Early signs of Alvy’s difficulties with the opposite sex were also present in the sequence’s classroom scene. During this, adult Alvy narrates about how he had already discovered women through the classroom environment. His thoughts about this are, again, expressed retrospectively as a voiceover and flashback. Younger Alvy is shown leaning over and kissing a girl in the classroom, and his teacher scorns him for this action. The teacher tells him, “You should be ashamed of yourself.” While young Alvy is disappointed about the negative consequences, the film employs the technique of physically intercutting present-day Alvy into the scene. Whereas younger Alvy did not directly defend his actions, adult Alvy does. Adult Alvy declares to the teacher, …show more content…
The female child expresses her aggravation with young Alvy over his actions. In her argument, she references Freud, explaining how even he spoke of a latency period. This suggests that she believes that Alvy’s actions were premature and that he should, too, experience a latency period, especially if Freud did. Her mention also plays into how the film emphasizes the importance of psychoanalysis, Freud, and the unconscious. As Freud’s psychoanalytic discoveries often pertained to human behavior and sexuality, Freud’s influence is made known and aligns with the troubles Alvy finds in relationships. These are clearly exemplified throughout the opening sequence, as a myriad of Freud references are made. Freudian concepts are woven in as tools that provide Alvy insight into sexuality, starting from a young age and spanning into present-day. Even in the opening monologue, Alvy references Freud, but in relation to comedy and the unconscious. In it, he tells a joke that derives from Freud’s Wit and Its Relation to the Unconscious. As well, Alvy’s reflections on the unconscious and the repressed mirror his efforts to figure out why he and Annie broke-up. He is trying to figure out where that screw-up occurred, as he introspectively sifts through old memories. Therefore, Freud acts as a referral point for both Alvy’s comedy and his sexual relations. The two define Alvy’s job and his personality, as his career choice and his relationship struggles
Alyss concludes, “This marriage would please her mother, for her family’s sake” (Beddor 171). Alyss acts as a people pleaser when she accepts Leopold’s proposal. She doesn’t love Leopold, but accepts his proposal only to make her mother happy. Alyss has decided to no longer stand out and become like “every women” (Beddor 191). Alyss desires to conform and submit to ideas of society. She becomes normal and no longer stands out like odd Alyss. Mrs. Liddell exclaims “ The dress she had purchased months before, but which Alyss had always refused to wear it because she feared it would make her look normal”, Alyss now wears it ( Beddor 151). Alyss starts to dress like everyone in England. She no longer looks like a former Wonderlander, but becomes by all appearances a proper young
When she enters London, she changes into her own person who makes her own decisions. Alyss says, “Yes, it was a solution: Give up her so-called ridiculous, fantastical delusions and enter wholeheartedly into the world around her. Become just like everyone else.” (Beddor 89) Alyss was first being thought of as a crazy person with a story that no one believed. Then, she finally gave in to the people around her and agrees with them. She thinks that being like “everyone else” is the solution to her problem. When Alyss sees Dodge for the first time in 13 years, she thinks, “It couldn’t have been him. The man with the scars. It couldn’t have. He didn’t exist.” (Beddor 116) Since Alyss had become free from her fantasy world, she was overwhelmed when she first saw Dodge. Even though she had forgotten her past life, the memory of Dodge was still there. Her mixed emotions and memories of Dodge caused internal conflict within Alyss: “And as she torpedoed up toward the surface, having worked impossibly hard to convince herself that the place about to be seen by her disbelieving eyes didn’t exist, she said the man’s name- Dodge Anders- and water filled her lungs.” (Beddor 120) Alyss tried convincing herself Wonderland did not exist, as she went through the Pool of Tears, but she knew it was real. The only reason she let go of Wonderland is because she wanted to fit in with her other world.
She uses her attractiveness to flirt with boys at the local restaurant behind their backs as a form of rebellion. She feels as though her family does not appreciate her; her father does not pay any attention to her and her mother constantly compares her to her sister, criticizing her every move and asking why she cares so much about her appearance. On one of her outings, she sees a boy who she vainly chooses to ignore. Later he shows up at her house posing as her friend, calling himself Arnold Friend, and talking to her as though he is another boy she flirts with down at the diner and pretending to be her age. She subtly flirts with him at first, only realizing the danger when it is too late.
When Alyss was a young girl in the novel she was characterized as maturing, rebellious, and mischievous because of the things she liked to do. She was described as maturing because of something that happened to her when she came to this dimension. By being in the real world she matured by learning the “...struggle against hardship, unfairness, corruption, abuse, and adversity in all it’s guise.”(Beddor 102) By living as a homeless orphan with a small group of kids. Along with learning that she would soon learn that “...even to survive-let alone survive with dignity-is heroic.”(Beddor 102) She will learn this by giving into peer pressure because people were
In the beginning of the novel, Alyss is characterized as bratty, imaginative, and a little too playful. She said to Bibwit Harte, “I won’t need any lessons” (Beddor 25). She thinks she is too smart for Bibwit and already knows everything. Alyss
Alyss meets an orphan named Quigly Gaffer, who is, in Alyss’s eye, “the nicest in the band of homeless orphans and runaways of which he was a part” (Beddor 101). He gave Alyss and t...
Algernon is a super genius. He can complete difficult tests and also happens to be a mouse. Algernon’s character develops in three stages. His peak in intelligence after an experimental operation defines him in the beginning. Later, Algernon is frustrated when this new intelligence begins to wear off. His brain continues to regress to a level even lower than it was prior to the operation, ultimately ending in his death. These stages are not only important for the character development of Algernon but for Charlie’s too.
Prayer for Owen Meany by John Irving is one of the many novels that can be analysed through a Jungian archetypal lens to show how the unconscious projection of archetypal images affects how a person views others people's actions and their behaviours. In this novel the narrator John Wheelwright projects different archetypes onto different people dependant on their role in his life. This shows us how the novel A Prayer for Owen Meany by John Irving is not objective because as a reader, you see all events and characters though John’s eyes. Everything that you read is tainted by the archetypal images John’s unconscious self which are being projected onto different characters and situations. This leads the reader to the question of how does one know that the story of Owen Meany is true, and that all the characters are portrayed truthfully.
Despite the fact that the psychoanalytic approach is the most controversial interpretation of literature, it proves to be utterly intriguing. In stories such as this, the sexual undertones are clearly evident, and thus substantiate the intricacies behind the approach. Perhaps it is a bit untraditional. However, this investigation remains both thought provoking and brilliantly compelling.
Rolph is introduced as an innocent young boy early on in the story. He “doesn’t speak up all that often” (1) and is “too young to notice” (1) the extremely sexual relationship between Mindy and Lou. The generalization Mindy brings forward for Rolph is “structural affection” (5) in which Rolph “will embrace and accept his father’s new girlfriend because he hasn’t yet learned to separate his father’s loves and desires from his own” (8). Rolph’s fragile depiction foreshadows the importance of nurturing vulnerable children. If a child is already susceptible to emotional confusion or damage in their youth, it is important to provide them with an extremely positive upbringing to give them confidence to make their own decisions as they mature. In the case of Rolph, however, he does not receive the support he needs to make a healthy transition from childhood to
The professors who composed Psychological Science explain that, “For [Sigmund] Freud, the powerful forces that drive behavior were often in conflict. A key aspect of his thinking was that we are typically unaware of those forces or their conflicts” (Gazzinga et al. 570). To Freud, conflicts in the mind consisted of the never ending battle between the ego, id, and superego. The “id” is the mechanism that drives humans to seek pleasure and avoid pain. The superego is a person’s conscience and morality principle. The “ego” is the mediator between the superego and id. In fact, Freud developed a theory based on analyzing these unconscious struggles which he called the psychoanalytic, sometimes psychodynamic, theory. He recorded peoples’ words and actions to describe their unconscious desires, wishes, fears, and hidden memories. The psychoanalytic theory was later translated into literature as a kind of criticism. This criticism can be applied to any type of literature including dramas. The drama “Naked Lunch” by Michael Hollinger is a good representative of the dramas in which the reader can perceive the unconscious conflicts between the characters through the use of dialogue and non-verbal cues. The reader senses the desires, fears, thoughts, and underlying mechanisms at work behind the conversation and in turn is able to come to a greater understanding of how a person’s word and non-verbal actions describe the person’s subconscious mind.
iv[iv] As quoted by in a lecture on Sigmund Freud, available at http://www.bham.ac.uk/english/bibliography/CurrentCourses/Freud/FreudLecture.html, 12 December 2001.
The aim of this essay is to clarify the basic principles of Freud’s theories and to raise the main issues.
holds an interesting bearing on Alex. Alex's love is for his snake. Generally Love is defined by an understanding, or closeness between two items. The snake is represented by many things in the natural world today. & nbsp; Freud's analysis of the male closeness to the snake is that the person involved is questioning his sexuality, or his love towards the female gender. Alex keeps coming back to his snake after his nights on the town, and his first.
Kuttner, Aldred Booth. “Sons and Lovers’: A Freudian Appreciation.” The Psychoanalytic Review. 3 (1916): 295-317. Rpt. In TCLC, Ed. Dennis Poupard. Vol. 16. Detroit: Gale, 1985. 277-282.