Techiniques Used in 'This Is Love' and 'Leaving Prince Charming Behind' by Karlo Mila

Ever since the beginning of time, love has played an enormous role among humans. Everyone feels a need to love and to be loved. Some attempt to fill this yearning with activities and possessions that will not satisfy – with activities in which they should not participate and possessions they should not own. In Andrew Marvell’s poem, “To His Coy Mistress,” the speaker encounters an emotion some would call love but fits better under the designation of lust for a woman. In contrast, the speaker of Robert Herrick’s poem, “To the Virgins, to Make Much of Time,” urges virgins to marry, to make a lasting commitment in which love plays a

In this global era of evolving civilization, it is increasingly difficult to ignore the fascinating fact about love. Love is a feeling of intimacy, warmth, and attachment. Love is inevitable and it plays a vital role in human life as Janie uses her experience with the pear tree to compare each of her relationships, but it is not until Tea Cake that she finds “a bee to her bloom.” (106).

We live in a society that has increasingly stomped on love, depicting it as cruel, superficial and full of complications. Nowadays it is easy for people to claim that they are in love, even when their actions say otherwise, and it is just as easy to claim that they are not when they really are. Real love is difficult to find and keeping it alive is even harder, especially when one must overcome their own anxieties and uncertainties. This is the main theme present in Russell Banks’ short story “Sarah Cole: A Type of Love Story,” as well as in “The Fireman’s Wife,” written by Richard Bausch. These narratives, although similar in some aspects, are completely different types of love stories.

Love is undoubtedly one of the most frequently explored subjects in the literary world. Whether the focus is a confession of love, criticism of love, tale of love, or simply a tale about what love is, such literary pieces force readers to question the true meaning and value of love. Raymond Carver accomplishes this in his short story “What We Talk About When We Talk About Love.” As the unadorned setting and the personality of each character unfold, the reader realizes that Carver is making a grave comment on the existence of love. Carver utilizes strong contrast, imagery, and diction to ultimately suggest that love cannot be defined concretely and therefore cannot be defined in words, and because of this, it is better off unexplored.

Stephan Babich 's blog post entitled, "The Fall of the Female Protagonist in Kids Movies", and Richard Lawson and Jen Doll 's article, "The Lies Hollywood Told Us: Love and Romance Edition”, are rhetorical arguments that attempt to support a notion about an explicit aspect of motion-picture theatre. In Babich 's post, he writes about how women are hardly ever the protagonist in kid 's movies. The goal of his argument is to persuade avid animation movie watchers that future films should have a female playing the leading role. The main idea of Lawrence and Doll 's article is to convince men and women who frequently watch romance movies that they should not expect the romantic situations and endings that Hollywood

Overall, the emphasis that fairy tales place on physical appearance can be very detrimental to a child (particularly a girl’s) development and ideas of reality. To add, fairy tales, although perhaps unintentionally, depict that attractiveness determines who is good and who is evil. The protagonist is often the princess, who is described as the prettiest in the land. The antagonist on the other hand is often less attractive and more than likely labeled ugly (Schussler). Because fairy tales often depict good conquering evil and evil succumbing to its immorality, this therefore shows the reader that ugly people are punished. This also can influence a girl’s self-esteem, considering that the created sense of beauty is impossible, thus they may feel inferior (Danish). Grauerholz hypothesizes that “[t]hese powerful messages that say women need to be beautiful may compel some women to seek beauty at the expense of other pursuits, such as careers or education” (Grauerholz). The exaggerated emphasis on beauty has potential to be a very limiting factor for young girls. However, the stereotypical beautiful princess is not the only gender stereotype that plagues women in the tales.

To sum up, Sexton’s “Cinderella” highlights despair and the misconceptions women have about love and life. Fairytales bring hope to young hearts around the world but get crushed when real world situations happen. Happily ever after’s can exist but not in any kind of perfect form, there is no such thing as perfection, and life’s complications come up from

Carol Anne Duffy presents love and romance in a unique way that differentiates valentine from any other love poem. Throughout this poem carol expresses love though the original metaphor of an onion. This essay analyses how she does this so effectively and how she presents a range of ideas about love and romance.

The men in “Cinderella” also value women for their beauty. The prince has a ball for all the maidens in the land to find his future wife, which “amounts to a beauty contest” (Lieberman 386) for a new trophy wife. While some argue that Cinderella’s rebellion of going against her stepmother’s instructions of staying home shows that the story has feminist qualities, the prince weakens her achievement when he chooses her only because of her beauty as “girls win the prize if they are the fairest of them all” (Lieberman 385). Her need for independence is transformed into the prince’s need for a pretty wife, making her again an object in her family. Once integrated into the prince’s family, Cinderella goes from the maid of her family to the smiling porcelain doll next to the prince as the “first job of a fairy tale princess is to be beautiful” (Röhrich 110). This gives the impression that the only way

In fairy tales, female characters are objects, and their value centers around their attractiveness to men. Since fairy tales rely on cultural values and societal norms to teach morals or lessons, it is evident that fairy tales define a woman’s value in a superficial way. Fairy tales teach that, typically, beauty equates to being valuable to men because of their fertility and purity; whereas, ugliness equates to being worthless and evil, including being ruined because of their lack of virginity. Descriptions readers see from fairy tales like “Rapunzel,” and “Little Snow-White” revolve around the women’s, or girl’s, physical appearance, and both stories play out to where the women remain in a state of objectification. In addition, they are damsels

Westerns connote images of dirt, dust, guns, horses, cowboys and heroes: physically strong, iron-willed, independent, resourceful, quick-witted men. Although the modern Western (the writings of Louise L’Amour, Zane Grey and the numerous films starring John Wayne, Roy Rodgers, Gene Autry) seems to focus on this ideal hero, the genre actually also provides women with strong, self-reliant, active roles. In fact, many texts that precede the typical modern Western had females as the main characters. However, the role of the heroine still differs from that of the hero; the role does not defeminize women but gives them depth as characters. These women still retain their femininity and domesticity, but they also rescue those around them, take care

The middle-class ladies didn't work, and didn't have a life outside their homes. They dedicated all of their time, energies and passions into keeping their men happy and contented; and in return, were loved, pampered and protected from the harsh realities of life. Even though this idea of total subjection and passivity, wouldn't have a hope of success in today's society, the level of trust and commitment these two "Romantic Poets" apparently share, could be the ideal that all couples should aspire to. In sharp contrast to Browning idealistic and spiritual love poetry of the 1800s, Seamus Heaney's Twice Shy uses an altogether more contemporary and realistic style of prose too describe love in the 20th century.

Filmmakers use traditional gender stereotypes to produce characters audiences can easily identify with by portraying conventional images of a person with identifiable characteristics. In previous years, the dominant representation of a women in film has been the passive, subjugated protagonist. However, through the development of female empowerment and added feminist representations of film, the female heroine transformed to become strong and independent women in her own right, as an individual character.

Society’s perception of love changes constantly. As a result, poems of different time periods have different perceptions of love and beauty. Ben Jonson’s “A Vision of Beauty” and Samuel Daniel’s “But love whilst that thou mayst be loved again” reflect the importance of physical beauty in love during the Renaissance Era. In the Victorian Period, Wilfrid Scawen Blunt’s “I See You Juliet” and Robert Browning’s “A Face” continue to reflect society’s fascination with female beauty in both a positive and negative way. In the Modern Period, a shift occurs in both marriage and love with a greater emphasis on true love and inner beauty. William Butler Yeats’ “When You Are Old” and Edna St. Vincent Millay’s “Only Until This Cigarette Is Ended” show

Books, plays, and movies that depict culture and social life often make statements about social issues such as gender roles, racism, and class distinction. Stories set up a context in which characters relate, often representing “stock” characters chosen from society and placed in situations where their stereotypical behaviors—and sometimes their breaking of these stereotypes—are highlighted. As feminism became a popular movement in Western countries in general and the United States in particular, female voices were naturally heard through fictional characters. Social and political issues commonly fuel entertainment; feminism, racism, and classism—recurring themes in entertainment through the 20th Century and into the modern day—have