Analysis Of Jump For Jordan By Donna Abela

The play, although only a few pages long, is able to depict how the stages of life, the birth of one’s child, one’s marriage, the

In order to fully understand the story it must be evaluated to show what lesson is to be learned from the reading. The story has an epiphany implemented into the writing which gives a new realization in the importance of this part. A major evaluation to this short story is to fully understand the main characters in it. One significant character in this story is Louise.

In Kate Chopin’s “The Story of an Hour” demonstrates the personal growth of the dynamic protagonist Louise Mallard, after hearing news of her husband’s death. The third-person narrator telling the story uses deep insight into Mrs. Mallard’s thoughts and emotions as she sorts through her feelings after her sister informs her of her husband’s death. During a Character analysis of Louise Mallard, a reader will understand that the delicate Mrs. Mallard transforms her grief into excitement over her newly discovered freedom that leads to her death. As Mrs. Mallard sorts through her grief she realizes the importance of this freedom and the strength that she will be able to do it alone.

Close Analysis Paper – Memory in “Simple Recipes” The purpose of this paper is to do a close reading on ‘Simple Recipes’. I believe a great deal of people find family relationship very hard to deal with, so as Madeleine Thien. By examining the imagery and choice of languages that Madeleine uses, I will demonstrate the theme of memory in intensifying the main idea, which is the complicity of family relationship in the whole story. Memory as a projector to show the transition of the narrator’s emotion towards her father.

Edmond Rostand’s comedic play Cyrano de Bergerac recounts the tragic heartbreak of an unsightly French poet as he aids his handsome but dull cohort Christian in capturing the heart of the beautiful Roxane. Cyrano de Bergerac, a colossal-nosed man with a masterful talent for wielding both words and sword, battles self-doubt and insecurity as he contends with his own feelings of love for Roxane. Throughout the play, Rostand reveals a stark polarity between Cyrano and Christian, illuminating the gaping disparity between the characters’ appearance and intellect while portraying the men as foils for each other. From the play’s beginning, Rostand’s audience becomes keenly aware of the divergence between Cyrano’s intellectual substance and Christian’s physical attributes. While Cuigy pronounces Christian “a charming head,” the character describes himself as “...far from bright” (Rostand 1.4-5).

The jump in “Prelude to Jumping in the River” by Katia Grubisic undergoes similar process as making important decisions in terms of the preparation and the aftereffects. Both the jump and making important decisions require lengthy preparation. In the poem, before the man jumps into the river, he “lays his light shirt, glasses, straw hat / and shoes” (1-2) on a piece of wood. This shows that he has spent some time organizing his clothing and “the mental preparation / takes some time” (4-5) after he has undressed. Similarly, before making important decisions, the decision-maker needs time to check every detail and weigh the benefits and drawbacks of each option in order to decide which one is better. At the same time, the jump is described

An analysis of dynamic character like Louise Mallard, (the protagonist) of “The Story of an Hour”, illustrates a central theme of the story, independence is sometimes a prohibited satisfaction we behold within all of

Act one consists of eight scenes whereas Act two consists of six scenes. The play alternates between the past and the present and is a performance within a performance. There are several locations

In her epiphany, the narrator becomes aware of “her own fault” and that she is responsible for the thefts in her life. The epiphany highlights her passivity and apathy which are evidenced through the characterisation and plot structure. “Theft” beings with the narrator realises that her purse had disappeared. Her calm recollection of the last time she had held the purse shows us that she is not panicked and in fact, very meticulous regarding the details. This is the first evidence that she has a somewhat detached personality and contradicts with the janitress’ claim that she “leaves things around and don’t seem to notice much” (65).

The chronological structure also makes the audience aware of Blanche’s spiral into a destruction which is tragic and inevitable. The plot of the play is advanced

The play closes on a positive note with Nora, representative of the supressed female, overcoming Torvald, representative of the oppressive male, however to express the true extent of this achievement, Ibsen makes evident the context of the struggle that society dictated women live by. The progressive characterisation of the protagonist Nora encapsulates Ibsen’s intention of pushing theatrical and societal norms through showing how women deserve to create their own identity and not be restricted by their male oppressors. Ibsen crafted every line to show the development of her dialogue, actions, setting and properties, and in doing so he potently slammed the door on the patriarchal society of the 19th

Nora 's courage in going against the pillars of the Victorian era is something the modern reader finds commendable and aspiring. If the play had been performed today, the modern reader would be the one to stand up and whistle during the scene of the slamming of the door, while the Victorian reader 's face would turn pale with shock at Nora

As a consequence, she presents a very personal account of her mother and her behaviour, changing her view and her opinion according to how well or badly she feels her mother is treating her. As the narrator consistently intertwines her own personal story with fairy tales, it is useful to analyse the whole narrative according to Vladimir Propp’s character theory. In his work Morphology of the Folktale, Propp identifies thirty-one key-narrative developing functions that served as stable, constant elements of the fairy tale which bring sequential changes to a specified initial situation, usually performed by seven character

We think that the form of the “Imaginary” mentioned in Lacan’s psychoanalytic theory of Mrs. Mallards family and friends “imagining” that the devastated new of Mr. Mallard’s death would cause her a heart attack, however later on in the story it was mentioned that she was in fact relieved to know she was a free woman of her marriage. Consequently, the reality of Mrs. Mallard’s thoughts, perceptions and feelings were not the same as others may have assumed or imagined to be. Based on stereotypical standards of society this was misunderstood because a wife should feel an enormous pain for the death of her husband. As the story continues, when Josephine whose Mrs. Mallard’s sister told her about the death of Mr. Mallard, instead of reacting in shock as “many women would’ve (Chopin, The Story of an Hour)” done so, Mrs. Mallard “wept at once, with sudden, wild abandonment, in her sister’s arms.

Nora grows in stature, and is purged by suffering. In defeat she is victorious. When everything lies in ruins around her, she emerges strong and independent; she is in the process of attaining complete maturity. At the same time, her action at the end, point s to a freer and more honest humanity in a healthier society. In this sense, she is modern, tragic heroine, and the play is precisely what it has been called, a modern tragedy.