Blanche Desire Scene Of Desire

In what ways would you transform when presented with a life or death situation? In the prevailing and fast-paced short story, “Where Are You Going, Where Have You Been” by Joan Carol Oates we find out how much a person can change when crucial and demanding situations arise. In this short story the self-indulged protagonist, Connie will have to face her worse nightmares that she believed would be her ultimate fantasy. Connie is a fifteen-year-old girl who, like most young women, are ruled by their hormones and budding sexualities. She is a flighty teen who does not get along with her family and wishes to be an adult.

In addition to unrealistic standards, Orenstein is alarmed by the growing popularity of princesses because she views them as “retrograde role models” (329). Therefore, she thinks princesses teach false lessons on morals, speculating less attractive girls will be bullied. Although Orenstein takes a second wave feminist approach, Poniewozik has a third wave feminism viewpoint, which states women can perform female and male tasks. Poniewozik describes various new princess movies that have a third wave feminism approach, for example in The Prince & Me, Paige chooses her career of becoming a doctor over the prince (324). However, in the sequel, she marries the prince and continues working as a doctor.

Hermia respond is that she's done her best to get rid of him (because she loves Lysander). Helena wines: “Helena: O that your frowns would teach my smiles such skill! /O that my prayers could such affection move!” (Act 1, Scene 1, Page 8). When Hermia tells her that it's not her fault, Helena says: “Helena: None but your beauty; would that fault were mine!” (Act 1, Scene 1, Page 8). This caused a lot of tension and conflict between the 2 characters.

The realistic oppressions drive women to the verge of despair and madness. In The Yellow Wallpaper, the nameless narrator image there is also a woman who is bind in the yellow wallpaper and she has a responsibility to help this woman. Therefore, she peels off the yellow wallpaper to struggle injustice. In the end, she continues to creep over her fainted husband. The narrator feels her become the strong female hero and she do liberate herself from oppression and regain her freedom, but her strange behaviors also become a complete crazy and will be sent to the mental

In the vignette “The Monkey Garden”, Cisneros continues the theme of losing one’s innocence through imagery. Being one of the last vignettes, the reader knows the struggles like losing one’s innocence and feeling shameful that Esperanza continues to experience throughout the novel. Cisneros continues these themes when Sally is quite willingly tricked into kissing a couple of friends. Esperanza attempts to come to her rescue; however, Sally doesn’t want to be saved. Since Sally has completely thrown away her innocence by this point, Esperanza in turn feels shameful because of her still abundant innocence.

After she tells them of her adventures, they believe it was just a dream and that she must’ve hit her head hard, but she believes that it literally happened, therefore this supports the person versus self conflict because Dorothy’s struggle with herself continues as she has to identify if the time really occurred. She is the antagonist in this scene because she’s disagreeing with everyone else, therefore causing her to think more deeply on the incident. The Wizard of Oz shows the conflict of person versus self, in which the protagonist and antagonist in the conflict are both Dorothy and her

The word “fiend” describes an almost demonic hunger, which shows how she was seen to be immoral. During the play, in Act 1 Scene 5, she wants to be filled “from the crown to the toe top-ful of direst cruelty”, which show her desire to be morally corrupt and be only driven by ambition and power. Moreover, Lady Macbeth asks to take her “milk for gall”. This would have been very disturbing and perverted, as women at the time were seen to be only for child-bearing so, turning her breast milk into bitterness would be removing the sole purpose for her existence and would be tampering with the natural order of things. Further, Lady Macbeth would “dashed the brains out” of “the babe that milks me”.

It catalyzes themes such as her inability to deal with reality and aids in the development of her character. It becomes apparent that wherever Blanche goes she is out of place. She never feels at home and is always trying to escape. Blanche is constantly trying to escape reality causes her to fall further and further into her own fantasies as the novel progresses. She does not like leaving the apartment and bathes frequently as a way to escape the outside world.

She only can do this after she feels she has gotten rid of her female attributes. This can be attributed to the constraints of society at this time. Also, it can be attributed to the way that she feels about being not fearless enough to kill. She says, “Come, you spirits / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / Of direst cruelty” (1.5.47-50). Lady Macbeth is calling to the spirits to assist her murderous ideations and to do that make her less of a women and more like man which will then fill her with deadly cruelty.

She is completely devastated by this spectacle of the couples, making passionate love against the backdrop of a soothing plaintive music, which for that moment becomes deranged and erratic for Anna and she had to escape. Her apparent fear of witnessing the spectacle can be interpreted as flashing a torch light on herself. Her dependence on the body to attract others, can never be consummated with the compactness of love. In the theatre, when she actually saw the couple it was this realization which not only shocked her with disbelief but she was also overcome by a tremendous need to prove herself wrong. It was this illusion of love that she tried to sustain till the very end when she confronts her sister after engaging herself in a similar instance of physical love, with the waiter.