The unnamed heroine is objectified first by his treatment like she is just piece of meat or an object taking her virginity in a brutal way and this is associated with her stain. Later, after his death, she keeps being literally stained because of the mark of the key to the bloody chamber on her forehead. In literature, lilies are typical symbols of death. The husband - like the lilacs in the glass vase - is distorted at the sight of the bloody chamber, and his soul is reduced to unequal pieces that can never be
What is important here is that the director was trying to show us how Goya was suffering most of his life because of how the love of his life, the duchess had died suddenly because she was poisoned by the envious Queen and Royal Secretary, which is why we keep seeing her spirit. Also, how the amount of suffering people had to endure from Ferdinand VII and his soldiers had such a strong influence on his paintings to the point where he started to paint horrifying paintings in order to make sure that the viewer’s knew what these innocent people went
This represents the arrogance of what he has done. He brings back the daggers that are evidence and fears suspicion. Lady Macbeth dreads and decided to frame the guards. Macbeth then refers to the “Great Neptune’s Ocean” as a remembrance that haunts him for the actions he took upon murdering Duncan. He reflects as it is a sign of how not even the entire ocean could wash his hands stained with blood clean from the horrifying deed he committed.
Shakespeare 's Othello centers around the power of jealousy and how it can end up causing the death of a couple and some of those around them. Othello seems to grow incredibly jealous of his wife, Desdemona, and his lieutenant, Cassio’s fake affair that Iago, the villain, has convinced Othello of. As an act of jealousy, Othello decides to kill Desdemona to prevent her from hurting more men and then after realizing everything was part of Iago’s plan he kills himself due to the guilt he feels after having killed his wife. Shakespeare’s use of figurative language and symbolism in act 5 scene 2 reveals how even though Othello truly loves Desdemona, his jealousy for what he believes she has done has completely clouded his judgment and taken over
In the end, Roger Chillingworth is worth nothing more than a social outcast who lost true and peaceful relationships with people, and even obtained hatred from his own wife. Through this allegory, Hawthorne teaches his readers that revengeful purpose in life can drive oneself out of the healthy social life. Nathaniel Hawthorne, through the allegory of Chillingworth’s life in Scarlet Letter, rendered the conception that vindictive life can be a melancholy. Compulsion with revenge only led Chillingworth to emotional corruption, hauled away various elements of life, raised anger, and drove him away from relationships with people. After all, would it be a wise determination to live with, or even possess, a spiteful mind preoccupied with revenge?
Firstly Iago uses racism to ignite the flame in Desdemona’s father, Brabantio against Othello. Zounds, sir, you’re robbed! For shame, put on your gown. Your heart is burst, you have lost half your soul. Even now, now, very now, an old black ram Is tupping your white ewe.
Gender and Dailiness : A Convergence The concept of gender and gender roles has been sewn into the very fabric of society. The stereotypes associated with them shape the habits, thought and lifestyle of an individual and influence their actions. Gender is a routine influence in life, whether in a subtle or forthright manner. This “dailiness” of gender is seen in Joan Scott’s essay “Gender: A Useful Category of Historical Analysis” and in Imtiaz Dharker’s collections of poems “The Terrorist at my Table” and “Postcards from God”. The relationship between gender and dailiness enables us to examine its the very foundation.
The myriad divisions and segregations within modern advertising can be traced back to the most basic human differentiation of gender. These “forms of audience fragmentation, particularly along race and sexuality lines … and their intersection with gender identities, have been found to contribute to the identity project of individuals in this era of late modernity” (Lemish 360). For the sake of ease, advertising companies choose to portray men and women “in stereotypical
The God of Small Things is a typical postcolonial feminist novel with the streak of interrogative stance on the gender and caste biased system in India. Arundhati Roy makes artistic efforts to put forward the saga of the agony and fire of revolt of women that has been sparking for a long time. Female characters like Ammu, Mammachi, Baby Kochamma, Rahel, Margret and even Kochu Maria in the novel are the instruments in the hands of the novelist to put resistance to the norms, dogmas, laws, values and structures typical patriarchal apart from challenging the “Love laws” and institution of marriage which assigns more bondages for women. Ammu finds herself entirely alone and helpless to fight the system that is designed to be hostile to fair sex. Mammachi feels threatened by whatever happens on the television as she opts to view the world through small screen rather than confronting the grim and unfavouring realities of life around.