes the freedom she has desired for a long time and it overcomes her sorrow: "Free! Body and soul free! She kept whispering." In her soul, the dark clouds are disappearing because she is illuminated. All the memories of her husband are now of the past. She is living in the present. At this point, she is no longer "Mrs.Mallard." She is Louise and is ready to welcome a new horizon of freedom : "Spring days, and summer days, and all sorts of days that would be her own." Overwhelmed with a new sense of herself, she feels as if she