When jealousies arise through the flirtation of Nunkie, a girl who takes a liking to Tea Cake, Janie and Tea Cake fight but talk through and express their feelings over the flirtation to one another until each gives in and they become united once more (188–191). This jealousy is completely unlike Jody’s jealousy of men looking at Janie’s hair in the store; where Jody refuses to open up and explain his feelings to Janie because of his pride, Tea Cake and Janie are able to communicate their emotions to one another and resolve the tension. While her other two marriages were action based and emotional deaths of love, the pride that kills Janie’s third marriage is a physical death. Tea Cake pridefully refuses an offer to take Janie and escape from the Everglades before the hurricane comes upon them. Tea Cake tells ‘Lias, who has offered he and Janie a ride out of the Everglades “Man, de money’s too good on the muck.
More importantly, the relationship teaches her the meaning of togetherness. Tea Cake and Janie did good agricultural work, though Tea Cake was not as wealthy as the two men, Lorgan and Joe. Admittedly, they argued because of Nunkie, who flirted with Tea Cake in a party and because of Tea’s small secrecy. However, after the conflicts melted, they relied on each other in the hurricane and flood. Her insistance of freedom and love is amplified in the sentence, “they stared at the dark, but their eyes were watching God.”
Over the course of this novel she has gained strength as she faces different situations and problems in each relationship, which made this a positive relationship. Janie showed herself to be Independent in thought when wanting to marry tea cake. Being in a relationship with tea cake,
The novel 's plot is driven by Janie 's series of relationships with different men: a kiss with Johnny Taylor, followed by marriages with Logan Killicks, Jody Starks and finally, Tea Cake. Logan Killicks and Jody Starks see Janie as defined by her relationship with them, and expect her to be obedient, silent and proper. Jody sees her as a kind of ornament that bolsters his social standing and that helps to justify his efforts to assert control over everyone, men and women alike. Tea Cake, in contrast, defines himself not by political power but rather by his physical strength and ability to have fun. Even while Tea Cake treats Janie as an equal, there still exists a certain power struggle in Janie 's relationship with him, as her increasing ability to recognize her needs as an individual throughout the novel emerges in response to Tea Cake 's treatment of her.
Through Logan and Joe, Janie learned the qualities that make a marriage a good one. These qualities were freedom of speech, as in being allowed to speak her mind freely without being scolded by her husband. Another good quality she learned to look for in a relationship is the ability to act like yourself around your partner. Both of these qualities Janie found in Tea Cake. Through trial and error and learning from her mistakes Janie finally figured out that just because you marry someone you doesn’t automatically mean you’ll fall in love with them.
Katharine Brush 's short story "Birthday Party" is about the perjury of a third person 's judgment about a birthday party thrown by a wife for her husband. Is truly a story with an objective to challenge defining how a man-woman relationship should function. This short story reveals how joyless a marriage can be when spouses are too unimaginative to stray from the bourgeois affection. The use of descriptions, perspective, diction and syntax portray the husband’s insolence so well that its purpose to induce the reader’s disgust is utterly achieved. Sensory details reveal how insignificant the celebration quickly rises into a heartbreaking emotional embarrassment.
1. Unlike Janie’s previous husbands, Tea Cake treats Janie with compassion and respect. In addition, he loves Janie for her personality instead of her looks and her role as a woman (housewife). 2. The speech characteristic that Tea Cake encourages Janie with is truth.
George and Emily’s wedding is a major part of the play as a result of being the topic of the second act. The bride worries about the changes that marriage brings before the ceremony. When Emily asks her father, “Why can’t I stay for a while just as I am?” (75), she realizes that the
The narrator remarks that “ What if Eatonville could see her now in her blue denim overalls and heavy shoes” (134). This supports how Joe and Eatonville both use judgement and male dominance in gender roles to prevent Janie from freely letting her hair open. However, Tea Cake did the complete opposite and gave Janie the equal opportunities and voice about their marriage, and the overalls symbolize the equality in their relationship. Although overalls reflect a working society, this clashes with Janie’s previous lifestyles as the wife of landowners and mayors, but also shows how she seems the happiest with Tea Cake than in any of her marriages even though she is with a simple and relatively poor man. This attributes to why Janie loved Tea Cake, and that is because he valued equality in marriage instead of materialistic objects unlike Janie’s previous marriages.
He offers her experience”(31). Crabtree’s and Wolff’s arguments are problematic. Crabtree states that Tea Cake expands Janie’s horizons while Wolff claims Tea Cake gives Janie the world and offers her experience. In both instances we may note that Janie is a passive character, viewed by these critics as an object acted upon by Tea
The play “Trifles” by Susan Glaspell is largely based on stereotypes. The most prevalent one explores the difference between gender roles. Glaspell exerts the repression of women in the 1900s. During that time, women were highly looked down upon by men, and were only seen as the housekeepers and child bearers. This example is displayed throughout the play with the men, however, the women in this play prove that the stereotypes of gender roles held against them are completely wrong, which is shown through the characters, set design, and symbolism.
Feminist theatre was a voice raised against this perspective. It was the construction of a counter cultural politics where women pushed themselves towards the subject position. Feminist theatre argues in favour of the potential of theatre to revise representations of gender differences on the
William Shakespeare’s works, written primarily from the late eighteen hundreds to the very early sixteen hundreds, have long been the subject of academic debates and analysis. Potent with double entendres, metaphors, and social commentary, it is easy to apply queer theory to Shakespeare’s plays, notably Twelfth Night, written in 1601. Though Twelfth Night’s ending pushes its characters into traditional heterosexual romances and binary gender roles to satisfy the genre and placate conservative Elizabethan audiences, the characters in the comedy defy tradition by exploring homosexual love and expression of gender. The most apparent homosexual themes are present in the relationship between Antonio and Sebastian.
I think this function much better as a documentary, if all of the interviews had been recorded, or a short story that showed more of the connection between characters other than just that they are all residents of the same town. This play is easy for the reader to understand because it is written in modern day English; it is just difficult to keep up with the moments the play is broken down into. I do enjoy how it does show the prejudice of this small town and how it speaks out on how gays are treated and how it is a violation of basic human rights; I just think it would get the point across even better if it was written or produced in a different
This play consists of a lot many themes. To cite a few: Rewriting the tale of Cinderella and Sleeping beauty, Class, language and phonetics and Independence. But in this paper, I would like to work on the feminist aspect of this play for this aspect, is the one which impressed me more. As this paper is based on Gender analysis I am restricting my analysis to the theme of Feminism in this play.