Everywhere she goes, including her front lawn, she dresses and acts in ways expected of teenage girls. Now it can be argued that being able to act like a teenage girl is a freedom, but in this story, it almost seems as if Connie has to act like a teenage girl. For example, when Connie is in the drive-in restaurant and decides to leave with Eddie, but is unsure of leaving her friend alone, Eddie assures her that her friend will not be left alone for long (insinuating another male will pick her up), and when Connie and Eddie leave together, Connie looks around to make sure that others are aware of her triumph, “…the boy said that she wouldn’t be alone for long. So they went out to his car, and on the way Connie couldn’t help but let her eyes wander over the windshields and faces all around her…” (2). What Oates might be trying to sound out by Eddie being confident that Connie’s friend will find a guy shortly after Eddie found her, is that girls live a life full of expectations.
Symbolism can also be derived from Connie’s sexual fantasies and thus bringing the impression that women are “pleasure seeking objects” ? ?used by men to satisfy their sexual gratifications.Oates portrays Connie as a sexually skilled girl who has given her body to men countless timesupon what evidence do you bas this conclusion? moreover Arnold has easy time in convincing her as
In the short story titled “Where Are You Going, Where Have You Been”, Joyce Carol Oates introduces us to Connie, a narcissistic, rebellious, and naïve fifteen-year-old girl coming into a world of sexuality and adulthood she thinks she’s ready for. Unknown by her parents, she regularly spends the evenings exploring her individuality and freedom by flirting with teenage boys at her local diner. One evening, she catches the attention of a creepy and strange boy named Arnold Friend, who later shows up at her house unannounced with the intention to take her away. Needless to say, any person reading this will not be prepared to witness the ending of the story, or of a young woman’s loss of innocence and life. Although “Where Are You Going, Where Have You Been” has been interpreted many ways by scholars and writers alike, I believe the interpretation that best fits this narrative is Connie’s search for independence that eventually leads to a brutal outcome.
When Mercutio’s buddy Romeo is getting over the fact that Rosaline will not love him back; Mercutio says, “If love be rough with you, be rough with love” (1. 4. P.27). Mercutio’s blunt statements may help Romeo snap out of his depression. However Mike Hardcastle states, "Unrequited love"—love that isn't reciprocated—can be one of life's most painful experiences, for both teens and adults.” (Hardcastle, Web) If Mercutio in "Romeo and Juliet" was portrayed differently instead of his apparent anti-woman, and his attitude towards love the audience would miss out on an important minor character.
While as informed by the author Beloved has no good intentions but only to cause Sethe pain, Seth can’t because she is blinded by her aim to make it up “to her daughter.” Blinded by her love for her daughter, Sethe continually shares information about her past with Beloved which ultimately serves as a catalyst for the materialization of unpleasant memories she had lived to suppress. While Denver, Sethe’s child relates well with Beloved under the impression that she is creating a bond with her, she is oblivious to the fact that beloved is using that opportunity to make her mother suffer and destroy her. Through highlighting the experiences of these characters at this point, Morrison sets out to use the trauma theory to show the implications of trauma and the actions people result to to go through their experiences. In this case, the author shows guilt as an outcome of trauma and how Sethe blinded by her guilt gets exploited and even at some time her pain get intentionally added. Informed by the insights of the trauma theory, the author shows the far-reaching implications of trauma where in the case of the characters, they become reckless and oblivious even in situations where other people seek to abuse and cause them harm (Kreyling
Flannery O’Connor’s “A Good Man is Hard to Find” is a short story that makes readers question what truly makes a good person. The grandmother in the story believes she knows what a good person is, but the Misfit challenges her morals which makes her question what makes a good person. Both the Misfit and the grandmother judge people based on their moral code but one of their moral code is more authentic than the other. In her final moments of life does the misfit make her see what really makes a person good? The grandmother doesn’t seem to develop in the story until she faces life or death at the end, she may have never developed if have it not been for the Misfit.
A girl was not, as I had supposed, simply what I was; it was what I had to become. It was a definition, always touched with emphasis, with reproach and disappointment. Also it was a joke on me(142)”. The main character does not take into account how her mother might want someone to bond with until she is older. Because of her immaturity she has a bad relationship with her parents and her brother even though her thoughts are justifiable.
Peal does not see her mother as a sinner because she has been isolated by puritan society and as a result does not have the same beliefs. Pearl is the illegitimate child the symbol of her parent sin, but she is also a regenerative force.”(Kate 11) So long as Dimmesdale is alive, Pearl seems to be a magnet that attracts Hester and Dimmesdale, almost demanding their reconciliation or some sort of energetic reconciliation. “ Not a pure materateralism however, but one embellished by her guilt at the child’s disordered nature and for this living result of the act of love.”(Lasser 275) Pearl and Hester are not materialistic When Dimmesdale dies, Pearl seems to lose her vigor and becomes a normal girl, able to marry and assimilate into society. The implication is thus that Pearl truly was a child of lust or love, a product of activity outside the boundaries imposed by strict Puritan
Family Relationships in “Boys and Girls” by Alice Munro and “Responsibility” by Russell Smith Families both modern and past share the commonality of complex and complicated relationships between their members. These relationships may be founded on love and support while others may have disappointment and a lack of understanding. While there exist some differences in the parent-child dynamic in “Boys and Girls” by Alice Munro and Russell Smith’s “Responsibilities”, they are similar in the child’s wariness of their parent’s choices, their personal struggles to accept their own paths in life, and the adult’s understanding of those choices and their subsequent disappointment in them. Many children find themselves wary of following too closely in their parent’s footsteps, and the children in these short stories are no exception. Although the narrator in Munro’s story originally looks up to her father, after she witnesses the nonchalant and businesslike way that he slaughters a horse, she states that
Then, worry not! If love is all about putting in the endeavors to see one another, then it’s your obligation to express your affection by demonstrating a capable and loving nature. Gents, here are some tips if you are planning to date a single mom; Have patience. Single moms are regularly torn between their two personalities – that of an adoring and mindful mother and a solitary
Daisy depicts to Nick and Jordan her desires for her daughter. While not specifically applicable to the novel 's primary topics, this quote offers a noteworthy look into Daisy 's character and how women . Daisy isn 't a “fool” herself however is the result of a social domain that, as it were, does not esteem insight in ladies. The more established age esteems subservience and resignation in females, and the more youthful age esteems negligent energy and joy chasing. Daisy 's comment is to some degree harsh: while she alludes to the social estimations of her time, she doesn 't appear to move them.