The Long Hour

Women are taught from a young age that marriage is the end all be all in happiness, in the short story “The Story of An Hour” by Kate Chopin and the drama “Poof!” by Lynn Nottage, we learn that it is not always the case. Mrs. Mallard from “The Story of an Hour” and Loureen from “Poof!” are different characteristically, story-wise, and time-wise, but share a similar plight. Two women tied down to men whom they no longer love and a life they no longer feel is theirs. Unlike widows in happy marriages Loureen and Mrs., Mallard discover newfound freedom in their respective husband’s deaths. Both stories explore stereotypical housewives who serve their husbands with un-stereotypical reactions to their husband’s deaths.

How do “The Story of a Hour” and “Still I Rise” express the problems faced by women?

Having no background on what the article “The Six Hour D… and How to Avoid It” by Professor Dewey is about leaves your mind guessing until you get around to reading it. This article is about study habits amongst college students. It discusses how many students claim to have spent a substantial amount of time studying but still receive a low grade; such as a D or F. Hence, “the six hour D” title. Professor Dewey shows ways in which students fall into “the six hour D” category and gives tips on how it can be easily avoided.

The fact that Desiree derives her happiness from pleasing Armand shows that she is not only his slave, but also that she helps to put herself into this position.  “When he frowned she trembled, but loved him” (317).  Desiree’s simultaneous fear and love of Armand elevates him to a god-like status in

Desiree?s words show that her life depends on the race, notions, and social class of her husband and consequently, she feels obligated to obey his every desire. Desiree is presented as vulnerable to whatever Armand wants and tells her to do when she says, ?Do you want me to go?? (177). Desiree displays through her actions that in many ways, her happiness only comes from pleasing her husband. Therefore, Desiree must decide whether to live completely separate from Armand, or to live with him in constant fear and unpleasantness. Desiree achieves personal freedom and independence from Armand when ?she disappeared among the reeds and willows that grew thing along the banks of the deep, sluggish bayou; she did not come back again? (177). It is not even an option and is unheard of that Armand, being a male holding a respectable background, could possibly be black. Consequently, Desiree feels compelled to leave because she wants to please him. When Desiree decides to kill herself and her child, she shows that she is sensitive and vulnerable to her husband?s thoughts and actions.

On the 5th paragraph of page 1, monsieur Valmont’s caution to Armand about him knowing desirees background foreshadows possible problems and questions that might come up in the future . Exposition: desire was adopted by madame valmonde and raised by her while Armand had moved from Paris with his dad after his mums death. Rising action: Armand getting married Climax This happens when Desiree realizes her baby is of mixed heritage Resolution: when Armand finds out he was the

Everyone needs someone to love and care for as well as someone who can return that love and care. When Cosette comes into Valjean’s life, it makes him feel something he didn’t feel in a long time, “When he saw Cosette, when he had taken her, carried her away, and rescued her, he felt his heart move” (123). At this point, she becomes more than just a girl but another symbol in Valjean’s

It is my intention to compare the book, Dangerous Liaisons by Choderlos de Laclos, to its modern movie version, Cruel Intentions starring Sarah Michelle Gellar. I intend to examine how the original French text was modified in reference to plot, character, morals/values, and themes. I also plan to discuss how these transformations change the meaning of the story and reflect different cultural/historical contexts. There are some major differences between these two works, if only because of when they were written.

In “The Story of an Hour” we are taken through a journey. The journey is the thoughts and emotions going through Mrs. Mallards (Louise) mind. The journey only takes an hour, so everything moves at a fast pace. Louise seemed to process the news of her husband’s death without an initial element of disbelief and shock. She goes right into the reaction of grieving for her husband. She quickly begins to feel other emotions. At first she does not understand them. The journey is a way that Louise comes to her final thoughts of freedom. She looks into the future and looks forward to living a long life on her own terms.

In An Infinity of Little Hours: Five Young Men and Their Trial of Faith in the Western World’s Most Austere Monastic Order, a novel written by Nancy Klein Maguire, readers are regaled with an extensive look at the life of mid twentieth century Carthusian monks, which as one would infer from the title, is quite ascetic. A rare look inside Parkminster, the Carthusian monastery referred to as a charterhouse, creates a unique opportunity for readers to gain great insight into the Carthusian Order. Maguire regales and educates readers with a nonfiction story about five Carthusian monks from the 1960’s. Readers learn how each man came to the monastery and what he left behind.

Cosette is deprived of the love that she desires and deserves. She longs for love and instead receives the opposite. The Thenardiers do not care for Cosette and do not view her as their child, to them she is a servant girl. When Jean Valjean offers to take Cosette away from the Thenardiers, they reply, “Ah monsieur! My good monsieur! Take her, keep her, take her away, carry her off, sugar her, stuff her, drink her, eat her, and be blessed by the holy Virgin and all the saints in paradise!” (154). The Thenardiers want Cosette out of their house, and no longer want the responsibility of taking care of the “imbecile child” (147). It is a blessing to them that this traveler has come to take Cosette away forever. Because of Jean Valjean's good deed, Cosette's life can improve and she can finally experience the emotion of love she longs for. Although Jean Valjean offers Cosette all the love he is capable of giving, it is not enough to satisfy Cosette. She craves for a different, romantic love after she is introduced to Marius. Hugo,

Jean Valjean sacrificed much as he sought redemption. One of the first sacrifices that Jean Valjean makes is that of his identity, during the Champmathieu affair. As Monsieur Madeleine, Jean Valjean was a trusted official in a high position. He struggled with himself when he heard that the ‘real’ Jean Valjean had been caught: should he stay in M—sur m—where he was comfortable and popular, or do the right thing, remove a man from an undeserved galley life, and become a convict once more. When Madeleine revealed himself as Jean Valjean, he forever gave up that comfortable position of authority. He became a convict again – a wanted convict. He would now live out the rest of his life hiding, of not running, from the police. Jean sacrificed his safety. Saving Marius’ life by carrying him through the sewers also proved to be a sacrifice. Jean’s entire existence revolved around Cosette. She was what kept him on the track the bishop set him on. He adored her. He was devastated to learn that she was in love with Marius, yet he saved

In his novel The Hours, Michael Cunningham creates a dazzling fabric of queer references managing to intertwine the lives of three different women into one smooth narrative. In this essay, I will discuss what makes The Hours queer literature, how the novel has contributed to the queer genre, the cultural significance of the novel, and I will discuss several points made in Jeanette McVicker’s critical article “Gaps and Absences in The Hours.” My aim, however, is not to say that Michael Cunningham’s The Hours is strictly a queer novel, but to highlight what makes the novel queer and to discuss Cunningham’s idea of sexual orientation as a fluid entity.

With each letter in Les Liaisons dangereuses, Choderlos de Laclos advances a great many games of chess being played simultaneously. In each, the pieces—women of the eighteenth-century Parisian aristocracy—are tossed about mercilessly but with great precision on the part of the author. One is a pawn: a convent girl pulled out of a world of simplicity and offered as an entree to a public impossible to sate; another is a queen: a calculating monument to debauchery with fissures from a struggle with true love. By examining their similarities and differences, Laclos explores women’s constitutions in a world that promises ruin for even the most formidable among them. Presenting the reader glimpses of femininity from a young innocent’s daunting debut to a faithful woman’s conflicted quest for heavenly virtue to another’s ruthless pursuit of vengeance and earthly pleasures, he insinuates the harrowing journey undertaken by every girl as she is forced to make a name for herself as a woman amongst the tumult of a community that machinates at every turn her downfall at the hands of the opposite sex. In his careful presentation of the novel’s female characters, Laclos condemns this unrelenting subjugation of women by making clear that every woman’s fate in such a society is a definitive and resounding checkmate.

Women are often perceived as mother figures who stand by their husbands no matter what type of situation they encounter. They are expected to give a perfect image to society and do not get the greater say. Eugene O 'Neill’s play, A Long Day’s Journey into the Night (1940), gives the reader a representation of a woman who is still influenced by these standard societal expectations. The character, Mary Tyrone, depends greatly of her husband and will not leave him even if she wanted to. In The Awakening (1899) by Kate Chopin, the reader is introduced to Edna Pontellier who is the complete opposite. She exposes the dissatisfaction that women feel and decides to act upon it. These two characters feel that they do not belong in the lifestyle they are given. They struggle with their identity due to their husbands’ lack of affection. As a result, marriage becomes a barrier to their happiness and individual fulfillment. The sense of displacement, marital dissatisfaction, and loss and gain of identity pushes both Mary and Edna to take major decisions in order to deal with their pain and desires.