Theme Of The Virgin Suicides

Since the girls were depressed, this later resulted in their suicide. "Suicide attempts are usually made when a person is seriously depressed and feels that there is no way out of their problems" according to D'Arcy Lyness, PhD. Adolescents commit suicide because they feel as if they can not escape emotional pain. The Lisbon girls were simply depressed. The majority of adolescents who commit suicide suffer from depression. From the film The Virgin Suicides, it is obvious that the Lisbon girls are depressed. The Lisbon girl's depression was the cause of their

“Virgins,” a short story by Danielle Evans is a coming of age tale that details the arduous journey of upcoming womanhood taken by a young girl and her friend. This young girl is named Erica and her friend is named Jasmine they are both black teenaged girls living in a lower income neighborhood. As one reads, the question emerges of how Evans presents a commentary on the issues that girls on the verge of womanhood must overcome, appears. What aspects must be portrayed to fully paint a picture into this world? Danielle Evans uses teenage ideals of self worth, themes of maturity, and a common disregard of morals to present a commentary on the issues girls on the verge of womanhood must overcome to fully prosper.

This novel “is a book that truly speaks to adolescents in contemporary language and with teenage characters about adolescent sexuality” (Kaplan 27). Katherine is learning about her sexuality in the novel.

In the movie, The Virgin Suicides (Coppola, Costanzo, Halstead, Hanley & Coppola, 1999), the Lisbon sisters live in the suburbs of Detroit, Michigan during the 1970’s with their parents, Mr. and Mrs. Lisbon. All 5 of the sisters, Cecilia, Lux, Bonnie, Mary, and Therese, seem to suffer from depression and this causes great distress and impairment in their lives and inevitably leads to their suicides. According to the DSM-V (2013) the criteria for Major Depressive Disorder includes significant functional impairment accompanying 5 or more out of 9 specific symptoms that are present nearly every day. The sisters seen to exhibit at least 6 of these symptoms, therefore their behavior meets criteria for Major Depressive Disorder. First, the sisters all express a depressed/irritable mood most of the day, every day. We can directly observe this after the death of their sister Cecilia. They seem to be isolated and appear to be deeply sad. Second, the girls display little to no interest or pleasure in their everyday life. They seem to mope around and are constantly seen laying on the floor/ bed in their rooms not doing anything at all. Third, the sisters seem to have no appetite, this also

Does deviating from one’s gender norms inevitably doom one down a spiral of moral corruption? Tim O'Brien, author of “Sweetheart of the Song Tra Bong” and Ernest Hemingway, author of “The Short Happy Life of Francis Macomber”, certainly seem to hold this view, as evident by the fates of the major female characters in their respective works. The deviance of the major female characters in both works appears to corrupt not only themselves, but also pollute their partners, causing them to suffer injury or harm as a result. The degree of injury ranges from negligible, like Fossie’s demotion and broken heart, to fatal, like the bullet that rips through Macomber’s skull. It begs the question, are these stories meant to serve as cautionary tales for their female readers, or possibly for their husbands, so they may recognize gender deviance and stop it in its tracks before their wives transform into Margot Macomber or Mary Anne Bell? This essay will analyze what such characters say about pervading views of women, both in society and in literature.

For this primary source paper, I decided to write a comparison on the source Women’s Place in Renaissance Italy: Alessandra, Letters from a Widow and Matriarch of a Great Family and The Virgin Suicides written by Jeffrey Eugenides. Immediately reading the first paragraph of Women’s Place in Renaissance Italy, it strongly resonated with The Virgin Suicides in a way. I thought these two would make an interesting comparison due to the way they both address men, death, complexity of being a female, and family.

Discovery is often provoked when the actions of others act as a catalyst, often stimulating personal growth. However, the ramifications are dependent on individual perceptions and the unique context they bring to the process. These ideas are amplified by Shakespeare’s Jacobean romance The Tempest, with its array of characters who dramatise this instability through diverse human responses contrasting to the antagonizing nature of discovery. 1999 American drama film, The Virgin Suicides by Sofia Coppola, reflects the collective consciousness of a group reminiscing on past experiences and interactions, opening them to discover personal potential. This process acts as a catalyst for an evaluation of the impact of change, leading to new discoveries. In exploring composer’s representations of discoveries, individuals learn the symbiotic relationships of new insights and their intrinsic value.

“When you died, part of me died too,Now i'm finishing off the rest, so we can be together...I’m coming.” Is a direct quote from Junes suicide note to Delia wishing her a sincere see you soon. A book of a sad suicide turns into a brutal murder but for what? A beautiful lie or did little girls really die? Lynn Weingarten wrote a New York bestseller, suicide notes from beautiful girls, it was a hit in New York but due to all the disregard for the law, lack of respect for authority, and all the talk of sinful lives this won't make the Top Salem Seller.

The most notable aspect of Jeffrey Eugenides’s The Virgin Suicides would be its first person-plural narrative voice. Literary scholars have often addressed the issue of the narrative voice and the effect that having multiple narrators has on the story. In her article ‘A story we could live with’ Narrative voice, the Reader, and Jeffrey Eugenides’s The Virgin Suicides Debra Shostak addresses how the “we” inadvertently draws attention to the “otherness” of the Lisbon girls. She attempts to dispel the belief that The Virgin Suicides is a misogynistic text by analyzing Eugenides’s complicated use of the word “we”. Shostak’s article gives deep insight into the complexities of the plural narrative and provides a foundation for future analysis of the text. However, what Shostak does not address is how this perception of otherness, by both the narrators and the community in which they reside, ultimately leads to the downfall of the Lisbon sisters. My argument is twofold. Firstly, I will address how the perception by the narrators that the girls are radically different from themselves and their community, combined with the tendency to group the girls as a single monolithic entity serves as one explanation for the girls deaths. Treating the girls as though they are the same person leads to the perceived inevitability of their deaths, which ultimately plays a vital role in their untimely and fatal ends.

It’s extremely possible that Eugenides was drawing on research done by others, which had linked suicide with religion. The first major thinker to draw a correlation, and possible causation, between the two was Emile Durkheim. Durkheim, however, posited that having some sort of religious affiliation actually decreased suicidal thoughts due to the fact that it “enhances social integration normalizes submission or adherence to regulation.” (Pescosolido and Georgianna) The Virgin Suicides seems markedly different because instead of enhancing social integration, it instead diminished social interaction, by confining the Lisbon girls to the home. Perhaps, Durkheim would agree that in such a case religion would actually serve as a facilitating measure to suicide. When the institutions that are supposed to foster a comforting and open environment are instead stifling someone, it’s easy to see how suicide can be seen as the only option. At the same time, however, it’s not just the Lisbon

The boys think the Lisbon girls will be quiet and the car ride will be awkward. The boys are in shock by the girls’ personalities when they are out of their home, Eugenides reveals the talkative girls by stating, “Somehow, too, they’d kept up on dating etiquette, through television or observation at school, so that they knew how to keep the conversation flowing or fill awkward silences” (120). During the car ride the Lisbon girls end up being very social and not what they expect. The boys seem amused by how up to date the girls are with society. The suburbia life fails the Lisbon girls by giving them a life with double standards that they cannot live by.

This reenforces the idea that the boys' sight is the main determining factor for much of the information they recount, as at they are unable to differentiate the Lisbons until the party, after having known the girls for much of their lives, and also lusting after them for almost as long as they have, they are isolated from the girls to such a degree that they are unable to see any difference in them until they are in the same room. Most of the community also associates all the girls with one another and rarely sees any distinguishable differences amongst them. In the section when Trip Fontaine and the other neighborhood boys take the Lisbon girls tot he homecoming dance, they boys realize they can't tell the girls apart. "Trip Fontaine, of course, had dibs on Lux, but the other three girls were up for grabs. Fortunately, their dresses and hairdos homogenized them. Once again, the boys weren't even sure which girl was which. Instead of asking, they did the only thing they could think of doing: they presented the corsages" (117). The boys' superficiality is highlighted; the only time in the novel in which the girls are allowed out of the house, they boys are still unable to determine one girl from another. Furthermore, the only way they determine who their dates are by simply lining up in front of them with flowers ready. When the remaining Lisbon girls commit suicide at the end of the novel, Mary is the only daughter to survive, and

In the story of The Bloody Chamber, Angela Carter attacks the conventional gender roles of women. The conventional Gothic plot revolves around pursuit. A young heroine’s virtuous virginity, purity and innocence is sexually threatened. Thus, what Carter does in “The Bloody Chamber” is redefine female desire and sexuality which are rendered passive and repressed through traditional Gothic texts. Where the mother exemplifies the heroic woman, the “girl” is the traditional damsel in distress. Maria Makinen’s assessment of Carters feminine characters is both truthful and incorrect. Carter uses traditional female stereotypes as well as her unique women to make a contrast between these perceptions of women.

Perhaps it would have been a different situation, if they were actually women who are acting and thinking like men. According to travesties, being of the primary gender (biologically male), thinking and behaving like women is unacceptable because it downgrades one’s gender status. On the contrary, being biologically female, behaving and thinking like men is upgrading and heroic. In this sense, being like a girl has been a challenge since childhood for travestis. They always feared that people would find out and shame them in the society. While peculiarly following their unimpressive path in the society, of desiring women and experiencing sex, travesti subjectivity is generated out of their apprehensive relationships with their untrustworthy boyfriends. Within this subjectivity, travestis’ efforts to show themselves within the normal boundaries of the Brazilian society strengthen the gender binary. In their relations with their boyfriends, they act like nothing else other than females. Similarly, in their profession, they play the role of a female or male depending on the demands of the situation by swapping between the binary gender roles. Travesti subjectivity comes into the limelight with normative gender binary

Corporate rational is the way in which a corporate parent envisages the way that it can add value to its strategic business units. The Virgin Group sees itself as a restructurer; this means that it has low central costs due to relatively small corporate center, with fairly minimal involvement at business level. However they vary from the portfolio managers because they also set about trying to identify restructuring opportunities within their businesses and have the skills and expertise in order to intervene and introduce these changes where necessary. The Virgin Group have a huge range of about two hundred strategic business units ranging from airways to cola,