mindsets. Some characters deemed it best to keep the past in the past. Why complicate your life as well as others, with disheveled, bitter, and in some cases disgraceful memories of the past. Especially when it is far easier to bury them, even forget them altogether. In contrast, some characters in the story believed that the past should be brought into the light, cracked wide open, not matter the consequences.…
Sarah attempted to save her brother multiple times by escaping from the place where they were being held captive. This young Parisian soldier gave Rachel (Sarah’s companion) and Sarah the opportunity to escape and find a safe place to hide until the roundup was over. Sarah could not stop think about hiding or seeking shelter, she needed to find her brother Michel immediately. A grateful Parisian soldier telling these poor girls “Run now, quick both of you. If they see you . . . take off your stars. Try to find help” (De Rosnay 92). The author uses characterization through this Parisian soldier who expresses sorrow and grief once Sarah looks into his eyes. He cannot let everyone go, but in the bottom of his heart he wants everyone to be free, but he cannot. He has higher officials who command his orders, therefore he cannot disobey regulation or else he has to deal with harsh consequences. Once released from Vélodrome d’Hiver, Sarah ends up in a farm out in the forest, where she encounters Jules and Genevieve. This loving couple helps hide Sarah when some Parisian soldiers pass by. “Little Sirka! You were so brave down there!” is what the couple tells Sarah once the soldiers have left, but she corrects them exclaiming “[do not] call me Sirka anymore that’s my baby name” (De Rosnay 132). Jules and Genevieve direct characterization helps Sarah evolve into a grown women at just the age of eleven. Once Sarah has mentions she is not a child anymore, she pushed herself to become an adult forcefully. She has been through the separation of her father, mother, her companion Rachel, and her brother Michael, it seems too much to live like a child now. Sarah is ready to take her own responsibility of finding her brother no matter what it takes. With the help of Jules and Genevieve they go on the journey to find her Sarah’s brother. She decided to leave her childhood behind and start…
Within a few pages of the buldingsroman novel ‘The Chrysalids’, written by John Wyndham in 1955, a number of significant issues and ideas are introduced. Set in a post-apocalyptic world, Wyndham captures the fears and pessimism of Cold War Europe and explores how such fear and rigid principles can lead to destruction. Utilizing archetypal characters and techniques such as irony, Wyndham incorporates numerous issues and ideas within his dystopian and myopic world that are relevant to the rest of the text.…
Regency England displays Emma’s naivety in which her pride and vanity causes her to meddle with other characters, blindsided by her own wrongdoings. The omniscient voice “The real evils, indeed, of Emma’s situation were the power of having too much her own way, and a disposition to think a little too well of herself…” aligns the reader with Emma encouraging her own imaginative mind and vanity where her actions cause her to act in problematic ways other characters. The repetition of personal pronouns, “I have none of the usual inducements of women to marry…I never have been in love…I do not think I ever shall.” explores Emma’s belief that her wealth allows her to be financially secure with reassurance that others will not treat her like Miss Bates for her decision to remain single. The use of narrator’s anthypophora in “Why she did not like Jane Fairfax...she saw in her the really accomplished young woman, which she wanted to be thought herself.” exhibits Emma’s jealousy as she sees Jane as a threat to her ego because she may carry more accomplishments than herself which leads to her initial dislike of Jane. The prominence of pride and vanity creates problems as a consequence as it blindsides one’s better judgement. One’s importance of materialistic items continues to be a main feature in the modern…
©2000−2005 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
©2000-2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998-2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994-2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994-2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
Kate Choplin in her story, “the story of an hour,” tries to give a brief introduction of the era when men were considered the supreme power in the household and the wives were there to love, trust and embrace their husband. Mrs. Louise Mallard, the protagonist, “She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance…."(Choplin 3), feels the euphoria of freedom, when she comes to know about her husband’s death rather than sliding down in the vale of grief. Later, in the end, the moment she comes to know about the presence of Brently Mallard’s, crushes her dreams; eventually leading to her death. The ruthless truth of 19th century marriage through a girl’s point of view,” Dictatorial essence of Marriage can be fatal sometimes,” is magnificently described by Choplin in her narrative.…
To examine the question of how useful postmodernism is in understanding contemporary British fiction, I will be using the example of ‘Sexing The Cherry’ written by Jeanette Winterson. The works that can be closely linked with this novel first published in 1989 are those of theorist and historian Michel Foucault. His ideas on sexuality mirror the ideas of sexuality used in Sexing The Cherry (Winterson. J 1989, 47-60).…
Although never explicitly mentioned, Sarah has a clear unliking of her father, which become apparent through her tendency to compare her father to her sister Mashah, who she clearly hates. Despite constant criticism from her father, Sarah soon becomes successful and leads the life she wishes to live, only to be reunited with her father once again at the peak of her career. Sarah is initially resistant to take in her sick father, but soon gives in and fully takes on the responsibility to care for him. It is through her father’s fragile and vulnerable state that she truly discovers him for who he is, and accepts the idea that their family relationship is sacred, despite the past associated with it. Furthermore, it is through Sarah’s brave determination to care for her father and remain by his side that she even discovers more about herself. Sarah becomes more mature through her willingness to forgive and care for the man who was previously responsible for her…
1. Seeing Frederic’s apartment for the first time and sharing their first at-home dinner, Sarah Turnbull, influenced by her own Australian culture, makes certain assumption about the French? Why and how does she modify these assumptions later on?…
In the beginning of the novel Anne is introduced with little consequence, since she “was nobody with either father or sister: her word had no weight; her convenience was always to give way;-she was only Anne.” This shows her position within her family and how she must be treated by them, also indicating the reasons for her low self-esteem and nervous manner. This situation is also mirrored by Austen’s style within the first few chapters, where she concentrates her description on Walter and Elizabeth Elliot, further showing Anne’s inferiority within her own family. Despite this Lady Russell’s opinion of Anne is very different, as “it was only in Anne that she could fancy the mother to revive again,” showing that deep inside Anne there was a much more confident and lively woman looking to break free, but struggling to do so. The major turning point in the novel is during Anne’s trip to Lyme and following Louisa’s accident, it is during this incident that Anne’s true self finally breaks free and that her companions are able to see the real Anne. The first example of this is immediately after Louisa’s fall when Anne cries “for heaven’s sake go to him. I can support her myself. Leave me, and go to him. Rub her hands, rub her temples; here are salts, - take them, take them.” This sudden outbreak of control and strength is quite unlike the Anne that Austen had so far described, but shows that in truth Anne’s character has not been explored to its limits by this stage, and this is proven by the surprise and disorientation of her acquaintances who rely on her instructions to deal with the situation. The comparison here is clear,…
During this period in time, men had dominated with power and control over women. Women were seen as weak and powerless, therefore it was assumed and expected of women to obey the husband. Louise whom had been married to Brently Mallard, was under her husband’s restraint since the words “I Do” uttered her mouth. In the text, Louise’s freedom was hidden and held back between the time of her marriage, up until news was received mentioning her husband’s death. Applying a feminist critical perspective clearly presents that women did not belong to themselves. They were a part of the husband and were under his authority. Applying the perspective clearly identifies a man’s abuse towards women, through power and control.…
“She looked at Sir Andrew with eager curiosity. The young man’s face had become almost transfigured. His eyes shone with enthusiasm; hero-worship, love, admiration for his leader seemed literally to glow upon his face. ‘The Scarlet Pimpernel, Mademoiselle,’ he said at last, ‘is the name of a humble English wayside flower; but I also…
In this essay we will try to explain why The Real Inspector Hound is a Postmodernist play. To do this First we must decide on what Postmodernism actually is. As many critics have written many definitions on this subject overlapping and contradicting each other it is hard to find a single definition of postmodernism. So first to embark on this journey, we are going to find and state a single definition of postmodernism and afterwards we shall apply this to The Real Inspector Hound.…
Elisabeth Stuart Phelps captures the essence of time when “ young ladies had not begun to have ‘opinions’ upon the doctrine of evolution, and before feminine friendships and estrangements were founded on the distinctions between protoplasm and bioplasm” (Phelps 8). She writes a kunstlerroman novel of young woman who has the ability to go far with her artistic talent and looses her inspiration after being married. Another author who tackles similar issues is Louisa May Alcott and her novel “Little Women”. Alcott conveys different perceptions for women and conventions what they must adhere to. Conventions in this retrospect deals with ideology that at a certain age young women give up their what is determined, a ‘childhood passion’ to assume the role of a wife. Both Phelps’s novel “ The Story of Avis” and Alcott’s “ Little Women” brings forth the idea that women through marriage were being suppressed and abused by the social constraints that has been set for them. Also, the role of mother, wife and then a person conflicts with any aspirations for being financially independent and/ or a woman seeking a creative lifestyle. A more contemporary type thinking might question this by asking why cant women have the best of worlds, a family and a career? However, Phelps and Alcott works speaks for them by giving us a realistic and creative outlook on domestic life for women who want both.…