Summary: The Influence Of Mateship In Literature

The central theme of Pride and Prejudice is one of class. In a world where the lines of class are strictly drawn, the dignity

Australia is filled with many different aspects in which makes it the country it is today. I believe it is important to study texts that explore aspects of Australia by studying texts such as ‘The Club’, by David Williamson, a play written in 1977 about an Australian football club and movies such as “The Castle”, directed by Rob Stitch in 1997, about the daily life of an Australian family when their happiness is threatened when developers attempt to buy their house to expand the neighboring airport. Both these texts show us what Australian life was like in the past. By us looking at themes such as language, tradition and the mateship shown we are able to explore different aspects of Australia that make it what it is today.

The paper deals with the issue of Marital Discord in the novels of Margaret Drabble, one of the most significant contemporary British women novelists. For the purpose of analysis, I will look at earliernovels of Drabble like A Summer Bird Cage (1963), The Garrick Year (1964) and the Millstone (1965) which are popularly known as an early “trio”. All the three novelscentreprimarily round intelligent female protagonists struggling to search out their own “identity” within the class structure of twentieth century England – a class structure that strictly follows the “patriarchal” norms and values. And one of the major thematic concerns in these threeis the internal struggle or conflict in the mind of blooming hearts – which in turn becomes the cause of conjugal disharmony. A woman undergoes sufferings, particularly because she is

Australia’s identity has always been a complicated one. Starting with Aboriginal genocide, 1800’s cowboys and villains, two world wars and a bunch of poems describing them, it makes it difficult to conclude on what being an ‘Aussie’ really is. Thankfully, the two thought-provoking poems Nobody Calls Me a Wog Anymore by Komninos Zervos, and My Country by Dorothea Mackellar both use their discerning selection of themes to reflect modern attitudes in some extent. Along with their themes, Nobody Calls Me a Wog Anymore and My Country both use their story to capture the attributes modern Australians possess to some degree.

Australian’s have a unique proud culture. This culture differentiates them from the British motherland. Through many decades Australia has formed a unique, which at its foundation is made from mateship. Mateship or friendship is the core of Australian identity as this was instilled into them through events such as war. WWII in particular demonstrates the level of mateship shown by Australians as many made the ultimate sacrifice in order to save a mate. The stories of ‘The Magic Pudding’ by Gary Crew & Shaun Tan and ‘Memorial’ by Norman Lindsay will demonstrate how mateship is a significant part of how Australians see

For example, in Paper 1, I discussed how the police were used to illustrate the detective. It seems that The Long Goodbye presents a story about “love and loss,” but in fact, what Chandler tries to depict is the friendships between Detective Marlowe and the mysterious Terry Lennox. In other words, the story is not about love, but about masculinity. For example, Plain points out that even Roger Wade shows his masculinity by “drinking himself into an easily killable stupor” after he feels disappointed and is “refusing to complete a debased cultural product” (p. 81). The main theme of masculinity thus forms the female characters in the novel. The female characters could also be regarded as significant elements for building the traits of the detective and/or the novel, and to differentiate the masculinity that Chandler wishes to illustrate in the

Mis-en-scene shows Viven matching Marlowe in wit and power. ‘You're not very tall are you?' represents the ‘higher standing' in society as a woman in late war America.

John Collier’s ‘The Chaser’, a short story that follows Alan Austen, a character who shows typically feminine or androgynous traits, displaying Alan being timid, easily manipulated, cowardly, and inevitably, the harbinger of his own destruction. ‘The Chaser’ features Alan seeking out an old man for a love potion to make Diana fall in love with him. From a sophisticated gender perspective, ‘the Chaser’ is shown to be patriarchal to start, with androgynous areas that end with the story being heavily androgynous. Based on text in the story and underlying themes, ‘The Chaser’ is Feminine and Androgynous, and Austen displays Feminine androgynous traits heavily by the end of the story.

Lyle, Girlie and Farley openly voice their opinion about those who do not measure up to their own and society’s expectations. Individuals who do not comply are overtly ostracised and discriminated against. Rayson exposes homosexual discrimination present in rural towns through the character of William. Farley’s built up bitterness towards his son William illustrates a common rural discontent for homosexuals as his resentment is driven by his belief that William made no effort to ‘overcome’ his ‘weakness’. This attitude towards having an open opinion is reflected by Lyle who repeatedly discriminates Nugget referring to him as a ‘bloody boong’ a ‘coon’ and a ‘black bastard’ whilst claiming that Aboriginals are not good farmers. Girlie blatantly adds to the discriminative theme by saying ‘bugger the vegetarians’ when creating the menu for her birthday. Her judgmental attitude is continued with reference to Felix as being ‘a weedy-looking bloke…he does look life a fairy’. Girlie’s comments highlight the stereotypical view of men and masculinity that is present in rural

Gender roles in the 1920’s played a huge role in the brief story. The story is told within the dialogue amongst a young male and female who have been dating at the time being. Throughout the reading, an important

After accepting guardianship of Miss Milner, Dorriforth’s apprehensions towards his new position as protectorate manifest the conflicting models of masculinity available for him to emulate. Although he lives in the city, Dorriforth’s Catholic vocation granted his character a degree of separation from society and the vices associated with a life of fashion. This estrangement quickly dissolves once he assumes charge of Miss Milner; consequently, Dorriforth “feared he had undertaken a task he was too weak to execute—the protection of a young woman of fashion.” (6) Dorriforth becomes “forcibly possessed” by his concerns leading up to his meeting with the orphaned ward, resulting in his enquiries into her manner and disposition from acquaintances.

In the anonymously written ballads “Barbara Allan” and “Fair Margaret and Sweet William”, the male characters refuse to marry the women they love due to differences in social status, making the women unfit brides. Sympathy arises as the men face a choice between love and duty. Although William seems more honourable than Graeme, the portrayal of these characters is deceptive as compassion ultimately lies with Graeme, while William is revealed to be the least sympathetic man.

Imagine a society where men and their selfish intent rule over everything. Alan exemplifies these qualities when he goes to the Old Man out on his own selfish crusade to forcibly apprehend love. Alan and the Old Man’s views portrayed patriarchal ideals including: expressing male dominance, that women should serve and praise men and that woman should conform and have love determined for them.

“Never speak disrespectfully of Society, Algernon. Only people who can’t get into it do that,” Lady Bracknell, the aunt of the frisky cast in The Importance of Being Earnest, warned. Ironically, Oscar Wilde wrote this witty play in order to disrespect the “Society”of the late 19th century, and to point out its many flaws. His boisterous characters romp about, causing trouble as they socialize in their upper-middle class world. He uses different Similarly, John Galsworthy’s The Man of Property disrespects and carps on the upper-middle class world inhabited by the conceited Forsyte family living in the Victorian Era. Oscar Wilde and John Galsworthy satirize the antiquated and superficial 19th century attitudes of marriage for economic or social gain, of men’s preferable position over women, and of the superiority of the middle class in their respective works.

Although Jack has money and land, which were particularly valued in the prospect of marriage, she only gives her consent for once Jack’s remarkably respectable familial origins are revealed by Miss Prism. By making up the improbable story of Jack’s origins and ending by revealing that he is actually part of Lady Bracknell’s family, Wilde highlights and ridicules the excessive value that was given to the family in the Victorian era.