Moll Flanders As A Realist Characters

     The other view that Glaspell shows in this play is a sympathy that the reader grows for the women. How they are forced to follow the men. Like when they are asked to get close to the fire, they do it even though Mrs. Peters

This paper will be a unique interpretation coupled with an analysis of rhetoric in A Thousand Acre’s by Jane Smiley. This non-fiction novel is told in third person omniscient and is focused on the point of view of one of the main characters, Ginny Cook. A Thousand Acres was a modern-day retelling of Shakespeare’s King Lear; set on a large farm and small town in Iowa. This setting is important to the plot because it is more realistic compared to a far away mystical land that is detached from its audience. Smiley uses various rhetorical and literary techniques within her book to engage readers while still keeping to the basic storyline previously written by Shakespeare. Smiley’s use of language positively aids the imagery and emotions seen

Middleton and Dekker collaborate to write The Roaring Girl, which concentrates on a real-life London woman named Moll Cutpurse. Moll was reputed to be a prostitute, bawd, and thief, but the playwrights present her as a lady of great spirit and virtue whose reputation is misrepresented by a small, convention-bound civilization. In the play, as in reality, Moll dresses in men’s attire, smokes a pipe and bears a sword representing a colorful and in the underworld life of Moll Cutpurse. She stood London on its head with her cross-dressing and gender-bending behavior, and illegal pursuits. Her defiance of women in this play is exceptional. Also, she is perhaps one of the only players to be scrupulously true to herself; some of the other characters display very hypocritical aspects. Such unorthodox and unconventional role, Middleton and Dekker implies, leads to her spotted standing. She is a roaring girl; An audacious and bold woman-about-town. But beneath this absence of femininity, is a courageous, high-principled woman. Moll interposes in the central plots and is associated in skirmishes with many of the characters, consistently showcasing her ability to stand up for the downtrodden and wronged. Therefore, Moll creates a 'third space ' that identifies her as importantly freed in her navigation of space and social relations.

As a means of assessing the extent to which the work was successful, I evaluated the books ability to answer the questions the author himself posed to the audience. These questions were discussed in the introduction where Ozment presented two questions before he launched into the narrative in search of their answers. Ozment asked: “What exactly had [Anna] done to cause her father, the Burgermeister, to denounce her as an “evil serpent” and the government of Hall to declare her a renegade?” and “Why did the behaviour of one woman rivet the attention and disrupt the lives of so many important people for so long a time?”. According to Ozment, answers to these questions can be found “in the internal workings of a distant society and in the inner lives of people who were both like and unlike ourselves” (3). Therefore, in considering whether or not this book was successful I looked

Although “A Jury of Her Peers” and “Trifles” are similar in plot, Mustazza’s article, “Generic Translation and Thematic Shift in Susan Glaspell’s ‘Trifles’ and ‘A Jury of Her Peers’” highlights the differences and similarities between the two. Mustazza’s article may help aid readers to understand the differences between Glaspell’s two works and provide understanding as to why Glaspell may have changed the genre and form of the plot. “Trifles” is a dramatic play whereas “A Jury of Her Peers” is prose fiction. While some differences may be seen on the surface, other differences will need to be inspected closely. Mustazza’s article may help one to understand Glaspell’s works by providing analysis and additional perspectives on both “A Jury of her Peers” and “Trifles”.

The article displays an appeal to credibility through detailed accounts of Debrow’s life, yet there is also careful consideration to elicit specific emotions throughout the text. Hollandsworth makes a prominent appeal to pathos through literary devices and specific use of detail. “The night of the robbery, Edwin drank Thunderbird wine mixed with grape Kool-Aid” (para. 23). This is an example of selective use of detail and literary devices together; he juxtaposes the crime and Thunderbird with the nostalgic and childlike connotation of grape Kool-Aid. Hollandsworth constantly reminds the reader that Debrow was 12, even though he may seem to be so hardened and already involved with a gang, crime,

In Kate Grenville’s bildungsroman, “The Lieutenant”, Grenville uses figurative language to convey various ideas through the landscapes and character behaviours. One such idea presented is the evident secrets and distrust among characters in the novel. Grenville further presents the isolation that people who were suspected to in the late 1700s to early 1800s as well as the issues in the colonisation and slavery of the British Empire.

Examining the short stories, “St. Lucy’s Home For Girls Raised by Wolves” written by Karen Russell, “I’m Not Martin” by R.L. Stine, and “The Veldt” created by Ray Bradbury, readers are able to find a similar pattern in characters such as Jeanette (St. Lucy’s Home For Girls), Martin (I’m Not Martin), and Peter (The Veldt), and question how the authors develop these characters. The way these authors develop Jeanette, Martin, and Peter is by making them all give the impression as if they were good people, but be truly very evil and they also develop them by creating the characters as extremely self-centered.

“A Jury of Her Peers” is a short story written by Susan Glaspell in 1917 illustrates early feminist literature. The two female characters, Mrs. Peters and Mrs. Hale, is able to solve the mystery of who the murderer of John Wright while their male counterparts could not. This short story had been adapted from Glaspell’s one-act play Trifles written the previous year. The play consists of the same characters and plotline as the story. In both works, Glaspell depicts how the men, Sheriff Peters and Mr. Hale, disregard the most important area in the house, the kitchen, when it comes to their investigation. In the end, the women are the ones who find clues that lead to the conclusion of Minnie Wright, John Wright’s wife, is the one who murdered him. Both of Glaspell’s female characters illustrate the ability to step into a male dominated profession by taking on the role of detective. According to Critical Theory Today: A User-Friendly Guide, written by Lois Tyson, a reader-response critique “focuses on readers’ response to literary texts” and it’s a diverse area (169). Through a reader-response criticism from a feminist lens, we are able to analyze how “A Jury of Her Peers” and Trifles depict how a patriarchal society oppresses women in the early twentieth century, gender stereotypes confined both men and women and the emergence of the New Woman is illustrated.

Glaspell’s commentary is clear regarding the standing of men and women of the time, with the male characters being in positions of duty and respect, and the female characters being in positions of maintenance. These choices made by Glaspell allow the reader to observe the subtle differences in the sexes’ responsibilities and what they view as important details. This difference results in the male characters of the story believing their opinions hold more weight than those of the female characters. It is understood that the men view the women’s opinions as frivolous when upon observing the kitchen of Minnie Wright, the Sheriff makes the statement, “Nothing here but kitchen things,” (Glaspell 784). The reader knows the “kitchen things” eventually tell the tale of the murder of John Wright, but the men are not willing or able to look as closely as Mrs.

Susan Glaspell uses a variety of symbols in her play to demonstrate the stereotypical view and treatment of women by men during the start of the twentieth century. She intricately portrays the female characters in her story as intelligent, but passive due to the fact that males dismiss their ideas and conversations as unimportant. The play, Trifles, uses multiple symbols to show how men fail to recognize the intelligence of women, and oppress the feminists’ way of thinking throughout society.

Susan Glaspell's texts, Trifles and “A Jury of Her Peers” relay a singular story setting, but are different in the styles in which they are told. While there are many similarities and differences between the texts, the perspective and point-of-view play a big role in the telling of the overall story. The different changes of point-of-view can change, “Well, Mr. Hale, tell just what happened when you came here yesterday morning” (Trifles 209) to “‘Someone should have been left here yesterday,’ said the county attorney” (“A Jury of Her Peers” 2). The change in either the point of view or perspective can change the way how we interpret a text and can also modify the material given. The point of view of the stories may both be a form

Glaspell writes the poem using a gender defender style. As the title of the play by Susan Glaspell, “Trifles” suggests, the concerns of women are often considered to be simple trifles, unimportant issues that bear little or no importance to the true work of society, which, of course, is being carried out by men. Glaspell questions, and in so doing calls the reader or viewer to also question, the value of men’s and women’s perspectives and work by setting up a tension-filled drama that unfolds through the development of two distinct narratives, one male and one

In Flanders FieldsIn Flanders fields the poppies blow Between the crosses, row on row,That mark our place; and in the skyThe larks, still bravely singing, flyScarce heard amid the guns below.We are the Dead. Short days agoWe lived, felt dawn, saw sunset glow,Loved, and were loved, and now we lieIn Flanders fields.Take up our quarrel with the foe:To you from failing hands we throwThe torch; be yours to hold it high.If ye break faith with us who dieWe shall not sleep, though poppies growIn Flanders fields.     

Glaspell develops the theme of gender roles by what Mrs. Hale and Mrs. Peters fret about at the crime scene. For instance, the first concern that Mrs. Peters voices revolves around Mrs. Wright’s fruit preserves and implies that the women are housekeepers. Both the Sheriff and Mr. Hale remark about how the women are “worryin’ about her preserves” and “worrying over trifles” (Glaspell 3). Later, when the men go upstairs to look for evidence, the women decide to bring Mrs. Wright’s apron, fruit, shawl, and quilt for her in prison. To further establish Mrs. Wright as a domesticated housewife, Mrs. Peters suggests that Mrs. Wright wants her apron “to make her feel more natural” (Glaspell 5). Because of what Mrs. Hale and Mrs. Peters discuss at the crime scene, Glaspell verifies that the women play the role of housekeeper and cook.