No Name Woman Summary

“When I discover who I am, I will be free.” ~Ralph Ellison With a cultural identity as unclear as her own, Sarah Howe grew up questioning the human condition, specifically regarding the idea of belonging. Yet despite her great efforts in discovering what it means to have a bicultural heritage, her journey of understanding is forever ongoing. This journey and thirst for belonging inspired her poetry book Loop of Jade. Howe begins her book with the poem Mother’s Jewellery Box. The poem acts as a gateway to the main topic discussed in her other poems: the relationship between her and her Chinese heritage.

In her essay Adeline Mowbray: Diverting the Libertine Gaze Roxanne Eberle also confirms that the novel is inspired on Wollstonecraft and Godwin’s relationship, but she goes a little further and suggests that more than a replica of the two “Jacobin” philosophers ‘lives the novel is a counteraction to Godwin’s Memoirs of the Author of A Vindication of the Rights of Woman. As an early admirer of Mary Wollstonecraft Opie could not accept the abhorrent position in which the Memoirs had placed her, so she wrote a novel that “examines the confusion which ensues when a women’s philosophical beliefs conflict with society’s notion about female sexuality”(1994: 123), and how that transgressive women is converted into a sexual object by a conservative society. For Patricia Mathew, more than a critique to Godwin’s concepts, the novel exhibits the impracticalities of those theories when applied to women in the late eighteenth century. Her analysis unfolds around the idea that Adeline Mowbray “takes its central theme from Wollstonecraft’s experiment in marriage with Godwin”(2007: 390) and arguments that Opie sets the basis for her fiction by using Wollstonecraft’s

Essay 3: Pride as a Character Flaw, Option A In Good Country People by Flannery O’Connor, Joy (later renamed Hulga) becomes blinded by her pride due to a bible salesman that turns out to be less than adequately stereotyped. Duped into succumbing to his tricks, the main character Joy allows her pride to keep her from seeing the truth until it’s too late. Joy’s pride contributes to her downfall because she hides behind a wall of intelligence to accommodate for her wooden leg. Her wall of intelligence makes her believe that she is smarter than Manly Pointer, this opens her up to the chance of being blindsided. Another contribution is the fact that she does not observe her surroundings because of her overconfidence of abilities, this allows Manly to play to her weaknesses and be the person he knows she needs.

She said, “Because-he-is-trash, that’s why you can’t play with him. I’ll not have you around him, picking up bad habits and learning Lord-knows-what” (Lee 301). This statement shows that she believed the Finch family would look bad if she allowed Scout to play with someone like Walter. This statement also causes the readers to collate her with Hilly when they realize that they both treasure the reputation of their family. In conclusion, Hilly and Aunt Alexandra both value their status in the towns they reside in and wish to maintain it.

Steinbeck page 86 and Steinbeck 90 prove this, “Well, I ain’t supposed to talk to you or nothing.” “Feel right aroun’ there and see how soft it is. Curley 's wife is clearly told that isn’t supposed to be talked to by Lennie but yet she takes advantage of his stupidity and gets him to stroke her hair. Lennie is described and shown as a dumb giant who has the mind of a child. With this we see how challenged people can be taken advantage of because they are thought to be different than other.

In “White Tigers,” Kingston tells her own version of a popular Chinese ballad, “Fa Mu Lan,” while incorporating her own reality back into the section. In her literary criticism, “Empowerment Through Mythological Imaginings in “Woman Warrior”,” Sue Ann Johnston comments on Kingston’s use of myths in the memoir, and believes that myths are Kingston’s most effective means of conveying messages to readers. Although these myths are effective, Johnston overlooks Kingston’s incorporation of these myths back into her own life. As demonstrated in “White Tigers,” Maxine Hong Kingston reveals that a woman warrior requires strength, dedication, independence, and confidence through her mother’s talk-stories and personal struggles during her life. At the opening of “White Tigers,” Kingston vividly describes the importance of storytelling to girls in the Chinese community.

Rather, she subconsciously internalizes the welfare and hardships faced by others while sacrificing her own well-being. Through the complex character of Mrs. Ross, Timothy Findley explores the selfless, and sometimes unconventional nature of responsibility, where individuals may attempt to isolate oneself from the burdens of responsibility but still feel obligated to affirm their roles through internalizing the welfare of others whilst depriving oneself if the duties are not fulfilled.

Although some may argue that the short story, “Where Are You Going, Where Have You Been” by Joyce Carol Oates, reveals that Connie’s materialistic ideals drove her actions which caused her ultimate demise, this position limits the importance of Connie’s repressed thoughts. Her repressed thoughts, identified through daydreams and inner dialogue, reveal her psychological efforts to protect herself from the imminent danger ahead. These thoughts form as she strives to achieve a differentiation of self from her older sister, yet her newfound identity becomes superficially based off how she believes she should behave around her peers. When Arnold Friend appears at her doorstep, even though Connie deploys her defense mechanisms of repression and denial, she remains vulnerable to Arnold because she does not acknowledge her repressed thoughts and only considers his superficial appearance. Once Connie’s repressed thoughts surface, her reality anxiety allows her to uncover Arnold Friend’s true intentions with her and shed light on Connie’s fatal flaw: her differentiation of self.

In the "Feminist Standpoint Theory" by Julia T. Wood postulates, “a feminist standpoint grows out of encountering oppositional knowledge” (Wood). In Shah’s piece, she maintains a standpoint understanding of the subjective disposition of her parent’s cultural perspective construct of her sister’s social choices as compared to her own and her parent’s oppositional expectations. Additionally, she is critical of the disproportionate significances of her sister and parent’s standpoint of the culture of India and one in the United States in regard to her sister’s choice of clothing, her attitude, and sexuality. Shah expresses her viewpoint regarding her culture, her sister’s openness to be “western sexy” through having a feminist boyfriend, being

When all of the evidence is presented the reader can, therefore, decided whether or not they agree that women are treated very unjustly compared to men. First, Nora is treated like a child by her husband Torvald. Torvald had nicknames for Nora like squirrel or skylark that was often accompanied by demenors like sweet or little. At the end of the play, Nora tells her husband that he treated her like a weak, fragile doll just like her father. Nora’s feelings about Torvald’s attitude is evident in the quote from Nora and Torvald’s conversation ”I was your little songbird just as before- your doll whom henceforth you would take particular care to protect from the world because she was so weak and fragile.”(Pg.

- - - - - - - - - - - - - - - - - - - - - - - - - The main theme throughout The Bonesetter 's Daughter is the importance of communication in relationships, and how without communication, relationships suffer. Tan shows us this in several different ways, through: Mothers, daughters and spouses. She shows us how concealing our past, feelings and intentions lead to misinterpretations of actions and the weakening of relationships. Tan focuses mainly on mother daughter relationships, and how damaging miscommunication is to both mother and daughter and their relationship. There are several mothers and daughters, who suffer though their uncommunicative relationships, throughout The Bonesetter 's Daughter: Ruth and her mother LuLing 's; Ruth and Art

After the marriage with Logan failed, Janie thought that Joe was the one. He turned out to be very controlling and possessive of her. He did not allow her to do anything and thought that “a pretty doll-baby lak [her] is made to sit on de front porch and rock and fan [herself] and eat p’taters dat other folks plant just special for [her]”(Hurston 29). Janie realized that she should be able to have some type of freedom in her marriage, and not feel

Throughout the work, supporting characters such as Moira comment on the two’s strange relationship. Its nature is truly revealed in this scene of supposed embarrassment, when instead of being shocked, Colin’s mother is warm and inviting. Even at this progressed stage in her son’s delusion, Colin’s mother has the ability to reform her son’s behavior. Instead of doing so, she encourages his abnormal behavior and asks, “Are you going all loopy” (Rendell 163)? It is this support coupled with a strange childhood that push Colin to blur the link between his human and animal

“There’s nothing remarkable in their making a man foolish, in women winning men To sin, for Adam our father was deceived just so, and Solomon, and also Samson, Delilah was his death and later David Endured misery for Batheba’s beauty. Women ruined them: how wonderful if men could love them well, but never believe them!” (130). Ever since Adam & Eve days, females have been seen as femme fatale. As “An alluring and seductive woman, especially one who leads men into compromising and dangerous situations.”- (dictionary). Sir Gawain expresses his thoughts and advices his audience that it is ok to love woman but never believe their stories nor fall for for their seduction otherwise a permanent scar will be carried upon sinners.