Role of Female Characters in Fidelman's Epiphany in Naked Nude
Word Count Includes Outline
Thesis: In his picturesque short story, "The Naked Nude", Bernard Malamud uses the female characters to develop, enact, and resolve Fidelman's epiphany and to bring about the protagonist's final, artistic self-understanding.
Bernard Malamud, a leading contemporary Jewish author, skirts between fantasy and reality in his almost allegorical short fiction, teaching the reader a lesson through coinciding elements of beauty and comedy. Venturing away from his usual, inner-city Jewish element, Malamud tackles new challenges of subject and setting in his novelistic collection of short stories, Pictures of Fidelman Malamud develops his protagonist through a series of six, interrelated short works, each of which may function entirely independent from the others. In "The Naked Nude," for instance, Fidelman comes to a new, artistic maturity through his attempt to copy the famous painting "Venus of Urbino" by Titian Tiziano. Malamud's recurring theme of self-knowledge through suffering permeates this short work. Scarpio and Angelo, as primary antagonists, provide the bulk of this suffering for Fidelman. It is his own mental captivity concerning the female nude, however, that gives cause for Fidelman's eventual epiphany as an artist and as an individual. His relationship to the women in the work shapes his ability to capture the form of the "Venus" and to come to grips with his own self-worth. In "The Naked Nude," Bernard Malamud uses the female characters to develop, enact, and resolve Fidelman's epiphany and to bring about the protagonist's final, artistic self understanding.
At the story's outset, Fidelman is forced to act as janitor and manservant to a group of ill mannered prostitutes under the employment of the padrone, Angelo. These offensive characters establish the first of a series of mental obstacles in the imprisoned protagonist's attempt to copy Titian's nude. They torment Fidelman with cynical laughter and exploit his demeaning position. His sexual insecurity is established at the beginning of the story when he ponders his violent guillotine sketch, asking "A man's head or his sex?...either case a terrible wound" (Malamud 318). The limited omniscient narrator, revealing Fidelman's thoughts and feelings, also suggests that he could gain "no inspiration from whores," and that "maybe too many naked women around made it impossible to draw a nude" (Malamud 325). This illustrates Fidelman's early accreditation of his artistic impotency to desensitization. He soon recognizes, however, that the way in which he views the "Venus" also interrupts his progress.
An epic hero is almost overwhelmed with difficulty, often beyond that which a normal man could withstand. Not only is he confronted occasionally by danger or hopelessness; it is the entire premise of the poem. “Sing to me of the man, Muse, the man of twists and turns driven time and again off course, once he had plundered the hallowed heights of Troy” (Fagles 77). This it the first line of the whole poem, summing up what is going to happen as the speaker prays to the Muses, goddesses of stories. There is in fact, no other person, fictional or otherwise, in all of history, ever so besieged with difficulty, as Odysseus. Women and goddesses often tempt epic heroes, and Odysseus is tempted too. The goddess Circe is one of the many people who tempt him, “Come, sheath your sword, lets go to bed together, mount my bed and mix in the magic work of love-we’ll breed deep trust between us” (Fagles 240). Though Odysseus does bed with her, he never loses sight of his hope of coming home to his wife, Penelope.
Many stories talk about relationships, especially the ones between man and woman as couple. In some of them, generally the most popular ones, these relationships are presented in a rosy, sentimental and cliché way. In others, they are presented using a much deeper, realistic and complicated tone; much more of how they are in real life. But not matter in what style the author presents its work, the base of every love story is the role each member of that relationship assumes in it. A role, that sometimes, internal forces will determinate them, such as: ideas, beliefs, interests, etc. or in order cases external, such as society. In the story “The Storm” by American writer Kate Chopin and the play A Doll’s house by Norwegian playwright Henrik Ibsen I am going to examine those roles, giving a special focus to the woman´s, because in both works, it is non-traditional, different and somewhat shocking, besides having a feminist point of view.
Diamant’s magic enables a romance to flower from violence and the formulation of a “voiceless cipher” into an ingenious being transpire (1). She forces the reader see that in the eyes of trial and tragedy, happiness and love, we find reflections of ourselves no matter the age gap. She emphasizes that such a task could not happen if not for the “scolding, teaching, cherishing, giving, and cursing one with different fears (2),” that “summon up the innumerable smiles, tears, sighs and dreams of human life” (321). All this, Diament reminds all females, can be sequestered in the red tent.
Ever since I was a child, I've never liked reading. Every time I was told to read, I would just sleep or do something else instead. In "A Love Affair with Books" by Bernadete Piassa tells a story about her passion for reading books. Piassa demonstrates how reading books has influenced her life. Reading her story has given me a different perspective on books. It has showed me that not only are they words written on paper, they are also feelings and expressions.
I began to read not out of entertainment but out of curiosity, for in each new book I discovered an element of real life. It is possible that I will learn more about society through literature than I ever will through personal experience. Having lived a safe, relatively sheltered life for only seventeen years, I don’t have much to offer in regards to worldly wisdom. Reading has opened doors to situations I will never encounter myself, giving me a better understanding of others and their situations. Through books, I’ve escaped from slavery, been tried for murder, and lived through the Cambodian genocide. I’ve been an immigrant, permanently disabled, and faced World War II death camps. Without books, I would be a significantly more close-minded person. My perception of the world has been more significantly impacted by the experiences I've gained through literature than those I've gained
The setting of these two stories emphasize, on visually showing us how the main characters are based around trying to find freedom despite the physical, mental and emotional effects of living in confinement. While on the other hand, dealing with Psychology’s ugly present day behavior showing dystopia of societies views of women during the time period they lived.
Women have been given by society certain set of duties, which although change through time, tend to stay relatively along the same lines of stereotypical women activities. In “A Doll House” and “Simply Maria” we see the perpetuation of these forms of behavior as an initial way of life for the two protagonists. Nonetheless; we see a progression towards liberation and self discovery towards the development as a human being by breaking the rules of society. Such attitudes soon find opposing forces. those forces will put to the test the tenacity of these women; and yield freedom and ownership for their lives which are owned by others at the start of their stories.
Adèle Ratignolle uses art to beautify her home. Madame Ratignolle represents the ideal mother-woman (Bloom 119). Her chief concerns and interests are for her husband and children. She was society’s model of a woman’s role. Madame Ratignolle’s purpose for playing the pia...
Durbach, Errol. ??Master Harold? ?and the boys: Athol Fugard and the Psychopathology of Apartheid.? Allison 68-77
Evelyn Cunningham once said, “Women are the only oppressed group in our society that lives in intimate association with their oppressors.” For thousands of years women have been oppressed, not in the bondage of slavery but in the bondage that comes from a lack of education and a dependence on men for their livelihood. Women have been subjected to scrutiny and ostracization, belittling and disparaging comments, and even at times they have been feared by men. Women themselves have even taken on the beliefs that they require a man in their life to be taken care of and have a satisfying life although some women and even some men have seen that the differences between the sexes is purely physical. This oppression, as well as the enlightenment of some, is well noted in many literary works. Literature has often been an arena for the examination of the “woman question,” as it was termed in the Victorian age. Four works that examine the role or view of women in society are John Stuart Mill’s The Subjection of Women, T.S. Eliot’s “Love Song of J. Alfred Prufrock,” Virginia Woolf’s A Room of One’s Own, and Carol Ann Duffy’s “Medusa.” Although each work examines a side of the woman question in its own way with a variety of views on the question, all of the works examine the fear that women incite in men, the idea that women are dependent on men, and the idea that women are separate from men in some way and each piece works to show that there is actually an interdependence between men and women that is often not expressed.
The aim of this essay is analyse women´s images in The Yellow Wallpaper and in The Awakening, since the two readings have become the focus of feminist controversy.
Books have always held a sense of security for me because they offer an instant escape from reality. My own troubles stop for the few hours, minutes, or even seconds that words pull me into another world. When I worry, I read something light and humorous. When there’s nothing but monotony in my life, I escape to far off lands where anything is possible. With enough imagination, the stories not only come alive, but I become part of them. This sensation is so strong that the feelings I experienced reading follow me long after I close the books. Books also let me live different lives. I
Laius was warned by an oracle that his own son would kill him and that he would marry his mother, Jocasta. Determined to reverse their fate, Laius pierced and bound his newborn sons feet and sent a servant away with him with strict instructions to leave the child to die on the mountain of Cithaeron. However, the servant felt badly for the infant and gave him to a shepherd who then gave the child to Polybus, king of Corinth, a neighboring realm. Polybus then named the child Oedipus (swollen foot) and raised him as his own son. Oedipus was never told that he was adopted, and when an oracle told him that he would murder his father and marry his mother he fled the city believing that the king and queen of Corinth were his parents. In the course of his travels, he met and killed Laius, thinking that the king and his servants were a band of robbers, and thus unwittingly fulfilled the prophecy.
Oedipus is a man of noble blood; his parents, who raised him as a child, were King Polybus and Queen Merope of Corinth. Oedipus also becomes a king himself when he solves the Sphinx’s riddle, thus saving Thebes and taking over the throne of the late King Laius. Oedipus then marries Jocasta, Laius’s widow, and they have children together. Though he is a very fair and understanding husband, Oedipus’s main concern is always the city of Thebes. When a plague strikes the city, Oedipus refused sleep until he finds the cause, and he, “…sent Creon,…To Delphi, Apollo’s place of revelation, To learn there, if he can, What act or pledge of mine may save the city” (Sophocles 1257). Oedipus then vows to find who killed King Laius after Creon reveals that Laius’s death must be avenged so that the plague will be dispersed.
James Joyce's A Portrait of the Artist as a Young Man presents an account of the formative years of aspiring author Stephen Dedalus. "The very title of the novel suggests that Joyce's focus throughout will be those aspects of the young man's life that are key to his artistic development" (Drew 276). Each event in Stephen's life -- from the opening story of the moocow to his experiences with religion and the university -- contributes to his growth as an artist. Central to the experiences of Stephen's life are, of course, the people with whom he interacts, and of primary importance among these people are women, who, as his story progresses, prove to be a driving force behind Stephen's art.