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Supernaturalism in English literature
The Victorian era gender roles
The Victorian era gender roles
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People make choices everyday; in the space of a single day we can make hundreds of choices without even realizing it. Some of theses choices are made for the better and some for the worse. But in reality many of theses choices are small and insignificant like what to eat for breakfast or what shoes to wear that day. These menial choices, for the most part, do not have a large effect on our day-to-day lives. However, every so often we are faced with a choice that places us at a cross roads of our lives. These choices forces us to consider who we are as a person and who we might grow to be, they represent the boarder between the safe and comfortable world we have always known and the unknown adventure that lies ahead. The making of this life defining choice was a very prominent theme of Victorian poetry and remains to this day a constant theme of many young adult novels. By following the journey of the hero as defined in Joseph Campbell’s The Hero with a Thousand Faces it can be shown that the choice made by the protagonist can set them on a path to begin their own heroic journey. The result of which is the freedom to become the master of his or her own identity and future. The choice that is made by the protagonist is one of reformation, to become a different person by moving into the realm of the unknown. In the case of Victorian era works this choice can be seen in the breaking down of the traditional gender roles of women in which they are controlled by the pressures of society to be submissive to the masculine presence in their lives. By comparing the choice made by the Lady of Shalott in Alfred Tennyson’s Victorian poem “The Lady of Shalott” with the one made by the character of Pippa from the 2003 Victorian era young adult ...
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... acceptance of the call is also from the shattering of a supernatural object; in this case it is the power of the Realms. However, in this case Pippa’s defeat of the threshold guardian does not prompt Pippa to make the chois choice to leave the confining and isolated gendered world but rather it causes her refusal to return to it. When the power of the Realms become to much for the girls to handle, because they lack the knowledge of the nature of the Realms, they accidently let loose the evil of the Realm and almost allow it to escape into the real world. With the Realm shattering around her and her friends, Pippa is separated form the group and during the time she waits for them she comes to the realization that if she return to the real world all that she has to look forward to is becoming “Mrs. Bartley Bumble” (Bray 395). The unending possibilities of the Realm
Many typical adventures in classic novels follow a pattern of events using the archetype, the Hero, which defines the nature of the protagonist’s journey. However, some stories don’t fit the layout of a Hero’s journey. The nature of this story structure often limits itself to the interpretation of a male’s heroic quest involving accomplishments in order to prove one’s masculinity. The alternate story pattern, a heroine’s journey, was created to satisfy the type of journey a female would experience. The heroine's journey defies the general perspective of heroism, instead highlighting the bravery in defying expectations of one’s character and refusing to be held back by the expectations of others. Walk Two Moons is a book written by Sharon Creech which tells the story of Salamanca Hiddle, a teenage girl who retraces the journey of her mother who left her. On her journey, Sal is able to relive her own story through her friend, Phoebe, whose mother also left. The book Walk Two Moons is representative of a heroine’s journey rather than a hero’s journey because Sal must leave her home to escape
Isobelle Carmody’s short story, “The Pumpkin-Eater”, portrays a middle eastern woman, a lone rider and former princess in the days of the crusades, retelling her story of her childhood living in a tower with her mother and maid, leaving to accept the engagement proposed by a prince, only to discover that in this, she is to be exchanging one prison for another. The discovery of self-reliance is seen through her leaving to take care of herself, to not be locked up and kept hidden away to preserve beauty. Foreshadowing of her journey is utilised through the drawing of tarot cards to set the story in motion. “I remember drawing the card of long journeying the year my firstblood came. The bird of my heart, caged for so long, beat its wings against my chest” The mention of her “firstblood”, a significant component to becoming a woman, as a normally hidden bodily function attends to the process of maturity, and the metaphor of the caged bird of her heart symbolises the anticipation and excitement to escape her tower prison to find love of her own. The drawing of this particular card acts as a catalyst to the protagonist’s story, providing reason for her to leave and start anew. The world the protagonist is confined to the tower, with her mother and her maid warning her from love, therefore, forming her basis of rebellion, challenging the views of the world seen through other’s eyes. “ ‘Was it love then?’
Courage is not simply about how well you deal with fear, how many noble deeds you accomplish, or how you overcome life threatening situations. Courage is the practice of determination and perseverance. Something like, an unwillingness to abandon a dream even when the pressures of society weigh down on your shoulders; society will make you feel tired, humiliated, broken, and confused. Actually, it can be effortlessly said that daily courage is more significant than bouts of great deeds. Since everybody undergoes demanding circumstances on a daily basis, and most of us will not be called to perform a great deed, courage comes from those daily struggles and successes. However, Kate Bornstein is one person who has been able to transform her everyday life into a brilliant deed of courage. She threw herself into an unknown abyss to discover truth that many others would never dare tread. Ingeniously combining criticism of socially defined boundaries, an intense sense of language, and a candid autobiography, Bornstein is able to change cultural attitudes about gender, insisting that it is a social construct rather than a regular occurrence, through here courageous writing.
In most of the world's greatest literature, there have been introduced countless courageous characters and triumphant victories. These characters have the power to father strength from distress and grow brave by reflection. Such characters as Janie from Their Eyes Were Watching God, Gatsby from The Great Gatsby, June from The Joy Luck Club, and Edna from The Awakening. Throughout each of these magnificent stories comes an example of bravery and courage. Although in some cases, the characters may not generally be perceived by the public to be courageous at all, they demonstrate extreme strength in overcoming adversity.
It has been sincerely obvious that our own experience of some source that we do leads in result of our own free choices. For example, we probably believe that we freely chose to do the tasks and thoughts that come to us making us doing the task. However, we may start to wonder if our choices that we chose are actually free. As we read further into the Fifty Readings in Philosophy by Donald C. Abel, all the readers would argue about the thought of free will. The first reading “The System of Human Freedom” by Baron D’Holbach, Holbach argues that “human being are wholly physical entities and therefore wholly subject to the law of nature. We have a will, but our will is not free because it necessarily seeks our well-being and self-preservation.” For example, if was extremely thirsty and came upon a fountain of water but you knew that the water was poisonous. If I refrain from drinking the water, that is because of the strength of my desire to avoid drinking the poisonous water. If I was too drink the water, it was because I presented my desire of the water by having the water overpowering me for overseeing the poison within the water. Whether I drink or refrain from the water, my action are the reason of the out coming and effect of the motion I take next. Holbach concludes that every human action that is take like everything occurring in nature, “is necessary consequences of cause, visible or concealed, that are forced to act according to their proper nature.” (pg. 269)
Experience is the hidden inspiration in all of literature. Every letter, word, and sentence formed, every plot imagined, and every conflict conceived has a trace amount of its creator’s past ingrained within it. But most of all, authors reflect themselves in the characters they create. The protagonist of any story embodies certain traits and qualities of his or her creator; the virtues and vices, ambitions and failures, strengths and weaknesses of an author are integral parts of their characters lives. When authors’ experiences differ, so do their characters, as seen with Welty and King. Both authors had distinct upbringings, each with their own forms of hardship. The contrasting nature of these authors’ struggles is why their characters are the antithetical. As a result of these
Our perception about the world change as we grow up and experience the reality of life. This is the necessary and universal experience that we all must undergo to face the world successfully. The protagonists in James Joyce’s “Araby” and Alice Munro’s “Boys and Girls experience a common initiation of how different the world is, compared to how they would like to see. The reader is given a glance into the lives of two adolescents. The protagonists in both stories are of the growing age and their perceptions about the world change. These changes contradict with their past perceptions and leads life in a different direction. Both Joyce and Munro unfold series of bizarre life thrilling experience from the daily life of the protagonists to create the universal lesson of how different the world is, compare to how they would like to see. But the way, this necessary and universal lesson learn differs with each protagonist. The boy’s initiation in “Araby” comes, when the girl (Mangan’s sister) come in his life. After his encounter with her his life completely change forever and he wants to be his own man. The initiation of the Young girl in “Boys and Girls” comes, after watching the shooting of horse “Mack” and letting “Flora” the other horse, out of the gate. Letting Flora free is indeed the protagonist’s way of watching world. After watching shooting of “Mack” she does not want “Flora” to face the same miserable death like “Mack”. She thinks letting Flora free save Flora from shooting.
In the short stories, living vicariously is a common motif the protagonists are victims of. They are being manipulated by their parents to achieve for them what themselves failed to accomplish. In the short story “Boys and Girls”, the narrator who is part of the female minority, is faced with the paradox of becoming what society but especially her mother wants her to become. Later on realizing that she did not had a choice, an...
During the Victorian Era, society had idealized expectations that all members of their culture were supposedly striving to accomplish. These conditions were partially a result of the development of middle class practices during the “industrial revolution… [which moved] men outside the home… [into] the harsh business and industrial world, [while] women were left in the relatively unvarying and sheltered environments of their homes” (Brannon 161). This division of genders created the ‘Doctrine of Two Spheres’ where men were active in the public Sphere of Influence, and women were limited to the domestic private Sphere of Influence. Both genders endured considerable pressure to conform to the idealized status of becoming either a masculine ‘English Gentleman’ or a feminine ‘True Woman’. The characteristics required women to be “passive, dependent, pure, refined, and delicate; [while] men were active, independent, coarse …strong [and intelligent]” (Brannon 162). Many children's novels utilized these gendere...
stories holds a large impact on how they later develop as individuals. While Baldwin’s piece demonstrates the ignorance from society which is projected onto him from Swiss villagers, it shares both similarities and differences to the attitudes demonstrated in Hurston’s piece influenced by her surroundings. Being that it is difficult to escape the past and the events that have brought strength through triumph, it is important to focus one’s attention on the present and into the future. Although the past determines who an individual is, the future determines who an individual will become.
The nineteenth century saw rapid development and reform across the whole of the country; with the Industrial Revolution transforming life in Britain. For working class women life was an endless struggle of passivity and labour; as soon as they were old enough they worked on farms, in factories or as servants to the middle classes (Lambert, 2009). For women in general, life was oppressive; constantly overshadowed by the male gender who were considered dominant leaders. In a Victorian household, the male was head of the family; his wife and children respected him and obeyed him without question. This critical analysis of two nineteenth century novels - Hard Times by Charles Dickens and Wuthering Heights by Emily Brontë, will discuss the representation of the two female protagonists in the context of the Victorian period and question whether they do indeed portray an endless struggle for survival and independence.
In both Alice Walker’s “The Color Purple” and Kate Chopin’s “The Awakening”, we see that there are two types of women who arise from the demands of these expectations. The first is the obedient woman, the one who has buckled and succumbed to become an empty, emotionless shell. In men’s eyes, this type of woman was a sort of “angel” perfect in that she did and acted exactly as what was expected of her. The second type of woman is the “rebel”, the woman who is willing to fight in order to keep her creativity and passion. Patriarchal silencing inspires a bond between those women who are forced into submission and/or those who are too submissive to maintain their individuality, and those women who are able and willing to fight for the ability to be unique.
By definition, a heroine is a woman who would typically encompass the qualities of nobility, courage, independence and strength. Nineteenth century English women would have struggled to accomplish any of these particular acts of heroism within their social environment as ultimately, their roles within civilisation saw them becoming a good wives and mothers and before that, obliging and caring daughters. Within this ubiquitous discourse of separate spheres, Kathryn Gleadle suggests that women were encouraged to see themselves as relative creatures', whose path in life was to nurture the family and to provide unstinting support for the head of the household' In this respect, the nineteenth century British woman conforming to this path' would prove to be the heroine of that time as a free-spirited independent individual would have been cast aside as socially unacceptable. Essentially, although it would appear that many women wished to lead active, working lives and so make an important contribution, either to their families or to social welfare, the woman's position [was] to preside over a loving home whilst men were to brave the vicissitude and demands of public and business life' Novelists Thomas Hardy and Emily Brontë present us with two strong and independent females Tess Durbeyfield and Catherine Earnshaw. These women are far from the idealistic view of nineteenth century females; Tess, intelligent and strikingly attractive, strives to uphold the values expected of her but outside forces beyond her control determine her fate. Catherine on the other hand begins her life free-spirited, rebellious and of a wild nature. However, her inner desire craves social ambition which, in turn, shows her slowly representing culture and civilisation.
This novel was written in the Victorian Era, a time when society faces many social difficulties such as industrialization, prostitu...
The literary comparison shall explore the following pieces: Plath’s “Lady Lazarus,” Woolf’s “A Haunted House,” and Atwood’s “Siren Song,” and “Happy Ending.” The first comparison is between Lady Lazarus and Siren Song, both poems contain themes of manipulation and the role of women in a patriarchal society. Furthermore, Plath’s “Lady Lazarus” contains two major ideas to be studied: role of women and manipulation. The role of women can be seen as the speaker struggles in her life as revealed by her suicide attempts. The quotes, “I have done it again / one year in every ten” and “I am only thirty / And like the cat I have nine times to die” reveal that she has tried it, it is now a tradition for her to attempt and cause her own death (Plath 1-2,