She uses comedy to ridicule life`s social ironies. She does not include in her novels problems or death but just deals with the paradoxes of life which she is familiar with (401). She observes the follies and shortcomings in the real world and wisely addresses them in her novels. Jane Nardin also remarks that Austen uses satire as a humorous awareness of the incongruity in society and this she calls irony. This irony is the measure Austen uses in measuring how adequate moral positions are in the society (2).
___). In this scene, the demonic imagery Brabantio uses serves as a harsh contrast between his impression of Othello as “Damn’d” and Othello’s actual calm and noble nature. By structuring the encounter in such a manner, Shakespeare utilizes the shocking nature of the demonic imagery to highlight how Brabantio’s impressions have deceived him into falsely believing Othello must have enchanted his daughter, when in reality this was not the case. Thus further developing the theme of how people’s impressions of others can be deceptive. This use of demonic imagery occurs again in Act I scene ii, when Brabantio pleads his case to the Duke of Venice.
Specifically, Jane Austen uses characterization of Elizabeth to depict how her actions are disapproved by society. This relates to Margaret Atwood’s use of characterization in her poem, Helen of Troy Does Countertop Dancing, which also shows societal disapproval. In Atwood’s poem, the text states, “The world is full of women who’d tell me I should be ashamed of myself if they had a chance... Exploited they’d say. Yes, any way you cut it, but I’ve a choice of how, and I’ll take the money.”
The fictional society forces handicaps upon individuals limiting them to the same intelligence, beauty, and athletic standards. The officials “Harrison Bergeron” forced handicaps such as weights, interrupting radios, and ugly masks to reinforce sameness. Imposing handicaps upon individuals is tyrannical and unjust, thus contradicting the original goal of equality, which is justice. Confusing equality and sameness deprives individuals of genuine equality, which encompasses and embraces individuality. For example, in 2002 the government enforced a law entitled No Child Left Behind.
In this conversation, Blanche Ingram and her mother voice their prejudice against the lower class by not even taking Jane Eyre ’s position seriously and despising her. They show their hatred when they talk about Jane’s position although they are aware of her presence in the room. The main reason why Blanche Ingram despises Jane is because Jane’s social position is inferior, yet her education is superior to Blanche Ingram. This is why she feels the need to speak in French which is supposed to show her education.
It can be either narcissistic or voyeuristic. Mulvey claims that cinema is scopophilic, “But the mass of the mainstream film, and the conventions within which it has consciously evolved, portray a hermetically sealed world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic fantasy” (p.17). She says that one of the reasons why cinema is so appealing is because it satisfies this scopophilic impulse that we all
Huck, on the other hand, feels pressured to conform to societal standards. Through Huck’s thoughts, Twain employs irony to differentiate society’s beliefs with Huck’s new understanding of
The setting in Emma relies heavily on the class system as it determines the quality of life and social interactions through birth and inheritance. Regency England’s rigid codes of propriety and hierarchy is demonstrated as Emma says, “They ought to be taught that it was not for them to arrange the terms on which the superior families would visit them” in regard to the lack of invitation to the Coles’ party. Austen’s use of characterisation highlights Emma as one to uphold the rules of social hierarchy. Patriarchy is conveyed in the stratified society as it is only through Mr. Knightley that Emma finally comes to understand the immaturity of her tendencies. He says at the Box Hill picnic, “to have you now, in thoughtless spirits, and the pride of the moment, laugh at her”.
The motive behind her deeds has deep roots in the susceptibilities of the society she lives in. There is a tangible social tension and an innate inequality, which sweepingly grows into sexism, racism, and other -ism based discrimination. What is even more problematic is that such issues are left unspoken - there is no open discussion about their rightness and the consequences of spreading rumours or isolating the women from the social and political life. That is why it is safe to assume that one of the reasons Abigail Williams falsely accuses so many people without showing any signs of guilt or remorse is her outspoken resentment towards Salem and its residents. Since the beginning of the play she has been notorious because of the village rumors about her provocative and quite manipulative behavior.
Thus, just as Caterpillar was surprised and offended that Alice could be frustrated by being only a few inches high, Victorian society was shocked by women who were bold enough to protest their limited social roles and lack of equal
The following quote should hopefully secure the idea that oppression is still very much a prominent part of society that affects women, “We look silly, incompetent, weak, and generally contemptible” Frye writes, regarding the differences between female restrains and male restraints, “Our exercise of this discipline tends to low esteem and self-esteem. It does not benefit us. It fits in a network of behaviors through which we constantly announce to others our membership in a lower caste and our unwillingness and/or inability to defend our bodily or moral integrity” (16). In essence, this quote displays how women are mocked for attempting to develop their own independence.
In “The Hoodwinking of Madeline: Skepticism in The Eve of St. Agnes,” Jack Stillinger discusses some possibilities of feminist readings of the poem. First, the romantic poem is about two young lovers—Madeline and Porphyro. Madeline dreams of her lover and her visionary imagination comes true as she wakes to find Porphyro present in her bed. The feminist presence of this poem and essay are pointed out by the internal and external conflicts of the dream and the world. As Madeline is mentioned as a saint and as Porphyro is seeking his heart’s desire of sexual encounters with Madeline, we discover that Madeline is an independent thinker as she decides to run away with Porphyro.