Western Civilization and Happiness and Justice

“Civilization and Its Discontents” is a book written by Sigmund Freud in 1929 (originally titled “Das Unbehagen in der Kultur” or The Uneasiness in Culture.) This is considered to be one of Freud’s most important and widely read works. In this book, Freud explains his perspective by enumerating what he sees as fundamental tensions between civilization and the individual. He asserts that this tension stems from the individual’s quest for freedom and non-conformity and civilization’s quest for uniformity and instinctual repression. Most of humankind’s primitive instincts are clearly destructive to the health and well-being of a human community (such as the desire to kill.) As a direct result, civilization creates laws designed to prohibit

Judge Brack is introduced into Hedda Gabler as a man of authority, which allows him to able to aid George Tesman and act as his financial planner. As a great help to Tesman and Hedda, the couple “can’t thank you [Judge Brack] sufficiently” in expressing their gratitude and the great help that Brack is, being a man of power (Ibsen 20). By lending a hand to George and Hedda, this exploits the friendship between the three characters. If Judge Brack was not a friend to the couple, then he would not assist them in their accumulating debt. It is shown that Judge Brack does help George regarding his financial needs even when they are involved with Eilert Lövborg, the professor. Although Hedda does acknowledge Brack’s effort in improving her and her husband’s financial situation by

“We hold these truths to be self-evident, that ALL men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.” As you know these words come from the preamble of the Declaration of Independence, perhaps one of the greatest documents ever written. However, I do have a little problem with the last four words sentence, “the pursuit of Happiness” because I believe it actually sends an easily misinterpreted message.

Hedda Gabler is portrayed as an extremely strong-willed woman. During the times in which this play is set, numerous women’s rights and suffrage movements were occurring across the world. It can be inferred that Hedda’s assertive attitude is characteristic of the time period. To Hedda, it is preposterous that she would have to be under the power of a man. When Judge Brock implies that he will disavow all knowledge of the source of the gun that killed Lövborg if Hedda becomes “subject to [his] will and demands” (Ibsen 262). She states, “No longer free! No! That’s a thought that I’ll never endure!” (Ibsen 262). At this time women across the world were adopting new ideas on their place in society. The atmosphere of the era provides an explanation of the source of Hedda’s manipulations.

Brave New World, acknowledges government control which results in the failure of a society. It is a world created where everything is under control, being observed, and synthetic. The society was manufactured in a test tube therefore, it was factory made. The people were born and developed in the test tubes, so their human nature became adapted so an individual cannot identify or approach it. Every little detail of a person's life is prearranged. These people's lives revolve around their community, their existence, and security; never their individual happiness. They are basically living for their society as a whole. This society was designed to be successful but it failed to give people their individuality. The individuals sacrificed

Some of the most common themes in contemporary biographical films revolve around social life as well as the accompanying problems that living in today's society entails. By making connections to individual personal lives, these films help most people make sense of the world in which they live. In this regard, this paper focuses on the film, The Pursuit of Happyness outlining various cultural issues as well as problems faced by the starring; Will Smith playing Chris Gardner in the movie. Moreover, the paper discusses how such factual films reflect and create popular ideas about social problems.

For our Economics subject, we watched The Pursuit of Happyness, a movie based on Chris Gardner, a salesman who was not making that much money and eventually experiences homelessness with his five-year old son. He faces problems when his wife is unwilling to accept his goal to become a stockbroker and leaves him. However, he perseveres even under all this stress.

The judicious actions foreshadow disaster. Having no control over their relationship, she maximizes this opportunity of diverting his life. Although she is conservative, she also tries pushing the boundaries by continually being discontented, as opposed to what is expected of women during that era, and thus she is a victim of society. Her curiosity towards the outside world is a result of her being trapped indoors and explains her jealousy towards Lövborg, Thea or anybody who has freedom. Hedda withholds and controls her emotions; nonetheless this gives the audience an impression that she is mysterious and secretive.

What is being happy actually like? With the money, school, work, friends, family, etc. issues, how is it possible to become fully happy if there is always something that could be interfering with it? We live in America that promises us to to be all equal and can experience the “life, liberty, and the Pursuit of Happiness.” But every news show that’s turned on, we hear about a 13 year old “entertaining” child who’s trending on every social media network about her disrespecting her mother more often than the issue on two American adults making terrorist threats and waving a confederate flag at a black child’s birthday party. We Americans get the free education until we graduate to find out that we actually don’t know what

With no focus on Hedda’s mother we can imagine that the general did little to prepare his daughter for wifehood or motherhood. Hedda inherited his pride, coldness, and an authoritative attitude toward others of a lower rank. She lacks compassion for weak and submissive characters like Thea and Aunt Julia but has admiration for power and freedom, qualities she finds in Brack and Lövborg. Even after marrying Tesman, she keeps her father’s portrait and guns, which signifies her desire for masculine control as well as her personal form of mourning of the power she has lost by marrying Tesman. This perverse behavior can be attributed greatly to the era in which Hedda lives, because her choices are highly influenced by the male dominated society.

Hedda arouses sympathy from the readers through her own personal conflicts. She is a woman trapped by herself in a loveless marriage to an “ingenuous creature” (52 Ibsen) named George Tesman. Tesman is a simple soul with very little to offer. Not only is he an entire social class below Hedda, but he is oblivious, insecure due to his own banalities, and overly reliant on his Aunts’, despite being thirty-three-years-old. Hedda married George due to a “bond of sympathy. . .” (31 Ibsen) formed between them and she “took pity. . .” (31 Ibsen) on George. This brings a sense of sincerity to Hedda that was not turned to such a high magnitude preceding this discussion between Judge Brack and herself. Hedda is a lonely, yet independent, soul that wants sexual freedom without

The photo of General Gabler dominates the set of the play like he dominated Hedda’s life. The relationship Hedda had with her father became the reason Hedda thought herself to be high class and everyone else existed below her. Even though General Gabler raised Hedda to be polished and well mannered, he also taught Hedda to be strong and authoritative in order to survive the strict rules of an aristocratic Norwegian society. Hedda learned her father’s arrogant military attitude and manipulated people she found weak, like Mrs. Elvsted for instance. Hedda specifically lured Mrs. Elvsted to visit longer by telling her, “come here, let’s sit down together” (792). Hedda faked being kind making it seem that Mrs. Elvsted could trust her by saying she wanted to “have a real heart-to-heart talk” (792). Even though Hedda manipulated people for the fun of it, she did however admire those who had power and entitlement like Judge Brack. Hedda’s interest in Judge Brack stemmed from his dark complexion, thick facial hair, and elegant clothing that mimicked the “aristocratic profile” of her father. Hedda Gabler became lonely, bored and distressed after becoming Hedda Tesman. She found herself torn with the decision to leave the high-class aristocratic lifestyle behind for her new found desire to escape the unfamiliar middle-class life that she settled with the day Hedda married

Ibsen uses the relationship and conflict between Hedda and Brack to illustrate Hedda’s struggle to assert her free will and power in a male-dominated society. The two characters are united as social equals who are members of the aristocracy as

Hedda has been interpreted as an “unreal, as a defective woman, as vicious and manipulative in nature, as a failed New Woman, or as a woman who is afraid of sex” (Björklund 1). She also could be seen as a woman who is afraid of sex or her own sexuality because homosexuality wasn’t accepted like it is today. According to Björklund, “Hedda’s masculinity defeats the dysfunctional masculinities of Tesman and Lovborg, but, in the bathe with Brack’s hegemonic masculinity, Hedda’s female masculinity becomes absorbed into the dominant structures. Hedda desires masculinity as represented by Brack—power and control—but, in the end, that masculinity is what kills her; she shoots herself with one of her father’s pistols, and her masculinity is absorbed into the patriarchy. Hedda’s masculinity is rejected, but what it represents—power and control—is mirrored by Brack, whose masculinity is reconstructed: he is the one cock of the walk” (Björklund

Hedda Gabler is a text in which jealousy and envy drive a woman to manipulate and attempt to control everyone in her life. The protagonist, Hedda, shows her jealousy in her interactions with the other characters in the play, particularly with Eilert Loveborg and Thea Elvsted. Because Hedda is unable to get what she wants out of life because of her gender and during the time of the play, her age, she resorts to bringing everyone else down around her. Hedda lets her jealousy get the best of her and because of this she hurts many of the people around her as well as ultimately hurting herself.