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123 essays on character analysis
Into the wild character analysis
Into the wild character analysis
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In the memorable novel by American author Charles W. Chesnutt, The House Behind the Cedars, we are driven to examine and understand the predicament of the privileged woman at the beginning of the 20th century. The main character, Rena Walden, is given the opportunity to pass in a high, white society thereby attaining great hopes for status, luxury, and prominent marriage. However, she is required to leave her racially coloured past behind her in order to successfully cross the colour line. Rena’s predicament is that she wants to belong to two very different worlds at the same time but simply cannot in such a deeply segregated society. As a result she is constantly forced to choose one over the other which eventually results in dire consequences.
Rena is thought to be the perfect Southern belle. She is described as “strikingly handsome, with a stately beauty seldom encountered” (Chesnutt 5). It is her exquisiteness that gets her noticed and ultimately promises trouble in a number of situations. Rena is an item to be desired and often the male characters lose sight that she is another human being albeit a woman. Her brother John, lover Tryon, and the despicable Wain all try to possess her to some degree for their personal gain. If she had been a homely, meek woman she would not have access to the opportunities offered to her. Rena tends to forget the individual she is because she allows herself to be torn in so many different directions. Her new life in South Carolina as Rowena Warwick finds her quickly and gracefully climbing the social ladder, however she jumps the colour line still an emotional, unsure young woman. Rena is thrown into situations too quickly and despite her intelligent disposition she does not have en...
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...for her to obtain despite a favourable looking surface.
Rena infers that “A man may make a new place for himself—a woman is born and bound to hers” (Chesnutt 121). As a sheltered young girl, the prospect of an awakening start in a world full of opportunity, known as the American Dream is a truly great gift. However, as an accepted Rena enters into the politics of the new social class and the better race, she quickly learns to ask the question “Why should I seek the society of people whose friendships—and love—one little word can turn to scorn?” (Chesnutt 121) Rena’s predicament is tragic because despite her knowledge and experience in both worlds she still cannot come to a decision. She does not have anywhere to go because she does not know who she is. Consequently, Rena dies from failing to live a carefully examined life, move forward and away from her quandary.
Race manifests itself as a key challenge to Jeannette’s views on freedom and immaterial love. She never truly saw people of other races in a different light until the family arrived in the small town of Welch, West Virginia. In Welch, racial divides were
When studying patterns and trends in society, some sociologists refer to the unequal distribution of property, power, and prestige around the world as social stratification. This stratification forms the basis of the divisions of society and categorizations of people. In Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Eudora Welty’s “A Worn Path,” Gilman and Welty both explore the implications of a stratified society divided on gender and race, respectively, on their protagonist’s psyches.
From the mid to late nineteenth century, and into the early twentieth century, American short story writer Sarah Orne Jewett earned her part in the local color literary movement. In doing so, Jewett writes with a unique style: creating larger-than-life characters, naive narrators, tiny details, and oddities of all sorts. The culmination of these features are used by Jewett to expose busy and primarily middle-class readers to the lives of two young women in the short story “Deephaven Cronies”. Going deeper than the text, Jewett delineates the structure of social class, gender norms, and locality.
Hodes article places itself in the theoretical framing of Fields, Holt, and Stoler to argue “the scrutiny of day-to-day lives demonstrates not only the mutability of race but also, and with equal force, the abiding power of race in local settings.” By examining Eunice’s day-to-day experience, Hodes seeks to show how even though the identifiability of race may change from place-to-place and period-to-period, the power of race to effect lives is not challenged. Eunice’s story is an interesting one to highlight the changing nature of race construction. After the death of Eunice’s first husband, she found herself forced to do work she previously saw as work of black women. This helps strengthen Hodes’ argument of the power of race because just as Eunice was forced to work these jobs to survive, so...
Modern society believes in the difficult yet essential nature of coming of age. Adolescents must face difficult obstacles in life, whether it be familial, academic, or fiscal obstacles. In the House on Mango Street, Esperanza longs for a life where she will no longer be chained to Mango Street and aspires to escape. As Esperanza grows up on Mango Street, she witnesses the effect of poverty, violence, and loss of dreams on her friends and family, leading her to feel confused and broken, clinging to the dream of leaving Mango Street. Cisneros uses a reflective tone to argue that a change in one’s identity is inevitable, but ultimately for the worst.
...s appealing it is not without consequence. Clare, and those who choose to pass, are not free to embrace their whole identity and will always remain a threat to those they come in contact. Clare exemplified the archetypal character of the tragic mulatto, as she bought tragedy to her own life and all those she came in contact. Clare’s presence forced Irene to contend with feelings of internalized racism, and thus feelings of inferiority. Through diction, tone, and imagery Larsen makes it luminous to readers that "passing" may seem glamorous, however, the sacrifice one makes to do so is not without consequences for themselves and those they care about. Larsen does not allow her readers to perch on the belief that once a member of the dominate group ones life is not without pain and suffering. Every action, even those that seem to make life easier, have consequences.
To the modern white women who grew up in comfort and did not have to work until she graduated from high school, the life of Anne Moody reads as shocking, and almost too bad to be true. Indeed, white women of the modern age have grown accustomed to a certain standard of living that lies lightyears away from the experience of growing up black in the rural south. Anne Moody mystifies the reader in her gripping and beautifully written memoir, Coming of Age in Mississippi, while paralleling her own life to the evolution of the Civil Rights movement. This is done throughout major turning points in the author’s life, and a detailed explanation of what had to be endured in the name of equality.
As people live to this day’s constant demands, they often mention how their lives are ‘horrible’, but no life can be more horrific than just one day in the groove of Wanda Bridgeforth’s life growing up during the 1930’s. Wanda Bridgeforth was a survivor of The Great Depression, and she has quite a story to tell. Surely, she can relate to someone like Scout from To Kill a Mockingbird, although her skin is a different shade. Wanda would had never known what it was like to grow up as an African American if she didn’t primarily reside in what was known as the ‘Black Metropolis’, if she didn’t have major money shortages in her family, if she didn’t live in a constantly cramped housing space, or if she wasn’t transported away to live with a whole different group of people.
The busy season for the shop she was working on came and the owner of the shop kept demanding for what we call overtime. She got fired after she said, “I only want to go home. I only want the evening to myself!.” Yezierska was regretful and bitter about what happened because she ended up in cold and hunger. After a while she became a trained worker and acquired a better shelter. An English class for foreigners began in the factory she was working for. She went to the teacher for advice in how to find what she wanted to do. The teacher advised her to join the Women’s Association, where a group of American women helps people find themselves. One of the women in the social club hit her with the reality that “America is no Utopia.” Yezierska felt so hopeless. She wondered what made Americans so far apart from her, so she began to read the American history. She learned the difference between her and the Pilgrims. When she found herself on the lonely, untrodden path, she lost heart and finally said that there’s no America. She was disappointed and depressed in the
When looking at two nineteenth century works of change for two females in an American society, Charlotte Perkins Gilman and Stephen Crane come to mind. A feminist socialist and a realist novelist capture moments that make their readers rethink life and the world surrounding. Gilman’s “The Yellow Wallpaper” was first published in 1892, about a white middle-class woman who was confined to an upstairs room by her husband and doctor, the room’s wallpaper imprisons her and as well as liberates herself when she tears the wallpaper off at the end of the story. On the other hand, Crane’s 1893 Maggie: A Girl of the Streets is the realist account of a New York girl and her trials of growing up with an alcoholic mother and slum life world. The imagery in Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Stephen Crane’s Maggie: A Girl of the Streets uses color in unconventional ways by embedding color in their narratives to symbolize the opposite of their common meanings, allowing these colors to represent unique associations; to support their thematic concerns of emotional, mental and societal challenges throughout their stories; offering their reader's the opportunity to question the conventionality of both gender and social systems.
Pauline Hopkins’ novel “Of One Blood” was originally published serially in a magazine called Colored American, from 1902-03. Within this novel Hopkins discusses some of the prominent racial and gender oppressions suffered by African Americans during this time. Following the Emancipation Proclamation of 1849 which resulted in African American freedom from slavery, but unfortunately not freedom from oppression and suffering. One of the minor characters, and the only dominant female role, within the novel is Dianthe Lusk. Within the novel Dianthe has many identifiers, which limits not only the readers but Dianthe’s understanding of her identity. Some of these identifiers include: women or ghost, black or white, sister or wife, princess or slave, and African or American. However, the most prominent of these juxtapositions in the novel is the racial identity. This paper will argue that the suffrage of Dianthe through her experiences with racial identity and rape serve to locate racial identity as an agent of politics, rather than of one’s color.
The symbols that encompass the novel underscore the theme that the American Dream, corrupt and unjust, eventually concludes in anguish. Money, greed, and lust overtake everything in their lives to the point of nothing else being of importance. The characters in this novel lost themselves to a fruitless dream that eventually brought and end to the “holocaust” that embodied their lives (162).
Women, in the past decades, have undergone a revolution. They have earned the right to vote and the right to be a man’s equal under the law. They have confronted the obsolete values of male superiority. They have even manage to destabilize the firm belief that only men could be in power. Despite these accomplishments, women have also made a point that we are not equal, simply, men aren’t superior to any women.
Mary went from not even attending school in Russia, to star pupil in America, illustrating the promise that America had to offer immigrants. American afforded Mary with opportunities that were impossible in her home country of Russia. Even though Frieda also lived in America, her circumstances represent the realities of the Old World. For instance, Frieda’s only way of learning about American history was through Mary, as she was not afforded time to read while working. By not attending school, Frieda did not only became stuck in the Old World mentality in terms of education but also in terms of marriage. Her father “had put Frieda to work out of necessity. The necessity was hardly lifted when she had an offer of marriage, but my father would not stand in the way of what he considered her welfare” (Antin, 218). Frieda was not given the opportunity to marry for love, as was the American way, but was married out of necessity for her welfare, reminiscent of the Old World mentality. Public education provided Mary with the opportunity to marry not because she had to in order to survive, but because she wanted to. The stark contrast between the lives of Frieda, representing life in the
It is not until Celie is an adult that she finally feels content with her life and understands her capacity to be a completely autonomous woman. The concept of racial and gender equality has expanded greatly throughout the twentieth century, both in society and in literature. These changes influence Walker's writing, allowing her to create a novel that chronicles the development of a discriminated black woman. Her main character, Celie, progresses from oppression to self-sufficiency, thereby symbolizing the racial and gender advancements our country has achieved.