Being a tragic heroine, she shows excellence of character and bravery, but her fatal flaw is that her will to please the gods is greater than her will to preserve her own life. In the end, uncompromised rigidity is her downfall. She obeys the laws of the gods and is careless about the mortal law’s penalty, her own death. Antigone does not understand the need to act according to humanity’s place in the scheme in things, one’s pleasing of the gods should continue up until the point when it puts ones life in danger. Our heroine shows hubris by breaking the rule of the golden mean, not because she is egotistical, but because her head gets in the clouds when she believes herself to be a high and mighty enforcer of virtue.
Of coarse, Antigone acted so quickly, and failed to take the advice of the moderate sister, Ismene. Instead, going against Creon's words, Antigone rashly goes ahead and breaks the law. Antigone is a fool, she must learn that such defiance, even when justified, is not conductive to longevity. Although Antigone is foolish, she is also courageous and motivated by her morals. Proper burial of the dead was, according to the Greeks, prerequisite for the souls entrance into a permanent home.
The Attachment Theory The attachment theory talks about the early significance and developments of attachment between infants and their mothers. Attachment can be defined as intense, emotional ties to specific people. The attachment process can be divided into pre-attachment, discriminate and indiscriminate and multiple attachment phases. The development of specific attachment is shown through separation anxiety. The most influential versions of this approach was probably that of Sigmund Freud, who believed that the infants upset at the mothers absence is based on the crass fear that bodily needs would now go unsatisfied.
A careful, thoughtful analysis of the play, however, reveals that a perfect storm of circumstances coalesce to create a climate in which Hedda is driven to her final act of desperation. Throughout the play, Hedda exhibits a general dissatisfaction with life. By marrying a man whom she finds almost unbearably dull, Hedda resigns herself to a life of excruciating boredom. Her status as a general’s daughter had perhaps afforded her certain opportunities in her earl... ... middle of paper ... ...sadist. Hedda’s behavior toward Loevborg, who did nothing to deserve Hedda’s fatal influence, easily classifies as monstrous.
From her first response, "No I, haven’t heard a word"(13). Ismene reveals her passivity and helplessness in the light of Creon's decree. Thus, from the start, Ismene is characterized as traditionally "feminine", a helpless woman that pays no mind to political affairs. Doubting the wisdom of her sisters plan to break the law and bury Polyneices, Ismene argues: “Remember we are women, not born to contend with men .” (75) Once again Ismene's words clearly state her weak, feminine character and helplessness within her own dimensions. Antigone, not happy with her sisters response chides her sister for not participating in her crime and for her passivity, saying, “Don’t fear for me.
Dorigen is the main character in the Franklin’s tale by Chaucer and yet he manages to make her seem weak and melodramatic whilst still allowing the tale to revolve around her. Dorigen is shown as having a weak character and Chaucer allows his contempt to show through several times as he obviously feels disdain for Dorgien’s excessive display of emotion. His opinion of Dorigen is unbalanced and biased as it shows her in a light in which the reader cannot fail to dislike her. Several times Chaucer makes comments that not only undermine Dorgen but reflect on the whole female race as well e.g “as doon these noble wives when him liketh.” And then goes on to say that at her husband, Arveragus lives that she “moornth, waketh, waileth, fasteth, plaienth.” This shows how he feels that she is showing this display of emotion only because she feels that is what she should do. The way he writes shows that he doubts the sincerity of her emotions and believes her to be quite shallow.
It is this dependence that is key to Winnicott's perception of mother-infant interactions. With the mothers careful attention to the babies needs, she helps the baby to exist, and develop as a person in their own right. “This is a period of ego development, and integration is the main feature of such a development. The ID forces clamour for attention. At first they are external to the infant.
The controversy in the relationship of infancies’ temperaments and maternal attachments are still debatable between temperament and attachment theorists down to our present day (De Wolff & Ijzendoorn, 1997). Temperament is termed as early projections of stable individual variations involving self regulation and reactivity that encompasses behaviors, emotions and attention (Boom, 1994). Attachment, on the other hand, is commonly known as having a bond that allows us to be comfortable with special people in our lives (Berk, 2006). According to Alexander Thomas and Stella Chess (1977), their research showed that the infant’s temperament is of intrinsic nature and how the process in developing of the child-adult interactions ultimately affects their attachment status (Coffman, Levitt, & Guacci-Franco, 1995). In addition, attachment theorists like Mary Ainsworth (1978) and John Bowlby (1969), however, suggested that maternal sensitivity and responsiveness from the caregiver mantles the infant’s temperament that is the determinant of attachment (Coffman et al., 1995).
This is due in part to the huge importance that is given to the use of language in contemporary descriptions and estimations of literature. Ironies and paradoxes seem to reflect and embody the sorts of linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The explicit association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric. He seemed to think of irony as a principle of order and unity: not so much a feature of language or meaning as a sort of coherence yoking disparate elements together, rather like Aristotle's conception of wholeness and integrity in Poetics 8 (Brooks 1951).