Summary Of Buchi Emecheta's Novel 'Kehinde'

She compares the few tasks that civilized women are able to perform with the wide variety of tasks that men routinely perform in order to illustrate how little autonomy the modern woman has. For instance, while a male soldier can “march and counter-march” and manipulate the senate to work for them, women do not have any of these opportunities. Men have so much more power; they govern everything that goes on outside the house, and have a lot more freedom in what they do. Even in a relationship, the man is “responsible” and the women is reduced to a “cypher,” she claims. Furthermore, it is extremely difficult for a woman to get a job that pays enough so she can be financially independent of her husband;

303). This is another example of how men controlled women, without a care of what she wanted he stepped in and took over securing her housing, without any income she would be in financial debt after her father death “Now she too would know the old thrill and the old despair of a penny more or less”. (pp. 305-306) Therefore, patriarch status transferred to her, because she was the only one living within the household, without a husband and a job she very well could have been without a place to live. Due to this act and because of her family, social standing she could continue her upper-class life style image remaining in her home. Addition proof the author conveyed, “It was as if she demanded more than ever the recognition of her dignity as the last Grierson”. (p. 306).

Victor Kelleher, the author of the 1986 novel ‘Taronga’ explores the thematic themes of danger and survival, as it focuses on a fourteen-year-old boy named Ben who attempts to adapt in the post-apocalyptic setting of Sydney in 1986. Kelleher engages his teenage readers by giving the young protagonist telepathic powers, which enables him to communicate with animals on a whole new level, and ultimately guide him through the various misadventures he faces as he ventures throughout Sydney. In the novel, the author ingeniously presents the setting, by placing the teenage protagonist in life-threatening situations where he needs to use his special power and wits to survive against dangerous adult antagonists who are also desperate to survive.

Anyone who think that boys are the only ones to play baseball, they are exceedingly wrong because a little girl was born to play ball, named Toni Stone.

Torvald would never have thought she were capable of it, since during that era it was unrealistic of women to leave their houses but rather put up with the difficulties they faced. Ibsen highlights society's domineering outlooks of marriage and the interactions of two people naïvely pretending to be in love. Throughout the play Ibsen reveals the fragile attributes of his characters to help enhance the play-like nature of their relationship, the role of women, and Nora's course of self-discovery.

1. In "We have no 'Right to Happiness'" CS. Lewis claims that the right to happiness" is "chiefly claimed for the sexual impulse." Because Nora in Ibsen's A Doll's House does not leave Torvald for another man, the principles upon which C.L. Lewis bases his essay are moot and do not apply. Lewis exhibits a disturbing amount of gender bias, sexism, and stereotyped assumption in his essay, but he might indeed understand that Torvald has emotionally and psychologically abused his wife throughout their marriage.

Although there are many instances of small rebellion, the most altering is when Leah’s desire to hunt among Congolese brethren is forbidden by her father. Hunting is not seen as a probable skill a woman can succeed in therefore it insults her father tremendously. Despite his disapproval, Leah follows her heart advocating her self-worth. Leah succeeds on her hunt, killing her “first game...a young male impala” which allows her to find her strengths beyond her Father’s solitude (page number). Her victory proves to instill a new image in Leah of her foreseen potential. Not only does Leah of herself in hunting, but she discovers her skills in teaching. In Leah’s enlightenment of herself, Anatole propels her potential in both attribute’s with encouragement in her

Having ideals that contradict a way of thinking, will make it strenuous to achieve satisfaction. In his novel, Oxherding Tale, Charles Johnson exemplifies his unique perspective on the ambiguity of freedom through the main character, Andrew Hawkins. For the duration of his journey, Hawkins gains a sense of freedom, but not in the way he imagines it to be. Aida Ahmed Hussen’s article, “‘Manumission and Marriage?’: Freedom, Family, and Identity in Charles Johnson’s Oxherding Tale,” expresses Hawkins’ clash between his conservative mindset and progressive ideals. Indeed, Andrew abandons both, which on a larger scale, suggests that Andrew must go against his values in order

The extreme cultural imbalance that Wolff conveys, between one set of gender values as the dominant and unquestioned source of authority and power, and the other, subservient and powerless. Wolff’s portrait of his mother as a woman seeking to assert her independence in a male dominated world that is far from ready to cede its privileges and recognise the other gender as anything more than a second sex.

confinement, gender inequality and madness.  Freedom vs. confinement is evident in the text through the way the narrator is located strictly in a single room – and not by choice. The narrators attempt to cope with her isolation (through her journal writing) being the plots drive. A quote in the text which accentuates the narrator’s confinement is as follows:  “[my husband] said that after the wallpaper was changed it would be the heavy bedstead, and then the barred windows, and then the gate at the head of the stairs…” these are all examples of the way her husband has placed physical confinements in front of the women.

There was certainly no equality in human since slave is treated so badly. Slave traders did not care what would happen to the slaves as long as they get money and make profits from it. It was common for many French colonies that make their wealth through trading slaves. It is a wake-up call from reality for Candide, an innocent, after his trip from El Dorado, a utopian society where people are happy. This event causes Candide to question himself of his belief, since El Dorado is totally different from Surinam, where Candide meets the slave. Everyone in El Dorado is equal even the King. The custom of El Dorado is “to embrace the King and kiss on both cheeks” (48), no bow are required, which is not possible in the real life. Candide’s belief, the world is perfect, starts to fade away. From what he sees, Candide weeps and starts to lost hope in Pangloss’s theory: “everything being made for an end, everything is necessarily for the best end” and

Unlike her friend, Nora, Mrs. Linde has more freedom to do what she wants, however she is not entirely satisfied. In this culture, a woman’s role is normally to do housework and to raise their children, but Mrs. Linde is exempt from this. She does not have to conform into this picture, but she is not content with her lifestyle until she meets up with her lost love, Krogstad. “I want to be a mother to someone, and your children need a mother. We two need each other.”1 This quote exemplifies that Mrs. Linde is only content with her life when she fits in the role of being a mother and a wife.

We have all heard the African proverb that says, “It takes a village to raise a child.” The response given by Emma Donoghue’s novel Room, simply states, “If you’ve got a village. But if you don’t, then maybe it just takes two people” (Donoghue 234). For Jack, Room is where he was born and has been raised for the past five years; it is his home and his world. Jack’s “Ma” on the other hand knows that Room is not a home, in fact, it is a prison. Since Ma’s kidnapping, seven years prior, she has survived in the shed of her capturer’s backyard. This novel contains literary elements that are not only crucial to the story but give significance as well. The Point-of-view brings a powerful perspective for the audience, while the setting and

The theme of power is expressed through the title of A Doll’s House, as when one plays with dolls he or she has complete control of what occurs. The relationship between a person and their doll is a direct act of subjugation, only the doll is not alive and has no choice in the matter. With the binary opposition of phylogeny versus misogyny present in the stage production, a question of the work is who is the one controlling the household. Ibsen had the character of Torvald believe he was in command of what occurred in the house; however he (Ibsen) provided more evidence that Nora was really the one who kept everything together. For example, Nora was speaking with Mrs. Linde that she obtained much needed money without consulting with Torvald first, as she lied to him saying it was given to them by her father. Mrs. Linde replied saying “a wife should not borrow without her husband’s consent” (Ibsen 88), meaning she had fallen into the belief that women are below men, which Ibsen is proved to be false in this play.

There are two other major themes in this play, femininity and masculinity. Nora has often been given the title of one of modern drama’s first feminist heroines. She breaks away from a dominating and opressive marriage. Ibsen, denied that he had intentionally written a feminist play and preferred to think of it as humanist. This said though, the traditional roles of women and the price of them breaking tradition is a constant thread throughout the play. The men of this play, in many ways, are just as trapped by gender roles as the women. An example of this is the job that Torvald Helmer holds at the bank, chief. The men must be providers and alone must support the entire household. At the end of this play these traditional ideas are put to the test, when Nora leaves and Torvald must care for the children and be their provider.