Summary : ' The Open Window '

Waking up one morning thinking you are going to die can be very life changing, but not for Leah Levitawitz, a woman who is so miserable with her life that the sign of death does not faze her. By Leah being stuck in her old ways makes her bitter towards the world. Leah once thought of the world as a dark place, being unhappy, bitter, and resenting the people who had helped her; but had a change of heart once the warehouse was moved and the window was fixed. In the story, “Windows,” written by Bernice Morgan, Morgan demonstrates how being stuck in the past can have a negative effect in the present.

The narrators in both works prove to be similar in several ways. In “The Tell-Tale Heart” the story is told through a psycho narrator; both stories contain apparent psychological imbalances within their story tellers, “

In March 1982, The Atlantic magazine ran an article titled “Broken Windows” by George L. Kelling and James Q. Wilson. [1] The authors of this now famous article wrote, “Social psychologists and police officers agree that if a window in a building is broken and is left unrepaired, all the rest of the windows will soon be broken.” One broken window, left unrepaired, is a signal that the building is abandoned and that no one cares, so breaking more windows means nothing. The authors continue, “Vandalism can occur anywhere once communal barriers—the sense of mutual regard and the obligations of civility—are lowered by actions that seem to signal that ‘no one cares.’”

The short stories, “Turned”, by Charlotte Perkins Gilman and “The Good Corn”, by H.E Bates provide strong examples of how the representation of characters influence’s the reader’s perception of a text. Both stories depict similar characters: a middle-aged, childless wife, her husband and an 18-year old girl who works for them. They are both about a similar situation: man cheats on wife with girl and girl falls pregnant. However, the author’s of the text are from very different backgrounds and this is reflected in their stories. Although there are many similarities between “The Good Corn” and “Turned”, the values reflected in these stories, their resolutions and the reader’s perception of them are vastly different due to the contexts of

            “The Yellow Wallpaper” by Charlotte Perkins Gilman is an example of how stories and the symbolism to which they are related can influence the perspective of its readers and alternate their point of view. In the “Yellow Wall-Paper”, the unknown narrator gets so influenced by her surroundings that she starts showing signs of mental disorder, creating through many years several controversies on trying to find the real causes of her decease.

In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his neighbors’ lives become the subject for the plot. Each window represents a different film screen, each which is focused upon only when Jeffries directs his attention to it. He witnesses both the anxieties associated with the beginning of a marriage and the heartache of relationships ending. The

“You’re Convinced there was nothing important here…Nothing that would—point to any motive?” (Glaspell, pg. 5, 1908). In 1916, Glaspell worked for Des Moines daily news as a reporter where she later met her husband George Cook who was a play director. Together they wrote and produced plays, two of which are Trifles and Jury of Her Peers which are based off a crime scene she encountered while being a reporter. Glaspell’s plays are on the feminist side focusing on the roles women are forced to play in society and their relationships with men. Motive is the overall theme found in both versions of Glaspell’s story and is evidenced through the Wright’s relationship, the anger portrayed in various ways, and finally, regret found in Mrs. Wright.

In the movie, Rear Window, Alfred Hitchcock uses the story of a cripple free lance photographer, Jeff Jeffries, to explain the twisted sense of society in the 1950’s. Hitchcock uses clever things from the way the apartments are being filmed to the dialogue between Jeffries, Lisa, and Stella to show societies interest in pain, tragedy, and discomfort, and in the end you see how tragedy is what makes everyone happy.

In Alfred Hitchcock's 1954 classic thriller Rear Window, Jimmy Stewart stars as L.B. Jeffries, a world traveling magazine photographer accustomed to living a fast pace active lifestyle. When Jefferies injures himself taking a risky picture he is immobilized, confined to a wheelchair inside his apartment for two months. Bored with his uneventful life he becomes completely obsessed with the lives of his neighbors spending the majority of his waking hours watching them from his window. To obtain a better view he begins using a telescopic lens from one of his cameras. By watching his neighbors through the camera he assumes the role of both a spectator and a voyeur. This contributes to

The character of the mother executes the tell-tale signs of counterfeit happiness when she tells the murderous story of the narrator’s father’s brother. “‘Oh honey,’ she said, ‘there’s a lot that you don’t know. But you are going to find out’” (36).

The two short stories share one similar theme, and contrast in others. The theme these two stories can compare is how the women, Mrs. Mallard and Clair feel about their loved ones and the relationship problems they face. The unsteady relationship becomes apparent when Mrs. Mallard expresses that she feels a sense of freedom when she hears of her husband’s death, which is odd for any marriage unless there is a sense of unhappiness within the relationship. Learning Mrs. Mallard feels free after her husband’s death makes the reader believe she was in an unhealthy

The broken windows theory is a criminological theory that if a neighborhood looks rotten then the more trouble it welcomes. In 1982, George L. Kelling and James Q. Wilson released an article focusing on the importance of the disorder. This theory is strongly attached to the African- American community. An area that shows a low population of existences states that fear or crime related situations caused the massive egress of residents. The lack of people to care for a community results into buildings looking forgotten. Therefore, broken windows appearance is a great way for convicts to hide because no one would go near a place that comes into view as spine-chilling. In additions, this produces a high risk of anxiety for African -American males believe that any moment a police officer can stop, question, and frisk them out of anticipation.

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.

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

While Mrs. Mallard remembers Mr. Mallard as a kind and tender man who loved her, she also viewed him as the oppression that marriage put upon women and men. While Mr. Mallard was kind and loving to his wife, he was also controlling and overbearing. Josephine, Mrs. Mallard’s sister and Richards, Mr. Mallard’s friend is there to break the news of Mr. Mallard’s death. Richards has learned of Mr. Mallard’s death at the newspaper office, not wanting to believe the information that was received, Richards waited for the new to be delivered for a second time before enlisting the help of Josephine. They are both there to support Mrs. Mallard and their support shows that they care for Mr. and Mrs. Mallard.