To begin with, in “Where Are You Going, Where Have You Been?”, the protagonist Connie, is a young pretty girl who is seen as gentle and innocent. She lives a neglected life with her mother always nagging, saying “Why don’t you keep your room clean like your sister? How’ve you got your hair fixed--- what the hell stinks? Hairspray? You don’t see your sister using that junk” (Oates 1) and her father always away for the work and never bothered to interact with Connie.
genuinely mind boggling story displayed as a basic story about great nation individuals. It begins with two ladies, the two moms, examining their youngsters. Mrs. Freeman works for Mrs. Hopewell and has two little girls, one wedded with a child in transit and one simply doing her own particular thing. Mrs. Hopewell has one little girl, Joy, who renamed herself Hulga to make herself additionally unappealing. She is a lady with a terrible heart, a wooden leg, and has never been enamored.
Mademoiselle Reisz, who is outcasted from society and described as a “homely woman, with a small weazened face and body and eyes that glowed,” had “absolutely no taste in dress, and wore a batch of rusty black lace with a bunch of artificial violet pinned to the side of her hair.” Her choice of wearing black, which isn’t lavish and exquisite, carry her place in society. Edna wore a peignoir to bed, a woman’s light dressing gown. This clothing is light and thin and depicts an image of femininity. It is also important to note that feels comfortable and luxurious after removing her clothes. “Edna… loosened her clothes, removing the greater part of them… She took off her shoes and stockings… How luxurious it felt…” This can be a symbol of the removal societal images and the effects of it.
She is Dracula’s first victim /vampire child in England. Lucy stands in many ways in contrast to Mina’s character as their moral views and ways of life are distant. She has no occupation and is in no way seeking any form of education. Due to this fact she resembles at first initially in no case the modern New Women, as these sought for independence and education. Her personality can be described as girly, lovely and ‘sweetly innocent’, a seeming sample of Victorian perfection.
Institution and Character: Duality in Diderot’s The Nun (Prompt #2) In Denis Diderot’s The Nun, the world in which protagonist Suzanne inhabits features no singularly central villain or antagonist, but instead an institution and larger system that oppresses her to the point of an eventual suicide. While several characters serve as persecutors of the inarguably pure Suzanne, they exist rather as mechanisms of a system which Diderot clearly detests. However, none of these persecutors stand out as the greatest embodiment of this institutionalized evil more so than the second Mother Superior at Longchamp, Sister Sainte-Christine. Harsh and conniving, Mother Superior made a formidable villain largely thanks to her draconian temperament and the
In The Awakening, Kate Chopin uses the determination of an awakened woman to demolish the stereotypical roles of a twentieth century woman. Edna goes from being a timid housewife to an autonomous young woman who tries to change her role in society. When Edna first arrives in Grand Isle, she is a typical woman of her era. She is shyer than most women and is very
Rosamond is the daughter of a factory owner who is “very charming” and has “radiant vivacity” (Bronte 704-705). She proves to be the only exception to Bronte’s stereotype of the inverse relationship to beauty and personality. Rosamond is the unattainable goal that every Victorian woman strives for; beautiful inside and out. This goal described by Bronte is one that the women in the novel strive for, but will never accomplish. St. John, Jane’s cousin, feels a strong passion for Jane and tortures himself for feeling that way.
Regina is a woman that is more than capable by herself and doesn’t believe she has to listen to anybody. But, after Horace dies she tries to make her daughter, Alexandra, do what she says. She wants Alexandra to come live with her in Chicago after they make their fortune. Ironically, Regina tried to do to her daughter what she didn’t want to be done to her. Regina’s efforts have failed as Alexandra matures and realizes that she must escape the Hubbards and her mother (Hellman Act 3).
“She had no expansive clothes, no jewelry, nothing. And these were the only things she truly loved” (Maupassant). The princess, as shown above, is a character who relates in very aspects with Mathilde, but is very different from her, too. As for the differences between the two characters, there are many. To begin, Mathilde feels she married someone inferior to herself, while the princess loves her lover with ardor.
This essay will analyze ‘The Necklace’ and how Maupassant uses the social context, characters and literary devices in the short story to illustrate his misogynistic viewpoints towards women. The protagonist of ‘The Necklace’, Madame Loisel, live a rather steady, ordinary middle-class life in the beginning of the story. However, she views that she is intended for a luxurious life, and, therefore, does not cherish what she has. She takes a step forward to her desires, as she was invited to a ball where all the upper-class woman would be, yet she was unhappy with the fact that she does not even have a stone to put on. With her greed for attention, she asks one of her upper-class friends, Madame Forestier, for a necklace that she could borrow for the ball.