Jane Austen’s Northanger Abbey is a bildungsroman, a coming of age story that focuses on the psychological development, and maturity of the protagonist Catherine Morland. This essay will analyse the language, and narrative techniques of the set extract, and discuss how this excerpt suggests vicissitude in Catherine’s priorities and relationships. In addition, it will discuss the ‘domestic gothic’ and real life abuse that prevails in ordinary situations. Furthermore, it will argue how Austen’s rhetorical techniques work to encourage reader interest, and to exercise perception, when distinguishing between appearance, and reality. Finally, it will conclude by briefly discussing the significance of the extract within the novel’s wider themes.
Using her own experiences unmistakably makes The Bean Trees truly hers as she drew from her experiences as a mother to accurately show Taylors transition from adolescent to motherhood. Only people who have experience motherhood can truly comprehend what it encompasses. Sometimes it takes a while to comprehend when big changes occur that they have happened. Turtle was big change in Taylor’s
In Gothic fiction we find different kinds of women, which embody the views of society towards women in the late nineteenth-century in England and Ireland. Thus we find strong, innocent and pure women like in Stoker’s Dracula, but also dangerous and powerful ones as we can see in Le Fanu’s “Carmilla”. However, we also could talk about some novels in which the role of women has disappeared completely, as we can appreciate in Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde. The aim of this paper is to analyse the role of women in these texts, paying special attention to Stoker’s novel, and to draw an overview of how they were represented in the society of the nineteenth-century. Freeman claims in his essay “E.
When the two girls go to enter Cathy’s house, the steps leading to the door are slanted and badly made. Cathy provides the excuse that they were “made that way on purpose... so the rain will slide off it.” Both these girls view their houses as more than just a place to sleep, but rather a statement about themselves and about their families. The grass is always greener on the other side, but Esperanza wants it to be otherwise. Esperanza wants to live a large house, like those on the hill her father works at. Esperanza gives a detailed description of her dream house in the first vignette, “The House on Mango Street.” She longs for a large, white house with stairs like those seen on T.V., a basement and three bathrooms or more.
Sandra Cisneros in the novel The House on Mango Street writes about culture, racism, languages, names, poverty, discrimination, friends and family to convey that racism causes insecurities in cultures. Esperanza is a dreamer, independent and occasionally unmindful. Cisneros shows that Esperanza is a dreamer when she describes the house Esperanza imagines what her new house would look like. Because Esperanza said “Our house would be white with trees around it, a great big yard and grass growing without a fence” [Cisneros 4] readers can infer that Esperanza is a dreamer. By using a metaphor, Cisneros shows that Esperanza is independent.
In the vignette, she says “One day I will pack my bags of books and paper. One day I will say goodbye to Mango. I am too strong for her to keep me here forever. One day I will go away.” (110) This quote shows that Esperanza sees more for her future than she could ever see through the lens of life on Mango Street. She knows that life where she is is not good enough for her, and knows that she will get what she wants.
Mama is an authentic feminist. She tells Beneatha that she have to conform to certain rules in the family “not long as [she is] the head of this family”. (Page 34). She wants to save her family from economic pressures which compels her children to cause resentments towards each other. Thus, she had “got to do something different… and do something bigger” (Page 71).
In relation to Lara Feigel’s perspective, Gentry also thought Schiff went to great lengths to help make it more understandable as to how and why it was so difficult to escape the mass hysteria. When comparing Gentry’s and Feigel’s reviews, they had very similar perspectives about “The Witches”. In Lara Feigel’s review, she also mentioned Arthur Miller’s play of “The Crucible.” She started off by comparing the two renditions, which she used as the base of her argument. In Miller’s play, he changed the age of the main character Abigail Williams from eleven to seventeen and John Proctor’s from being somewhere in his sixties to thirty-five. Many of the events that unfolded in Schiff’s book were more upsetting compared to Millers’ even though he was more concerned with demonstrating parallels to McCarthyism.
Martha Ward’s book “Voodoo Queen: The Spirited Lives of Marie Laveau” aims to dissect the complicated identity of the 19th-century voodoo priestess and her daughter of the same name. This book is the first study of the powerful religious leaders in a way that dismantles the common narrative of voodoo equating evil. During her examination of the Laveau legacy, Ward skillfully presents primary and secondary sources, as well as oral testimonies (1935-1943) from the Federal Writers’ Project of the Works Progress Administration. With a combination of archives that has considerable depth and breadth, Ward is able to analyze one of the most dynamic heritages in American Voodoo. One of the most important factors to consider while reading this book
Rheotorical Question – How do different contexts change the values in stories appropriated from the classics? Let’s look at Jane Austen’s Emma, written in 1815 and Amy Herkerling’s “Clueless” – a film made in 1995. We find in both, universal themes of marriage and social class – but are these themes similarly valued? The contrast in context is examined through narrative devices such as characterization and ironic omniscient narrators in ‘Emma” and film devices such as camera shots and non-diegetic music in “Clueless’. Emma Marriage For Jane Austen, marriage was a permanent affair that conferred financial and social security on a woman.