The Beauty Queen Of Leenane Analysis

A literary reproach of the book "Moral Disorder," a collection of short stories by Margaret Atwood examines the concept of the ethics of care, the relationship between patriarchal systems and feminist thought, and the study of narrative fiction. The topic of feminine domestic responsibility in the work is examined, focusing on several stories including "The Bad News," "The Art of Cooking and Serving," and "The Headless Horseman."

It is possible to argue that Duffy's collection Feminine Gospels is a cry of rage and frustration. Certainly, The Map Woman and The Laughter of Stafford Girls' High present the persona's rage at the suppression of their individuality and identity, whilst The Diet presents Duffy's frustration at the expectations society places upon women.

The short documentary Crooked Beauty, directed by Ken Paul Rosenthal, narrates Jacks Ashley McNamara’s experience in a psychiatric ward and how her time in the facility shapes her new appreciation for her mental illness. One controversial issue has been trying to identify the true cause of mental illness. On the one hand, most people may think mental illness is simply a biological disorder that can be cured with a combination of medication and doctors demanding appropriate behavior until it sticks in the patient’s mind. On the other, McNamara contends that mental illness is a misconception with a patient’s oversensitivity, where it is harder for the patient to ignore certain events than “normal” people, and their doctor’s textbook knowledge. In McNamara’s mental institution, the psychiatrists simply trap her in a padded room and prescribe many different pills to suppress her mental illness instead of embracing her differences or showing her how to use those differences to her advantage. In attempt to prevent those who are mentally ill from feeling the same anger and frustration she felt, she demands a change in the line psychiatric treatment when she says:

Throughout history, mental illness has been labeled as a defining deformity, that harnesses in its “victims,” into a box, parallel to the familiar “mime in a box” image. In a world where we glorify “normality,” a lack of illness, which by all means is a gift, the beauty of one mind takes away from the beauty of an outlier, even though, ironically people may not even recognize their differences. Hester, at a glance suffers from a literal scarlet letter, but an imprint on her brain may exist as well. Irrational actions, sudden emotional episodes, and destructive thoughts can only prevail for so long following sin; Hester’s persona has branches of self-defeating personality disorder, schizophrenia, and bipolar disorder. No one of her time, however, will bring the issue to light, Hester will be left known as the mistress, a witch, or “A,” rather than to explore her “complicated” condition. As decades pass, Hester’s state will remain, as the “A,” the mark of the stigma on mental illness today. When left neglected, society rejects the possibility that under a visible coating, mental deformities may lie; those who are divergent, who require affection more, are made subordinate, marginalized with no quest for a cure.

The interaction of men and women in a city poses opportunities and limitations. The ideas about gender and how female and male characters are depicted in a story, together with gender behaviour, that have shifted over the years in different cities, positions and literary work. The Dubliners (1914) by James Joyce (1882-1941) demonstrate individuals trying to contest or escape paralysis in Dublin. A contrast from Langston Hughes (1902-1967) with 'Pushcart Man ', and Jack Kerouac with the 'The Town and the city ' in the city of New York. Their work is central to demonstrate the sense of the mix of cultures, perceptions of segregation, and the restriction and possibility of the city. This essay will discuss the 'ways in which relations between the sexes are depicted in the set texts, and consider the literary techniques the writer used to create a particular portrayal.

A more negative portrayal of the institution system is shown in One Flew Over the Cuckoo’s Nest (1975) directed by Milos Forman. It is considered to demonstrate the changing face of psychiatry. The film which was based on Ken Kesey’s book of the same title, was made during the period which is known as the Anti Psychiatry Movement during the 60’s and 70’s. The public's consciousness around the reality of psychiatric institutions and psychiatry itself was developing in a different way. A number of theorists worked together in order to outline the issues which were still a major part in psychiatry.

The portrayal of people being sickly creatures has been used in Hollywood film for a very long time. This has been in the endeavor of putting the viewing public in the shoes of the patient and entertain them with over the top portrayals of disease. For patients that are women in particular this has been achieved by defining them along the lines of vague terms such as them being over emotional and unstable. Despite the advancement experienced by the society, women have not yet fully seen the goal of equality realize fruition. With the expansion of the psychiatric and psychological terminologies, there now additional ways via which mental illness can be ascribed as a weakness for men and women portrayed in Hollywood film. This is best

DIALOGUE Due to their genre, My Mad Fat Diary (Earl & Bidwell, 2013 – 2015) and United States of Tara (Cody, 2009 – 2011), there is a familiarity of mental illness among supporting characters. This, and the close relationships they share with the protagonists, means that the dialogue surrounding mental illness is often supportive and understanding. Not only are these characters providing information to each other, they’re providing information to the audience about the protagonist and their condition.

“A Scandalous Woman”, a short story from Edna O’Brien’s book A Fanatic Heart introduces to a young character as she develops and grows throughout the duration of it. Throughout the short story she is depicted as a young girl in love and exploring life. As the story continues she starts evolving and changing as she goes through numerous life events that impact and slowly changes our main character. The theme is evident: A woman’s capacity for finding joy and pleasure is ruined and abolished at an early age by the environment she grew up in, which all relationships are painted by the fear of punishment. This feminist theme signifies that in the Irish community, a peasant setting with a closely knit family and strong community ties in which physical violence and intimidation is conveyed. As the sacrificial role of young women in the Irish community is elaborated by Edna O’Brien as a result of Irish cultural values and their own naivety. Our character starts off as a maiden in love and dependent, then becomes struck with heartbreak and reality, then transforming into a person of society.

In F. Scott Fitzgerald’s novel, The Beautiful and Damned, a tale of a marriage’s hardships in the 1920’s are put on display. The novel is centered around the relationship of Gloria and Anthony, a newly married couple in the second book of the novel, and the struggles that their marriage endures. With focus on Book II, Chapter II Symposium, it is made clear how the woman in the relationship is emotionally objectified by her significant other. Woman as a whole are portrayed in a weak light in order to demonstrate the power that Anthony has over Gloria. Fitzgerald uses this to portray Anthony’s character negatively, as he slowly develops into the antagonist of the novel.

Literature, apart from being a channel to depict the author’s work and thoughts on a particular subject, is also interpreted as a medium to reflect norms, values, customs, and so on from different times in history. As stated by Milton C. Albrecht, literature reveals “the ethos of culture, the processes of class struggle, and certain facts of social facts.” (425) Through literary works, authors may be able to reflect their thoughts on specific issues, such as social injustices, or just point out the inequity between different social aspects, such as gender, class or social status. This essay, therefore, focuses on “Wifey Redux” and “Fjord of Killary”, two of Kevin Barry’s short stories from Dark Lies in the Island as well as on “Death of a Field” and “Number Fifty-Two” from Paula Meehan’s Painting Rain to show how inequities of class and social status in Irish society are visible through indirect reflections onto the natural and material worlds.

Nothing is more serene and enticing than the death of three children, a starving family, and a broken home- both physically and abstractly. Unfortunately for the McCourt family, this was the only life with which they were familiar. Moving to Limerick from Brooklyn appeared to be the best possible option for the prosperity of this family; however, this decision would prove to be an abysmal and sorrowful decision in the oncoming years. During the deplorable time in which Angela McCourt raised her family, the reliance between her and her husband Malachy was nothing more than dubious and frangible. The absence of support from an irresponsible, unreliable, and alcoholic husband left Angela McCourt with no other choice but to abandon hope in the man whom she gave her life.

The contradiction reveals an inescapable misery burdening the fates of those residing in Hailsham, a reality masked by the joy Kathy chooses to show instead when remembering her childhood years as one should. This further showcases how memories of Hailsham are interpreted differently between characters that actually grew up there and people, like the man and us, who can only assume by living vicariously through Kathy H.’s recollections. Thus there are three main representations prompting an answer to the kind of system Hailsham could be: the man’s misconstrued paradise, Kathy’s dramatic estate, or our bleak prison. The notion that Hailsham, or any system for this matter, can be percepted as just one is a fallacy. Consider Kathy’s encounter with the man.

So sceptical is Waugh of any positivity in female beauty that in Vile Bodies the term ‘pretty’ gains negative connotations. Adam ridiculously deems Mary Mouse and the Maharajah a ‘pretty pair’ as they publicly make love on the airship balcony. The negative use of the term is only furthered when Chastity ‘in the prettiest way possible’ simpers to the drunk major against the ugliness of the war backdrop. Thus Women’s ‘prettiness’ is a fickle attempt to disguise the ugliness around them. The sense of ‘pretty’ is by its very nature shallow and transient, it’s sentiment far from the stunning or the gorgeous that true beauty in romantic literature holds. Indeed, Waugh taps into another Romantic poetic conceit here. The

Critics widely recognized that each story within James Joyce’s Dubliners contains a theme of paralysis. In fact, Joyce himself wrote, “My intention was to write a chapter of the moral history of my country and I chose Dublin for the scene because that city seemed to me the centre of paralysis” (Joyce, letter to Grant Richards, 5 May 1906). Contained in this moral history called Dubliners are twelve stories that deal with the paralysis of a central male character and only four that deal with so called paralysis within a central female character. It could be said that Joyce did this merely because he is a male, therefore could write the character better. However, Joyce writes female characters