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Gender roles theory in literature
Gender Roles in Literature
Gender roles theory in literature
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“I cannot think of any need in childhood as strong as the need for a father's protection,” (Sigmund Freud). Edmund Hooper, at the age of ten, is already treated by his father like an adult. He does not care for him like other fathers do. He does not talk with him like others have conversations with their sons. He does not play with him, laugh with him and most importantly love him. Mirroring what Sigmund Freud so rightly says, Hooper, not being properly loved or looked after for by his own father, not having a mother anymore, does not receive all the needed attention. He cannot become a man, himself, capable of loving in return if that is something he has never experienced. In ‘I’m the King of the Castle’, Susan Hill shows the cruelty of children despite parental belief that hatred at such young ages is impossible, yet she explains this behaviour by unhealthy and disorderly pasts because of foolish, ignorant parents. When the reader first encounters Hooper in the novel, a certain sense of pity can be felt for him as they find out about, not only the death of both his grandparents, but also of his mother, six years previously. These hardships that this boy went through permit the reader to understand, at some points in the novel, his desire for isolation and, to a certain extent, his behaviour. Indeed, far into the novel, a moment of empathy can be felt inwards Hooper as he screams for his mother in the darkness of Hang Wood. Despite his cold and cruel behaviour, we find out that underneath a thick layer of spitefulness, there may actually be a little boy in need of love. However, at the beginning when Mr Hooper communicates his intention of inviting a young companion for his son, when he seems to think that he is lonely, Hoop... ... middle of paper ... ...evolent and barbaric deeds. This suggests that the parents may actually be worse people than Hooper himself as they are the source of his misdeeds. Yet, a feeling of Hooper’s insecurity is communicated to the reader by the relentlessness of his transgressions which may cause them, upon consideration, to pity this boy who feels compelled to watch a stranger who has invaded his space. Upon reflection, despite Hooper’s wicked behaviour, he is not completely evil. Hooper has some evil aspects about him like his torturing Kingshaw relentlessly, but it appears to be a shield behind which he can hide and avoid emotional pain. Additionally, Hooper cannot be entirely evil, because, deep down in his heart, the reader can see he appears to be aching about his mother’s death. Most importantly, no bully can ever be entirely evil, just as no person can ever be completely good.
The dependency on their mothers can negatively impact their relationship with their fathers. In many cases, the father is no longer part of the family unit, putting the young man in the role of the ‘man of the house’. This in itself has a whole new set of problems. Their mothers teach them to be kind and helpful; yet as young as Kindergarten they are taught to avoid their mothers’ ideas and emulate their fathers’. Why? A mother’s ‘negative influence’ can make them compliant and possibly question manhood. Kimmel states, “Boys learn that their connection to their mother will emasculate them, turn them into Mama’s Boys” (547). No male wants to be perceived as soft or emotional, they want to be tough and brave, perhaps even feared. If they hang around their mothers, they possess the idea they will develop into babies and do “woman” stuff. Kimmel shares a story of a mother saying that her husband took their three and a half-year-old son to a barber shop to get his hair cut. The barber used hot and painful chemicals in his hair, when the boy began to cry the barber called him a wimp and informed the father that his son had been hanging around his mama too much and that needed to change. The father went home upset and announced to his wife that the boy would be doing sports and other activities with him. Boys learn at an early age that involvement
Creating “worlds of their own, with particular kinds of boundaries separating them from the larger world”, families ideally provide encouragement and protection for each of their members (Handel, xxiv). In J.K. Rowling’s Harry Potter and the Prisoner of Azkaban, however, the Dursleys and Aunt Marge fail to fulfill their roles as Harry’s primary caregivers. In Russell Hoban’s The Mouse and His Child, the father mouse is unable to give his child all that he needs and longs for. In these two children’s stories, the expectation that families will provide physical support, emotional support, and encouragement for their children is not met.
If Roderick Usher and Mr. Hooper have anything in common it is that they both share the burden of hidden sin. Both Poe and Hawthorne use gothic elements to emphasize the human mind that is put through anxiety and depression because of their guilty conscience. Through body language and social interactions the reader becomes aware of the internal conflict that is going on inside a mind that is hiding a secret sin. It is apparent that the authors wanted the audience to put secret sins in perspective by examining an individual in society that has a secret sin.
Hooper was an all-round good minister, the type people looked up to and “had a reputation of a good preacher, but not an energetic one: he strove to win his people heavenward by mild, persuasive influences rather than thither by the thunders of the Word” (Monteiro 2). The morning he decided to wear the veil, the towns people believed there was a change in his behavior. “But there was something…it was tinged, rather more darkly than usual, with the gentle gloom of Mr. Hooper’s temperament” (Monteiro 2). His fiancé leaves the engagement, leaving him to become emotionally and physically insane. At the end of the story, he is on his death bed where he reveals the veils
Firstly, one’s identity is largely influenced by the dynamics of one’s relationship with their father throughout their childhood. These dynamics are often established through the various experiences that one shares with a father while growing up. In The Glass Castle and The Kite Runner, Jeannette and Amir have very different relationships with their fathers as children. However the experiences they share with these men undou...
The story “The Minister’s Black Veil” is symbolic of the hidden sins that we hide and separate ourselves from the ones we love most. In wearing the veil Hooper presents the isolation that everybody experiences when they are chained down by their own sins. He has realized that everybody symbolically can be found in the shadow of their own veil. By Hooper wearing this shroud across his face is only showing the dark side of people and the truth of human existence and nature.
Through vivid yet subtle symbols, the author weaves a complex web with which to showcase the narrator's oppressive upbringing. Two literary
The role of a father could be a difficult task when raising a son. The ideal relationship between father and son perhaps may be; the father sets the rules and the son obeys them respectfully. However it is quite difficult to balance a healthy relationship between father and son, because of what a father expects from his son. For instance in the narratives, “Death of a Salesman,” and “Fences” both Willy and Troy are fathers who have a difficult time in earning respect from their sons, and being a role model for them. Between, “Death of a Salesman,” and “Fences,” both protagonists, Willy and Troy both depict the role of a father in distinctive ways; however, in their struggle, Willy is the more sympathetic of the two.
A father ultimate role is to maintain structure in his household. However, in the One Hundred Years of Solitude the role of patriarchy has reverse int...
Hooper’s black veil also creates separation between him and happiness. “All through life that piece of crape had hung between him and the world: it had separated him from cheerful brotherhood and woman’s love, and kept him in that saddest of all prisons his own heart; and still it lay upon his face, as if to deepen the gloom of his darksome chamber, and shade him from the sunshine of eternity” (Hawthorne 417). He can never receive sympathy or have conversations with people because they are always perplexed by the veil. Children in the town run from him because of his appearance. Even his wife, Elizabeth, leaves him because she does not understand the meaning of the black veil and she cannot bear to look at it for the rest of her life. The separation that the veil causes between Mr. Hooper and happiness symbolizes how sin can easily separate people from good things in life. Just like the black veil, some sins can even destroy relationships or a person’s dreams. Sin can overall control an individual’s happiness like the veil did to Mr.
From the beginning of the story, Mr. Hooper comes out wearing a black veil, which represents sins that he cannot tell to anyone. Swathed about his forehead, and hanging down over his face, Mr. Hooper has on a black veil. Elizabeth urged, “Beloved and respected as you are, there may be whispers that you hid your face under the consciousness of secret sin” (Hawthorne 269). His fiancé says that in the black veil there may be has a consciousness of secret sin. Also, he is a parson in Milford meeting-house and a gentlemanly person, so without the veil, Hooper would be a just typical minister, “guilty of the typical sins of every human, but holier than most” (Boone par.7). He would be a typical minister who is guilty of the typical sins of every human without the black veil. Also, Boone said, “If he confesses his sin, the community can occur” (Boone par.16). If he confesses his sin about the black veil, all of the neighbors will hate him. Last, he said, “so, the veil is a saying: it is constantly signifying, constantly speaking to the people of the possibility of Hooper’s sin” (Boone par.11). Mr. Hooper’s veil says that he is trying to not tell the sins about the black veil. In conclusion, every people have sins that cannot tell to anyone like Mr. Hooper.
The fictional life and death of a twelve year old little boy named Robert is vividly articulated in this moving tale by Thomas Wolfe. The reader learns of the boy’s life through four well developed points of view. The reader’s first glimpse into Robert’s character is expressed through a third person narrative. This section takes place on a particularly important afternoon in the boy’s life. The second and third views are memories of the child, through the eyes of his mother and sister. His mother paints the picture of an extraordinary child whom she loved dearly and his sister illustrates the love that the boy had for others. Finally, an account from the narrator is given in the ending. It is in the last section of this work that the narrator attempts to regain his own memories of his lost brother.
The narrator wrestles with conflicting feelings of responsibility to the old man and feelings of ridding his life of the man's "Evil Eye" (34). Although afflicted with overriding fear and derangement, the narrator still acts with quasi-allegiance toward the old man; however, his kindness may stem more from protecting himself from suspicion of watching the old man every night than from genuine compassion for the old man.
There is no one to provide support for Billy –the only person who does is Mr Farthing. Billy loves Kes and she becomes part of his family. It is doubly cruel that Kes is killed by Jud, who should know how much the bird meant to Billy. Family life then is not always happy, but it’s possible to survive, yet it affects people’s behaviour and attitudes.
The tragedy King Lear by William Shakespeare ought to be seen as a lesson on what not to do as a parent. By picking favorites, King Lear and the Earl of Gloucester leave a lasting impact on their children 's psyche, ultimately leading to them committing horrible crimes. The rash judgments, violent reactions, and blindness of both Lear and Gloucester lead to both their and their children 's demise. As a result, all of the father-child relationships in the play begin to collapse.