While there are not as many connections to that of The Phenomenology of Dance, Judith Butler’s work, Notes Toward a Performative Theory of Assembly, provides some connections to Life of a Leaf. In her book, Butler states that precarity “designates that politically induced condition in which certain populations suffer from failing social and economic networks of support more than others, and become differentially exposed to injury, violence, and death.”(33) In short, precarity if the vulnerability of an individual in a society. While the play was based on the life of a leaf, precarity can still play a role. In Life of a Leaf, in the phase with the bright yellows, oranges, and reds following the green phase, some leaves remained green. While this might not have be an obvious sign of precarity, the leaves that stayed green were not as vulnerable as those that had already changed colors. …show more content…
The green leaves could have been considered privileged in comparison to the other vulnerable leaves potentially because they were in a more ideal location, connected to a stronger branch, or protected from weather. All of these factors could contribute to longer lifespans. Butler also states that precarity affects a person’s quality of life. She says “whether or not I live a life that has value is not something that I can decide on my own, since it turns out that this life is and is not my own.” Although some of the leaves died sooner because of precarity, it does not mean their lives were any worse than those that stayed green longer. The length of a life does not correlate to the impact or color it brings to society. Eventually, all the leaves will turn brown and fall to the
Each woman in the Dead family is associated with their own wilted flower, which is significant because the flowers exist out of oppression and lack of affection. Before it is clear in the story that Macon and Ruth do not love each other, the flowers that Ruth interacts with beforehand serve as a precursor for the dead romance that is to come. Morrison notes the flower arrangement on Ruth’s dining table, which “once exposed, behaved as though it were itself a plant and flourished into a huge suede-gray flower that throbbed like fever.” The “suede-gray flower” is an artificial fabric flower associated with Ruth reveals that she is deprived of love. By following the life cycle of the “grey-suede flower,” the reader can understand the evolving position that Ruth has had in her home. When the flower was alive, her father was also with her, so she would communicate with her husband and dictate the matters of the household. When the flower was alive, Ruth and Macon were somewhat more in love. Macon was also kept quiet. As the flower weakens and dies, we see Ruth’s strength, independence, and love life dwindling and dying. Thus, it is clear that a
Literary devices are used by Sandra Cisneros throughout the vignette “The Monkey Garden”, to highlight the mood of the piece. For instance, Cisneros uses symbolism to encompass feelings of mysticality when she describes the Monkey Garden as a place the kids can go too “far from where our mothers could find us.”(95). The garden is symbolized as a haven, that can seemingly alleviate the characters problems. Cisneros also uses juxtaposition to further develop mystical emotions the in the audience. When the author compares two objects like “a dollar and a dead mouse.” (95), she is juxtaposing two inherently disconnected objects to emphasise the range of feelings in the garden. By using literary devices to establish the mood, Sandra Cisneros can
Upon the dancer’s departure, “the dancer, who though older was still languid and full of grace, reached out and tapped me with two fingers on the cheek, turned, and walked away” (185). Krauss uses this odd gesture by the dancer helps reinforce the strange quirks of the dancer and the author’s thought of the gesture containing “something condescending in it, even meant to humiliate” (185). The use of the words, “languid and full of grace” continues to strengthen the narrator’s fascination in the dancers beauty but also how the narrator feels uncomfortable with her interactions with the dancer. After the narrator’s encounter with the dancer, she walks by a crowded park “until a cry rang out, pained and terrified, an agonizing child’s cry that tore into[her] as if it were an appeal to [her] alone” (186). The author’s use of the painful and terrifying cry reintroduces the theme of a screaming child from the first passage which reinforces the author’s incapability to manager her guilt. The use of the word “agonizing” in this context suggests the overwhelming amount of guilt the author contains but in form as a youthful shrilling scream. Towards the end of the short story, the agonizing
The play, These Shining Lives by Melanie Marnich can be summed up just as the main character, Catherine entails. It is “not a fairy tale, though it starts like one, and it is not a tragedy, though it ends like one” (Scene 1, p. 9). Truly, this is an accurate depiction of what the author intended to convey to her audience. It is remarkable how the author was able to twist and spins the words to form the messages she desired. Be that as it may, not everything is splayed across the ink bound pages as precisely as the stars littering the night sky.
In this essay, I will hold that the strongest argument in defence of abortion was provided by Judith Jarvis Thompson. She argued that abortion is still morally permissible, regardless if one accepts the premise that the foetus is a person from the moment of conception. In what follows, I agree that abortion is permissible in the ‘extreme case’ whereby the woman’s life is threatened by the foetus. Furthermore, I agree that abortion is permissible to prevent future pain and suffering to the child. However, I do not agree that the ‘violinist’ analogy is reliable when attempting to defend abortion involving involuntary conception cases such as rape, whereby the foetus does not threaten the woman’s health. To achieve this, I will highlight the distinction
Literary devices are used by Sandra Cisneros throughout the vignette “The Monkey Garden”, to highlight the mood of the piece. For instance, Cisneros uses personification to encompass feelings of mysticality when she says things disappeared in the Garden, “as if the garden itself ate them.”(95) Personification was used by Cisneros to plant Esperanza’s humanlike description of the garden, while creating a sense of mystery and enchantment in the reader. Similarly, Cisneros describes how the tree Esperanza was near “wouldn’t mind if she lay down” (97). In this section, the tree is personified as a friend Esperanza can lay with. The fictional and humanlike style that the situation is described in further accentuates the mystical mood Cisneros is
One might think, based on the cultural importance of individualism in the United States, that a person can lead a successful life without any companions or loved ones. However, in The Bean Trees, author Barbara Kingsolver shows otherwise. Through the development of a flowering plant motif in this novel, the world is shown to be a place where people need others who love and care for them to live a fulfilling life. The motif of flowering plants develops meaning through the author’s continued use. Kingsolver introduces this motif in the chapter “The Miracle of Dog Doo Park” when the wisteria blossoms out of the seemingly hostile environment of the polluted, parched park. The word “miracle”
In this paper I will be arguing in favor of Judith Jarvis Thomson view point on abortion. I am defending the use abortion and only in the first trimester. I will consider Don Marquis objections of the practice but ultimately side with Thomson.
In the featured article, “Beside Oneself: On the Limits of Sexual Autonomy,” the author, Judith Butler, writes about her views on what it means to be considered human in society. Butler describes to us the importance of connecting with others helps us obtain the faculties to feel, and become intimate through our will to become vulnerable. Butler contends that with the power of vulnerability, the rolls pertaining to humanity, grief, and violence, are what allows us to be acknowledged as worthy.
Her poem, I tend a Beautiful Plant, goes through the life of a woman who is dying. Castro compares the life and death of the woman to a delicate flower. It seems as Castro is in the window of the woman’s life watching her as flower die of the lack of affection and companionship. I tend a beautiful plant that loves and seeks the shade like the orphaned soul that searches disheartened, lovesick, and alone (Castro 795). In this stanza the readers are introduced to the role that Castro plays in the life of the flower or the older lady who is nearing death, but yet still gives off a radiant beauty. But when a ray of sun caresses her leaves she languishes and withers and dies (Castro 796). As the one woman begins to find herself she finds that death has entered upon her life somewhat like a flower that finally receives sunlight after being in the shade for a prolonged
Whenever they felt grief, like the death of a loved one, these women would take a nail and drive it into the pain tree to get rid of their burden Larissa and other migrant workers used the pain tree as an outlet for pain and grief. The pain tree held the burdens of many migrant workers like Larissa and provided a steady outlet no matter what happened. When Lorraine was young, she could not make the nail go into the pain tree, which shows that at the time she did not feel the anger and burdens of women like Larissa. Lorraine’s inability to hit the nail into the pain tree marked the only time Lorraine felt uncomfortable with Larissa because of their cultural divide. The last time Lorraine visited the pain tree, she was able to hit the nail into the tree easily, which represents the anger and sadness she feels for Larissa and the pain Larissa had to
The theme of the play has to do with the way that life is an endless cycle. You're born, you have some happy times, you have some bad times, and then you die. As the years pass by, everything seems to change. But all in all there is little change. The sun always rises in the early morning, and sets in the evening. The seasons always rotate like they always have. The birds are always chirping. And there is always somebody that has life a little bit worse than your own.
“We pluck and marvel for sheer joy. And the ones still green, sighing, leave upon the boughs…” (14-16). This emphasis on nature reflects the respect and connection to the natural world the culture was trying to convey in their poetry. The colorful and illustrative descriptions of the physical world are indicative of the mindset and focus of these poems. Namely the fact that they were concerned with the world around us and the reality we experience as opposed to that of abstract concept of god or the supernatural as seen in other historical texts. This focus on nature is important because it sets the context in which the major theme of loss and separation originate from. In this poem the poet chooses to emphasize the passing of time in the choice of comparing the two seasons. Spring, in which life begins a new, and fall, in which the leaves begin to fall off and die. The poem reads “And the ones still green, sighing, leave upon the boughs- Those are the ones I hate to lose. For me, it is the autumn hills” (15-18). This juxtaposition of these two
Walker uses the positive imagery of “The Flowers” at the beginning of the novel to set up a naïve, sweet world in which a gruesome appearance of the lynched victim turns out to a reasonably unexpected, shocking event that robs Myop of her innocence. The first half of the text focuses on Myop’s childlike innocence with sweet kinesthetic imagery of Myop feeling “good and warm in the sun” to hit specifically on Myop’s childlike inhibitions. In the same case, sweet and gentle visual imagery continues to play in the first few paragraphs of a happy agricultural lifestyle where “each day a golden surprise” and a ten year old girl like Myop could “skip lightly from her house to pigpen” and bounce “this way and that way”. Myop’s joyful rapping of the stick that goes “tat-de-ta-ta-ta” enables auditory imagery to play on a merry sort of onomatopoeia that goes strongly with Myop’s innocence. Imagery had little direct prepa...
The theme of death is present in many works of literature. It is given metaphors and cloaked with different meanings, yet it always represents an end. Every end signifies a new beginning, and every death gives rise to a new birth. Physical death “...is mere transformation, not destruction,” writes Ding Ming-Dao. “What dies is merely the identity, the identification of a collection of parts that we called a person. What dies is only our human meaning” (49). Figuratively speaking, death symbolizes a change, an interruption or cessation of regular routine. In this sense, death can be viewed as a more positive occurrence, because change leads to new experience, which, in turn, leads to knowledge and a better understanding of life. The plays Othello and A Doll House both encompass the theme of death. While the former deals with physical death, the latter depicts a change, a transformation of a period of time and a way of life.