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How did emotions impact the characters in romeo and juliet
The concept of emotions in literature william shakespeare
How did emotions impact the characters in romeo and juliet
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Oleanna, a play by David Mamet, depicts a struggle between a student, Carol, who cannot understand the material and her somewhat smug professor, John, who seems preoccupied with the things going on in his life at the time. In Mamet’s play, power shifts as the plot advances, as although John starts with his power as a teacher, Carol tears it from his hands by putting his job at risk; however, there also exists another, quick shift of power through John’s display of violence at the end of the play. Act one shows John speaking to Carol in an almost parental tone, exercising his power through speech, and takes it upon himself to attempt to help Carol in his own way. However, due to certain physical actions taken in act one, power shifts to Carol as she accuses him of sexism, sexual harassment and, eventually, rape. Through the course of the second and third acts, power seems to lie solely with Carol, who makes many of the same mistakes with that power that John does due to her own hunger for power. Empowered by her newly found political standing through her “group,” Carol deems it necessary to push John unnecessarily until an eventual breaking point. This leads to the final shift in power, where although John has shown power over Carol through physical means, Carol believes this to only prove her point. This makes power lie, at least in her eyes, with Carol, even in such a brutal situation.
In the beginning of the play, Carol is merely a struggling student coming to the teacher due to her lack of understanding of the material presented in the class; thus, the balance of power starts out stacked in his favor due to his position as the teacher. It is not difficult to see the manner in which John speaks to Carol, taking a paternal tone ...
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...atching the play, Ryan words are a perfect description for the ending, as there is no clear state of power or right and wrong in this conclusion, just a violent struggle for power between two power-hungry human beings.
Works Cited
Mamet, David. "Oleanna." Exploring Literature, Writing and Arguing About Fiction, Poetry, Drama, and the Essay. Frank Madden. 5th Edition. New York: Pearson, 2012. 1184-1212. Print.
Robert, Tressell. "The Savage Struggle for Power David Mamet's Taut 'Oleanna' Expertly
Captures Raw Human Emotion." The Kansas City Star 15 Nov. 1992: NewsBank –
Archives. Web. 21 Nov. 2013.
Rousuck, J, Wynn. "Mamet Confronts Sex and Power in 'Oleanna'." The Baltimore Sun.
Baltimore Sun, 27 Apr 1993. Web. 18 Nov 2013.
Ryan, Steven. "Oleanna: David Mamet's Power Play." Modern Drama 39.3 (1996): 392-403.
MLA International Bibliography. Web. 20 Nov. 2013.
the play. It looks at the person he is and the person he becomes. It
"Unit 2: Reading & Writing About Short Fiction." ENGL200: Composition and Literature. New York: McGraw-Hill, 2011. 49-219. Web. 19 Apr. 2014.
Baym, Nina, and Robert S. Levine. The Norton Anthology of American Literature. 7th ed. New York: W. W. Norton & Company, 2007. 348-350. Print.
Norton Anthology of American Literature. Ed. Nina Baym. 8th ed. Vol A. New York: W.
The pointedness of the play is created through a distinct plot path. The observer is lead through the story, seeing first how greatly Amanda Wingfield influences her children. Secondly, the play-goer notes how Tom Wingfield desperately struggles and writhes emotionally in his role of provider- he wants more than just to be at home, taking care of his all-too-reminiscent mother and emotionally stunted sister. Tom wants to get out from under his mother’s wing; his distinct ambitions prevent him from being comfortable with his station in life. Lastly, Laura struggles inside herself; doing battle against her shyness, Laura begins to unfurl a bit with Jim, but collapses once again after Jim announces his engagement and leaves her, again. Each character struggles and thrashes against their places in life, but none of them achieve true freedom. This plot attests to the fact that true change and freedom can only come through the saving power of God Almighty and Jesus Christ, and by letting go of the past.
Marshall, Donald G. "American literature." World Book Advanced. World Book, 2013. Web. 18 Nov. 2013.
Charters, Ann & Samuel. Literature and its Writers. 6th ed. Boston: Bedford/St. Martins, 2013. 137-147. Print.
What is Oleanna ? Is it a perfect world, or is it a world… The play
Kennedy, X. J., and Dana Gioia. Literature: an Introduction to Fiction, Poetry, Drama, and Writing. New York: Pearson Longman, 2007. Print.
...ssion and intrusiveness. John’s lack of having an open mind to his wife’s thoughts and opinions and his constant childish like treatment of his wife somehow emphasizes this point, although, this may not have been his intention. The narrator felt strongly that her thoughts and feelings were being disregarded and ignored as stated by the narrator “John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him” (Gilman 115), and she shows her despise of her husband giving extra care to what he considers more important cases over his wife’s case with a sarcastic notion “I am glad my case is not serious!” (Gilman 115). It is very doubtful that John is the villain of the story, his good intentions towards doing everything practical and possible to help his wife gain her strength and wellbeing is clear throughout the story.
Tan, Amy. “Two Kinds.” Exploring Literature: Writing and Arguing About Fiction, Poetry, Drama and The Essay.4th e. Ed. Frank Madden. New York: Pearson Longman, 2009. 253-261. Print.
As the story begins, the narrator's compliance with her role as a submissive woman is easily seen. She states, "John laughs at me, but one expects that in marriage" (Gilman 577). These words clearly illustrate the male's position of power in a marriage t...
The narrator’s name is unknown through out the story, yet at the beginning the reader is given her husbands’ name (John), and the narrator’s identity through the novella is as John’s wife, who is dominated by John in their relationship. This effect created by Gillman masterfully establishes the lack of a female determined identity. He diagnoses her, and with the exception of her being tired and wanting to write, John continues to establish that her health is unwell. John is the dominant personality in the marriage he does not see her as an equal in their relationship. This is a wonderful tone and mood used to reflect the cultural norm at the time of Gillman's writing. She is not viewed as an equal, she is treated like and often referred to as being a child. When she decides that she likes a downstairs bedroom next to the nursery, John insists on her having the bedroom upstairs with the yellow wallpaper. The narrator/wife hates the color of the room and describes the color as “repellent, almost revolting” (432) When she asks for her husband to change the color, he decides to not give in to her wants, and the reader is informed that John, who knows best, does this for her benefit. It is reflective of a parent not wanting to give into their child's whims for fear the child will become spoiled and will expect to get everything they ask for. Though her husband belittles her, she still praises everything he does and sees everything he is doing for...
Poetry, Drama, and the Essay. Ed. Joseph Terry. New York: Addison-Wesley Educational Publishers Inc, 2001. 123-154.
Kennedy, X. J., and Dana Gioia. Literature: an Introduction to Fiction, Poetry, Drama, and Writing. New York: Pearson Longman, 2007. Print.