When we speak of the Physical bond, the Emotional bond always comes in mind, the following quote by Lucy Grealy “Autobiography of a face” makes this bond between the two characters apparent : “I treated despair in terms of hierarchy: if there was a more important pain in the world, it meant my own was negated. I thought I simply had to accept the fact that I was ugly, and that to feel despair about it was simply wrong”. (Autobiography of a face) Lucy had to accept the fact she was an ugly “Monster” instead of being depressed and despaired about it, she had to live on with her life. In a sense Scylla is similar, she herself had accepted being a Monster and she acted upon that, she did not lock herself up somewhere like in a cell. She as sad as it sounds, took the role that was given to her by others.
This quote expresses the tone of strict because the mom is telling Amy Tan that she can only live in the house if she is an obedient daughter. The quote, “‘Then I wish I weren’t your daughter, I wish you weren’t my mother,’ I shouted”(Tan 141-142) expresses the tone of hateful because the things Tan said as a child to her mother were just hateful to say. The relationship between this mother and daughter is a poor
Creon has no right to keep me from my own” (46).This evidence expresses Antigone’s main goal of doing moral good, for the sake of her family. The interpretation of literary thoughts is to be perceived by distinguishing what is morally right versus wrong. As a whole, ‘Questioning Authority’ depicts an outline of how normal, everyday people have a voice in society, therefore sustaining dignity. Self-Respect is
This is another one of Kruger’s classic red, white and black pieces. It is the outline of a woman’s body, pinned down and immobile. It is a representation of women’s place in society, more specifically, a patriarchal society (“Barbara Kruger Biography, Art and Analysis of Works”). This brings me back to our first reading, Two Or Three Things I Know For Sure, where Dorothy Allison gives a vivid description of the women in her life. She considers them an after thought, even background noise, she writes, “The women of my family were measured, manlike, sexless, bearers of babies, burdens and contempt” (Allison 33).
These problem setters can be simple by design but have incredible impact on the story. Addie, the dead mother, is the antihero. The most unheroic thing about her is her selfish desire to be buried with her blood family that takes a journey and a half to get to. This is an ordinary act of a character, but Faulkner shows that even the ordinary could be great. In this case, she causes much trouble.
The wallpaper is described many times throughout the story, presented almost exclusively as being very ugly, "repellent, almost revolting". It's yellow color symbolizes the way the narrator feels about her situation. "Unclean", "dull", "sickly" is how she may have felt deep down about her relationship with her husband and the life she lived under him. The wallpaper itself becomes a symbol for her. She uses it as a coping method and projects her feelings onto it and the woman she sees in it.
Alas!”(Shelley 63) Elizabeth begins to use short, choppy sentences, showing the reader that she is reassuring herself that Justine did not deserve to die. The syntax also creates a frazzled and overwhelmed persona for Elizabeth, caused by all the morbid things happening around her. Through the images Elizabeth describes, the ironic questioning, and the choppy sentence structure, Shelley conveys Elizabeth’s distress to the reader. Shelley successfully uses imagery, rhetorical questions, and varied syntax to contribute to helping the reader feel how distraught and torn apart Elizabeth is from the deaths around
It should make one more versatile and adaptable, like Tan’s mother. Growing up Tan tells a story about pretending she was her own mother in a conflict communicated over the phone; she expressed her shame about the situations that broken English had put her in. Unfortunately, her mother’s English was so poor there was no other way to mitigate the situation. Using “broken” English, her mother always seemed to resolve her issues and go about her life quite easily. If her mother spoke a broken form of English and managed to accomplish things in life, one should be able to write this way.
In “On Being a Cripple,” Nancy Mairs discusses the language of American society while including personal accounts of her struggle with multiple sclerosis (MS). Mairs presents herself as a proud individual through her utterly defiant personality, her word choice in deciding to identify as a cripple, and explaining why other socially accepted euphemisms do not define her. Mairs makes it clear that she is a cripple and only wants to be identified as one by stating that “Whatever you call me, I remained crippled.” To her, identifying with the word “cripple” makes her tough, like a cancer survivor. She throws the idea right back at American society that she does not want to be identified as “handicapped” or “disabled”. She
In Woolf’s essay, she observes death and comes to accept that we will all experience it at some point, which in turn adds a significant amount of meaning to life. Rich encourages readers not to waste their life by taking the easy way out and failing to be educated, but rather to live for themselves and pursue an education. Until a woman takes responsibility for herself and gets an education, she is not fully experiencing life and is, therefore, missing out. A waste of a mind is equated to a waste of life by Rich as she says “our bodies and minds are inseparable in this life” (299). This idea holds true for the duration of our time on Earth, and supports Woolf’s observations of the transition from life to death.