She has no more of a title or position than Perrault’s Cinderella, but we are given the opportunity to watch as she manages to rebel in a hundred different ways and to let her stepmother know that she refuses to quietly expect the arranged marriage, has setup in order to get her out of the way. This is not only entertaining for us as the viewers to watch, but also far more realistic in nature, when compared to that of Perrault’s Cinderella, who by the content of the story just seems to blindly expect the overwhelming cruelty shown to her by her stepmother and stepsisters, who throughout the story continue to try her as a
and Smooth Talk share, is that Connie and her mom are in a very bad state where they do not understand each other and that wish to not be apart of each other. In the book The mother is always saying “Stop gawking at yourself “ or “You think you're so pretty?" (online 1st paragraph). This is obviously not something a mother should say to her teenage daughter, and it definitively a way for teenage to feel like she is being attacked. The movie shows this hatred for one another through an argument that Connie and her mother get into.
Mary feigns a heart illness attempting to gain sympathy and to avoid hearing her teachers scold her for her tardiness. Mary behaves theatrically and goes to extremes to get out of this situation. Her exaggeration does not cause total destruction, but instead she causes interruption and distraction. Later when Rosalie Wells is reluctant to participate in Mary’s scheme, Mary threatens to tell her grandmother that Rosalie had stolen Helen [Last name]’s bracelet. Mary says, “I guess I’ll go tell Grandma, anyway.
Her over active imagination, anxiety, and aggression get her into trouble. When Nea tries to rescue Sourdi from her husband, it is the last straw and she knows that she has lost her dear older sister for good. “She had made her choice, and she hadn’t chosen me.” (84) Sourdi has matured and moved on while Nea is stuck in the memories of her
That is the way Maggie walks” (316 Walker). Maggie is unattractive and reminds you of someone with low self-esteem. Maggie is intimidated by her sister. She is not able to confront her sister on why she wants the quilts. As a result, she gives in to her sister’s request and tells her mom, “She can have them” (321 Walker).
In addition, the ghost of her aunt reflected on her childhood that she doesn’t want to be disowned by her family like the way they did her aunt. For example, when Maxine reaches her puberty age her mother warn her that she should not end up like her aunt “now that you have started to menstruate, what happened to her could happen to you. Don’t humilities us. You wouldn’t like to be forgotten as if you had never been born” (Kingston 5). This talk-story ghost of her aunt cannot be taken for granted because it brings disgrace to the family and this is why her mother exposed her to it from a young age.
She uses the foil to explore how Irene and Clare experience womanhood differently and connects it to the expectations of women in the 1920s. She mainly uses motherhood and marriage to exhibit these differences in their lives based on off race. She uses motherhood to show how Clare hates being a mother because of her fear of her husband finding out she’s black through her daughter’s skin tone. Irene appreciates being a mother even though she sacrifices her own desires for it; she understands the huge responsibility that comes with being a mother and embraces it. Marriage is used to portray Clare’s fear of her husband, and it shows Irene’s insecurity in her marriage when she suspects Clare and Brian are having an affair, yet her faith in her husband when she blames herself.
Decisively, it can be concluded that the tension between outward conformity and inward questioning builds the meaning of the novel by examining Edna’s role as a wife, mother, and as nontraditional woman in the traditional Victorian period. By Edna conforming to society’s expectations, she was able to question what she truly desired. If Edna did not conform, then Edna would have not understood that she longed for independence and the novel would have no solidified
In my scene she clearly says to Blanche, “I was very worried about you. I wasn’t sure if I had made the right decision.” This is consistent with the end of scene 11 when Stella protests the matron apprehending Blanche even though she had at least some part in planning it, “Don’t let them do that to her, don’t let them hurt her!” (140). It was the guilt and uncertainty she felt for sending Blanche away that made her question her relationship with Stanley. It is evident from my scene that Stella and Stanley still fight because in the stage directions for Stella while she’s talking about her life at home it says, “She brings her right elbow up to her chest and tenderly rubs it.” Suffice to say, the physical abuse from Stanley wouldn’t stop just because Blanche is gone, as it has been happening since their marriage. Her biggest conflict with Stanley would be whether or not sending Blanche to the mental hospital would actually help.
Maggie is also oppressed by society and Dee, and, though to a further degree than her mother, her view of herself attacks her equality compared to the rest of the world. The subject is immediately introduced. The story begins with Maggie and her mother waiting for Dee. They waste their time in order to be available to Dee as soon as Dee
She asks her sister, “Shall we not perish wretchedest of all, / If in defiance of the law we cross / A monarch 's will?” (_Antigone). Even when compared with the dishonorable deaths of her family members, Ismene believes that going against the will of a monarch is worse. Ismene is the polar opposite of Antigone, she is complacent and law abiding where Antigone defies the law in accordance with her own values. This has taught her that she and Antigone are “weak women, [...], Not framed by nature to contend with men” (_Antigone). As the case of Ismene shows, faith in law, and the following the societal expectations, creates someone who is largely complacent.