Another way familial corruption is caused by the absence of fathers is portrayed by Shakespeare and Williams is through the characterization of the family members left behind. In The Glass Menagerie, Amanda Wingfield lives in the shadow of her past and is obsessed with the idea of gentlemen callers for her daughter. This concern for her daughter is rooted more in Amanda’s own interest, however, and has a detrimental effect on their relationship. “Once we analyse how Amanda manipulates maternity, a factor more fundamental than nostalgia will begin to emerge. This principle is self-consciousness.” (Levy).
Rainer Maria Rilke, author of “From Childhood,” and Alden Nowlan, author of “Mother and Son,” are both understanding of the fact that everyone has a mother—a woman from which each individual in existence was brought onto the earth. Through their literary works of art, their knowledge that the biological tie between mother and child is something that all human beings possess is evident, as well as their understanding that any further relationship past this biological connection is in the hands of each individual mother. “From Childhood” is an account of a mother and son rapport in which the mother is the driving force that stifles and smolders her child’s flame. “Mother and Son” delves into another relationship between mother and son, yet this recount evokes discomfort due to the slightly abusive undertones within each line. Close examination of varying maternal relations, from smothering, to abusive, to a seemingly unbreakable tie in “From Childhood” and “Mother and Son” points to the idea that though all human beings alike do indeed have a biological mother, no two relationships are the same, which ultimately proves how each mother child rapport has its own place on the very wide spectrum of relationships.
Lear said awful things to his daughter about an evil child. At this point he leaves and then the next scene shows the daughters meeting and holding hands. They are allying one and another versus the king. They have the king where they want them. Lear is the one who cannot control people and other people are being very ratical with him.
She simultaneously loves and resents her children because, while she is their mother, she feels that they have taken away her freedom and self-purpose. As Edna journeys in her awakening, she strives to find meaning for herself as Edna, not her children's mother. To prove she is more than just a mother, she distances herself from normal motherly responsibilities. “He reproached his wife with her inattention, her habitual neglect of the children. If it was not a mother's place to look after children, whose on earth was it?”(Chopin, 15) Edna's neglect of her children stems from others expectations for her to submit to and look after her
The protagonist seems as if she is completely dominated by her husband and as if he has full control over her. Ibsen first presents Nora as a child that does not have any knowledge about the real world outside her house. However, we can admire certain signs of rebellion presented in Nora throughout the play, which helped the public predict the final outburst. These situations made by Nora include the eating of the macaroons, she getting a loan and, finally, the poor relationship with her children. The final rebellion at the end of act three was not an expected way of reacting of a woman against his husband.
Let her die before his eyes,” Creon threatens Haimon to kill Antigone, “Here, this instant, with her bridegroom before her!” (Sophocles Scene 3, 137-39). During this quarrel, Haimon stays calm while on the other hand, Creon angrily disputes with him due to his arrogance. Additionally, Creon argues that an adolescence, like his son, does not have as much experience as an adult, like himself. Not aware of his power, Creon only sees this as discipline towards his son, as some parents would do. Without his excessive pride and arrogance, Haimon would have considered changing his mind.
Marie-Claire Blais’s Mad Shadows explores the complex relationships within the dysfunctional family of Louise, her son Patrice, and her daughter Isabelle-Marie. Louise’s obsession with Patrice’s beauty causes Isabelle-Marie to be an outsider in her own family, which she cannot escape even as she gets married and has her own child, Anne, who strongly resembles Isabelle-Marie in circumstance and appearance. Mad Shadows incorporates a cycle of familial violence spurred on by jealousy and neglect; despite Isabelle-Marie’s attempts to break the cycle of violence in the final scene of the novel, her actions and destructive urges are already apparent in Anne, ensuring the continuation of violence in the family. Parental neglect in Mad Shadows is portrayed as one of the major ways violence passes from the abuser to the victim within the cycle of violence. These methods of neglect are shown through Louise and Isabelle-Marie’s mistreatment of their daughters: while Louise resents Isabelle-Marie for her differences, Isabelle-Marie dislikes Anne’s similarities to herself.
In reading, it can be also found that Bartleby 's life and that of the woman are very impersonal, but Bartleby 's is more since the woman, at least, the woman tries to communicate with her son and her husband in order to solve it is happening to her. An obvious difference between the woman and Bartleby is when she realizes that she was wrong, “What has happened to me, I’m not myself anymore.” (Pg. 40) This is represented when she hit the child because of his antics. Her husband tried to help her in many times; he hired a nanny. This made the wife feel freer for a little bit.
Parents will always be concerned for their children. Worrying about bullies and scrapes and broken bones are a part of what makes a good parent, but fears change with the culture. Instead of being run over by a horse and buggy, parents worry about children 's self-esteem and their confidence. While a generation of feminists becomes parents, they worry about the media their children consume, most especially their daughters becoming obsessed with princesses, and the frills of prink inhibiting girls from becoming empowered members of society. Both "Cinderella and Princess Culture" by Peggy Orenstein and "The Princess Paradox" by James Poniewozik discuss parents ' concern for daughters ' infatuation with princess culture and the implications of princess culture for modern feminism; Poniewozik focuses on the steps modern movies take to promote ideals of women being feminine and strong, while Orenstein discusses older movies having characters being traditionally feminine, and therefore not strong.
At first Josie hated her father Michael for what he did to her mother, but then ends up opening her heart to him and accepting him into the family. She also didn’t get along with her Nonna that well at the start, but after realizing what her Nonna went through when she was her age, Josie and her Nonna started to see eye to eye. The reason Josie didn’t get along with Katia (Nonna) that well was because of the way she treated Josie’s mother. If Christina (Josie’s mother) or Josie ever did or wanted to do something Katia will always say “people will talk” and that really annoyed both of them. Josie’s relationship with her mother is a love hate relationship, one minute they love each other to bits and the next they’ll be screaming and throwing stuff at each other.
The most painful of these words arrives at the end when her son proclaims that the child she raised is not the same anymore. This marks his transition from boyhood to manhood: a transition in which the male perception of female inferiority grows stronger. A mother loves her son, and in modern times there are family disputes; however, they are mostly out of spite for parents in general, not out of misogynistic
She parades her daughter to her guests and then sends her off showing her disregard for her child. Daisy’s life “revolves around Daisy” and her daughters significance is limited to promoting her mother’s self obsessed image. (Cliff 's Notes). Daisy 's daughter is crucial in symbolizing her inadequacy as a mother as well as furthering the notion that she is undeserving of Gatsby’s affection. Furthermore, her daughter is paramount in displaying the disregard that Daisy has for the emotions and feelings of others which evidently alludes to her
Maybe a break or some time to follow their interests. Characters in both stories, “Confetti Girl,” and “Tortilla Sun” are living with one parent who takes care of them. This makes room very tight for the parents, causing conflict and tension within the parents and kids. This also causes different mindsets/perspectives on what’s happening to seep into the kid’s minds possibly causing an alteration in the relationships with each other. “Confetti Girl,” by Diana López mentions a girl and her dad.