Oedipal and Electra Complexes Essay

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.

begins to grow up a little and realizes she is now seeing her parents otherwise, almost with a new

The minister then questions her but after his unsuccessful attempt, Mother’s actions become a scandal throughout the town because “any deviation from the ordinary course of life in this quiet town was enough to stop all progress in it” (C670). This does not bother Mother and she successfully continues with her plans. By overcoming this alienation both characters achieve feminine empowerment.

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.

Not only that but her questioning of gender role was a concern for her. After her parents were separated, her father’s expectations of her were no longer there and did not speak to one another. After a while, blaming one-self after a separation of the parents is always expected from young children and so Roberta’s feeling that the separation of her mother and father was due to her misbehavior at home allowed her to be not happy. The separation of her parents did not only cause Roberta to feel not happy but also her thinking was shaped in ways that blamed all men to be the exact same way and that on one could be the same. This can be related to what each child feels and thinks if that were to happen to their own family, and unfortunately in our current society there are people that still the same way as Roberta’s father and

Junior is very observant and he describes his mother in a detailed way. He deposits emphasis on his mother’s hands. “One thing about Mami, her palms never sweated.” (27) Junior’s mother is a very lovely person, pretty and knows how to take good care of his sons. In contrast, the Puerto Rican woman is described oppositely of his mother. “She had papery hands, and when she rubbed the towel on my chest, she did it hard, like I was a bumper she was waxing.”(35) According to Junior, the Puerto Rican woman is careless and is not lovely as his mother. This increases his disgust towards his father for being with such a woman that will never be like his mother. This fact supports the idea that his son-father relationship is related to the Freud’s Oedipal Conflict.

     The plays, The Glass Menagerie and A Raisin in the Sun, deal with the love, honor, and respect of family. In The Glass Menagerie, Amanda, the caring but overbearing and over protective mother, wants to be taken care of, but in A Raisin in the Sun, Mama, as she is known, is the overseer of the family. The prospective of the plays identify that we have family members, like Amanda, as overprotective, or like Mama, as overseers. I am going to give a contrast of the mothers in the plays.

In the words of Sigmund Freud, “The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.” The legendary psychologist saw dreams as an avenue to study one’s underlying motives for action. Similarly, in literature one finds striking significance from the illusions of protagonists that often predict the nature of one’s psyche. Two such examples present themselves in Blanche, from Tennessee Williams’ A Streetcar Named Desire, and the grandmother, from Flannery O’Connor’s A Good Man is Hard to Find. The former tale follows a lady without a home who finds herself reliant on her belligerent and bestial brother-in-law. The latter traces a family’s road trip South and their encounter with a wanted fugitive. Both Blanche and the grandmother find themselves tethered to their idealistic and often times hypocritical fantasies which signify their underlying mental instability and foreshadow their eventual ruinations. Williams and O’Connor examine their protagonists’ delusions through gender, clothing, and nostalgia.

The mother is a complex creature proven throughout the story. These actions all help express why mothers and their presence are so important. As shown, they are very crucial in the development of younger beings. The mother is a helper by nature, impacting by teaching its child to survive at life. Independence is the arch lesson that is taught by the mother. Harlow enduringly grasps the cardinal meaning of why it is inhumane to destroy any kind of maternal bond. Mothers are not people to depend on, but are people to make depending not

After the death of her husband, Mother struggles to keep her family together by providing the support and guidance they need, and encouraging them to use good judgment and think of the family as a whole before making their decisions. As the family faces various obstacles, each seemingly more severe than the last, Mother begins

Irene’s queer personality lives repressed in her id and the attraction can be noticed through many too detailed descriptions of Clare body parts and personality. “Her lips, painted a brilliant geranium red, were sweet and sensitive and a little obstinate. A tempting mouth” (45). It is impressive to see how this supposedly straight woman describes Clare’s mouth as tempting, yet she does not stop there, because Irene also describes her voice, “What was it about Clare's voice that was so appealing, so very seductive?” (52). The utilization of these adjectives is questionable because even when Irene talks about her husband Brian, she never uses adjectives that could express desire or even love. Irene is aware that her marriage is an arrangement where according to Brian sex is a just grand joke (60).

Once again, we see a female character dependent on her male counterpart for her well being. Lulu is very much a catalyst for the action in the story. Her suffering forces Mann to act, pushes him to use the stolen boat and ultimately seals his fate. The final archetype of women offered in the collection is the role of women as mothers. In “Long Black Song” Sarah is the primary caregiver and is responsible for looking after the house. Her primary concern is her child when Silas throws her from the house. This idea of women as the caregiver is evident in all of the stories. The mother figure in “Big Boy Leaves Home” frets about her son’s well being as the father makes arrangement to get his son to safety. Aunt Sue in “Bright and Morning Star” takes action to protect her son and his comrades. Throughout the stories we see time and time again that the place of the woman is in the private sphere, the home, while the men are far more assertive in the public setting.

It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.

The novel was published in the year 1937. It is a depiction of a woman, whose life itself is an endeavour to oppose patriarchy. The protagonist show case great characteristic traits of representing the spirit of change. She breaks the norms that are posed by the male chauvinistic people around her. As the novel begins it is evident that Janie is suppressed by her own grandmother. This is the first level of suppression she undergoes. Here, a woman is suppressed by another woman of her own family, who has a mind that is glutted with the notions of patriarchy. The grandmother in Their Eyes Were Watching God though understands the sufferings of Janie, believes that it is her duty to get Janie married to the much older rich man. She believes that only a male support can make her life secured and happy. Here the grandmother represents the familial violence that is meted out to young women by people with patriarchal ideologies. According to her, a man is superior to a woman. She believes that only a man can give life and protection to a woman. The grandmother sticks to the old beliefs about marriage. This is one of the notorious notions that the patriarchal society hold on to. She fails to understand that women can live a secured life without even getting married. However, Janie is suppressed here. Janie is unable to protest against her much beloved grandmother. She becomes Logan’s

Most girls look for a man like their father or brothers. This is usually because they have known them to provide security and stability, but occasionally the child develops an Electra Complex. This is a girl’s unconscious, psychosexual competition with her mother for possession of her father, while also knowing she needs her mother as well. This comes into play in Sylvia Plath’s poem “Daddy,” when the speaker paints a wicked impression of her father, yet is infatuated enough to marry a man who she has made to model her father. The speaker spends her whole youth looking up to her father only to be robbed of her Electra Complex by the truth of her father’s conduct.