There is a perceived split between “outer Edna and inner Edna” that is constantly disrupting Edna and her desires. Outer Edna is supposed to be recognized as this ideal wife who obeys her husband and does what he commands-similar to her friend Adele. This lifestyle that Edna is supposed to live by cannot be achieved due to “inner Edna’s” desire of being free and independent. “Outer Edna” conforms to society expectations even if it is not what she desires, while “inner Edna” seeks independence and
Sabina did not truly understand the meaning of a woman, in fact, until Franz says “Sabina you are a woman” (Kundera 89) Franz, however, is married to a woman, Marie-Claude, whom he is afraid to hurt and disrespect because she threatened to leave him if he ever abandons her. Franz does not believe that Marie-Claude is worthy of being called a woman, he does not respect her, but must respect the platonic idea of a woman that is hiding inside of her. The woman that Franz truly respects as a woman is his mother, because of her suffering. The word woman, Kundera says, “did not, in his eyes, signifies one of the two human sexes; it represented a value. Not every woman was worthy of being called a woman.” (Kundera, 89) By Kundera showing how the two have
Mothers are treated with respect and us children must show them respect and kindness and show the gratefulness we have towards our mothers. In the book, the women are treated unfairly, irrelevant, and get beaten up by men. Throughout the novel, Albert Camus illustrates women as unimportant and irrelevant. “Maman died today. Or yesterday maybe, I don’t know.
When Winnie is not able to thoroughly fulfill her husband’s sexual desires, she feels unhappy knowing that her husband is dissatisfied with her and knows she will have to go through much suffering until she would be able to show her husband she was a good proper wife. Winnie lives in fear because it is the duty of a wife to ensure her husband’s needs are met, at which, she proves unsuccessful. A woman’s desires, wants, and needs can go down the drain, but such concepts for a man are highly valued and need to be maintained. In the prologue of The Joy Luck Club, Amy Tan starts off by making a mother say “In America I will have a daughter just like me. But over there nobody will say her worth is measured by the loudness of her husband’s belch.
“But now her looks were gone and that was why she was always after Connie.” (Oates 614). Also, there is another opportunity for friendship within the family, between Connie and her sister, however, that is lost in their rivalry and hostility. “Her sister was so plain and chunky and steady that Connie had to hear her praised all the time – by her mother and her mother's sisters.” (Oates 614 ). Another reason why Connie why wants to be independent from her mother is because she does not want to be like her. “Her mother went scuffling around the house in old bathroom slippers…”( Oates 616).
Connie in Joyce Carol Oates’s story “Where Are You Going, Where Have You Been” desperately wants to be independent from her family, while Gregor Samsa in Kafka’s “The Metamorphosis” pathetically yearns for inclusion. In this story, Oates pays special attention to the mother-daughter relationship and the lack of meaningful communication between them. Connie's mother is an image of the future Connie doesn't want – the life of a domestic housewife. Connie has a love-hate relationship with her mother, with whom she identifies, but at the same time she has to distance herself from her mother in order to establish her independence. On the other hand, The Metamorphosis, a story by Franz Kafka, is about a man who has been transformed into a giant beetle
She is obligated to stay married to her husband although she feels desperate to get divorce. However, economically and socially, Clara is obligated to her fixed role as a wife because of her motherhood. She express her anguish and distress for this: It bothers me that Eddie had to give me money for the ticket to come home…I don't have money of my own […] I don't know how I'll be able to work and take care of Eddie Jr. Maybe Eddie and I should go back together. "(71) Moreover, during their pregnancy, both Kennedy and Clara suffer loneliness, fear of miscarriage and death. Like Kennedy, Clara turns to writing in her autobiographical play as an outlet of her depressive feelings.
It is notable that in this poem, their relationship isn’t characterized by any direct interaction but only her own perception, watching and imitating Daddy from a distance. Thus, there’s a sense of distance, of incompatibility, and a feeling of something lacking in their relationship that torments the speaker. The poem describe her final effort to detach herself from this struggle, which predicts her death. With admiration, fear, dominance, and distance, the relationship between the speaker of Daddy and her father could be like every other family of the twentieth century. However, her father’s abrupt death has revealed its detrimental flaws by leaving her with a lack of an independent personality and decades of mental suffering.
Knowing how her mother really thought of her gave Penny the impression that her teammates had a similar opinion, which made cheering more miserable. Concerned for her daughter’s lack of social ability and constant isolation, Penny’s mother states “I don’t think you really appreciate the good in your life. You are always unhappy” (Wilson 166). Wilson uses this situation to show that Penny gains a spiritual awakening by confronting her mother and accepts herself. Penny argues with her mother, “I don’t like what you think is good.
Rachel Cameron and Mac Aindra are sisters. Rachel’s resolution of silence is a struggle to bring out her which is deafened by the society. Stacey on the other hand revolves between the present and the memory. Throughout A Jest of God, Rachel Cameron chastifies herself. When Rachel moves from the fantasy of masturbation to the action, she resists her desire and feels as though she needs to justify her need for pleasure and also for the escape.