The Heart is in the Wrong Place Stella Cross is an interesting character in the Novel Alive. She displays several qualities which make her interesting. Stella is eager we witness this when she is about to go back to school after her long wait for her heart transplant. She is also insecure we witness this trait when she refers to her little sister as her replacement and when she talks about how she isn’t the most attractive. Lastly, Stella is curious we witness this when she decides to go after a boy who “literally” makes her heart jump out at him, but later comes to find out that he is the boy who died to give her, her heart and later he tries to kill her. Stella is eager. In the Novel we see this when Stella is at home
Of the three characters in The Shawl, Stella is a flat character. She is only part of the story to allow the author to get to the climax. The climax comes when Stella becomes cold, and takes the shawl for warmth. Again, the author uses symbolism, Stella is cold or cruel. Magda is the most dynamic character. She is presented to us first as a quite baby, who is hungry and does not cry. Magda simply sucks on the shawl. When her shawl is taken, she cries and walks wobbly into the yard.
When Answering the question whether Sally Bowles fails as a femme fatale and becomes a striking figure of a woman of the 1970s feminist, this concurs a question that we must intern first, who is Sally Bowles?
Charlie Gordon is the main character in "Flowers for Algernon." He under goes an operation to enhance his level of intelligence preformed by two doctors, Dr. Nemur and Dr. Strauss. Since Charlie has an IQ that is below average and is the first patient to agree to commit to this surgery, his side affects could include loss of memory, unable to complete certain tasks, poor grammar and spelling, and even fatality. Charlie wants to proceed with the operation since he believes that he should as intelligent as normal human beings and he is sick of others making fun of him because of his disabilities. The experimental surgery that Charlie underwent to triple his intelligence had three major effects on his life.
Within Tennessee Williams's story about love and abuse within marriage and challenging familial ties, there lie three very different characters that all see the world in vastly different ways. These members of a family that operate completely outside of our generation’s norms, are constantly unsure of themselves and their station within the binary not only of their familial unit, but within the gender binary that is established for them to follow. Throughout the story of the strange family, each character goes through a different arch that changes them irrevocably whether it is able to be perceived or not by those around them. The only male, Stanley is initially the macho force in the home who controls everything without question. He has no consequences for his actions against his wife and is never held accountable for treating the people around him poorly; this lasts until Blanche arrives. Blanche is an outwardly demure, but spirited young woman who after experiencing untold misfortune breaks mentally and decides to no longer care what others may think of her. She lives her life lavishly and foolishly by having dalliances with younger or richer men who shower her with gifts and attention to get sex from her all too willing form. Her effect on Stanley is one of temptation and challenge; she continually tries to convince her sister that she is too good for the man and in turn fosters a resentment for her in him. Stella acts as the antithesis of Stanley and Blanche’s extreme personalities. She is innocence and purity where they are the darkness that threatens to overtake her life. Throughout, Stella is a pawn that they both try to use against the other to no real avail as she is determined to make the best choice for herself. In th...
The young and beautiful Stella Kowalski-DuBois is carefree and overall a happy woman. But sometimes, things get in the way of her happiness, whether it be her husband, Stanley, going on about how he dislikes her sister, Blanche, or Stanley continuously putting his hands on Stella. The question here is, why does Stella stay with such a manipulative man? Is it Stanley who won't let Stella leave? Or is it Stella who doesn't make an attempt to leave? By Stella constantly forgiving Stanley for hitting her and not attempting to leave, she is allowing Stanley to believe she'll take him back no matter what, making it harder every time for her to escape. Stella is ultimately responsible for the abusive and unstable relationship.
I'll admit this now. I absolutely adore Kristen Stewart. I think she's one of the most uniquely beautiful woman in the world, with so much more about her, then Twilight. I unfortunately hadn't been able to get a copy of Speak, I couldn't seem to be able to find it anywhere. Thanks to an online movie watching site, I managed to find this gem. I can honestly say, Speak is a film, that toyed with my emotions, like no other film has done in some time. This is very much like my high school was. Full of bullying, teasing, and people hurting others. And it made me feel ashamed of myself, because I actually teased a couple people, like a couple of the characters did here to Melinda. The concept of the story is very simple, yet done so effectively. The film weighs heavily on Kristen Stewart's shoulders, and for her age, that's a daring task, and thankfully she's fully up for it. Jessica Sharzer does an excellent job of developing Melinda. Making sure us as the viewers, go through the emotions with Melinda, and Jessica makes us want to jump into the T.V screen and comfort her, help protect her...
His recklessness is part of his appeal from Stella’s part. Although this type of relationship goes against her childhood, she is honest about her desires. "I 'm not in anything I want to get out of," Stella continually tells Blanche who formulates a fantasy of getting money from an old lover for them to escape. Stella understands compromise. She is realistic. She sees Stanley 's gambling, drinking, and violent outbursts as "his pleasure, like hers in movies and bridge". She believes that people "have got to accept each other 's habits". Cleaning up after Stanley 's violent spells is just a part of living with him. Unlike Blanche, she knows that life is no fairytale, negociations must be reached. Stella is proof of the statement that "there are things that happen between a man and a woman in the dark-that sort of make everything else seem-unimportant". She lives in a decrepit house, filled with smashed glass, part of the noisy part of town, and yet she is
Isn't it true the relationship between Stella and Stanley is praiseworthy, since it combines sexual attraction with compassion for the purpose of procreation? Isn't it true that as opposed to Stanley's normalcy in marriage, Blanche's dalliance in sexual perversion and overt efforts to break up Stanley and Stella's marriage is reprehensible? Isn't it true that Stella's faulty socialization resulting in signs of hysteria throughout the play meant that she probably would have ended her life in a mental hospital no matter whether the rape had occurred or not?
No one knows what or who to believe, because one minute a character is revealing the truth about someone else and the next minute he is telling a lie. Stella struggles the most with uncertainty because in the end, she makes an ultimatum for herself of either believing her sister or her husband. In the book Stella says, “I couldn’t believe her story and go on living with Stanley,” (Williams, 133). She tells Eunice this after Blanche tries to tell her about what Stanley did to her. The uncertainty Stella and the other characters have to live with often alters their decision making process because they need to rely on their gut rather than the rumor being
Leonardo’s resume consisted of all of his abilities that he thought would be useful the Duke of Milan, like inventing weapons of war, draw maps and sculpture. The subject matter of Kara Walker describes her work as being about past events in history, the unexpected, and “wanting to be the heroine and yet wanting to kill the the heroine at the same time.” She is trying to get people to see the different perspectives of slavery. She also lets the viewer interpret her work to fill in the tension of it. When Kara read Gone with The Wind she was surprised how much she would like a book that has such terrible things in it. She mentioned that it was rich, epic, romantic, and grotesque. The part of the book that Kara made into art is the part is part
Blanche’s developmental history or character development points to her diagnosis. Blanche comes to New Orleans to stay with her sister Stella after being fired from her job as a schoolteacher due to having an inappropriate affair with a teenage student. When she arrives to see her sister, she is consumed with insecurities regarding her appearance and is condescending to her sister’s humble lifestyle. Stella’s husband Stanley immediately has distrust and dislike for Blanche and treats her
Stella-Rondo brings out jealousy in Sister that causes tension between them. Sister hates that Stella-Rondo married Mr. Whitaker since Sister supposedly had him first. She feels like Stella-Rondo broke them up by lying. Most likely, Sister is upset because she was not the one to end up with the guy she liked, but she displays her feelings childishly. Sister’s snide comments towards her sister are the real reason that Stella-Rondo turns their family against her. Stella-Rondo’s lies about her daughter, Shirley T., increase Sister’s jealous feelings. Stella-Rondo claims that Shirley-T. is adopted, but Sister does not believe her. Sister wants her family to see through Stella-Rondo’s lies and realize that this two-year old child is not adopted. She points out that Shirley-T. is the “spitting image of Papa-Daddy” (359). Sister cannot stand that Stella-Rondo left Mr. Whitaker after only staying married to him for two years. The fact that “the first thing she did was separate! From Mr. Whitaker!” when Stella-Rondo got married and moved away infuriates Sister (359). Consequently, Sister makes sure her family knows that she had him first. In the heat of the moment at the end of the story, Sister starts saying that Mr. Whitaker left Stella-Rondo, not vice versa, which only builds up more tension.
She would be able to get sympathy with Stella, Stanley, and Mitch if she understood their condition as well. Stella’s condition is opposite from Blanche’s aristocratic lifestyle. She is living in poverty and is unable to provide for Blanche’s elaborate needs. “Streetcar quote” Blanche recognizes her current condition but fails to understand it and empathize, instead she Slanders Stella’s home and invades it “Some people rarely touches it, but it touches them often” If she was a decent guest and sister, she could seize the opportunity to help Stella in the home, perhaps by helping with the daily chores or by fixing it up to become more “homely”. By doing this she would then gain a sense of purpose, cleaning could possibly become a healthy coping mechanism, she would be doing something positive, and by helping around the home, she would gain a healthier, supportive, relationship with her sister and the homes other resident, Stanley. Being unable to empathize with Stanley was key for Blanche downfall; she invaded his home, degraded him in front of his friends and family, and tried to steal his wife from him. If Blanche was able to recognize the positive traits of Stanley, that he is passionate and loving towards his family, she would be able to ignore the “primal, animalistic” manner of Stanley. If she could empathize with his current
Laura Wingfield, a physically and emotionally crippled character, is also the lone character in the production that never does anything to upset someone else. Notwithstanding the encumbrance of her own complications, she exhibits an untainted kindness that stands in plain contrast to the arrogance and resentful sacrifices that characterize the Wingfield family. Laura also has the least amount of lines in the production, which in turn confirms her quality of selflessness. However, she is the axis around which the storyline changes, and the blatant symbols—blue roses, the glass unicorn, and her full glass menagerie—all in some degree characterize her. Laura, like the blue rose or the unicorn, is rare and unconventional, and her disposition is as tender as the glass figurine which she is known so prominently for throughout the production.
Elaine Showalter defines Ophelia in many typical ways in her essay "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism." She discusses her significance in reference to how she reveals Hamlet's characteristics. Showalter touches upon the idea that Ophelia's character is one that is symbolic of the psychiatric theories of Freud. Showalter also attributes the characterization of Ophelia to not only the audience, but also to the actress that plays the part. Never does she suggest that Ophelia could be just that, "Ophelia." Her entire article is devoted to individual interpretation of the play in its entirety, focusing primarily on Ophelia. Showalter presents her own ideas by bringing together the ideas of many others such as Jacques Lacan, Susan Mountfort, Ellen Terry, and more. Showalter provides suffice evidence in addressing each argument, but in doing so, she never takes into account the possibilities of Shakespeare's reasoning.