There must be more money!” It says that the boy has been hearing the house whispering this to him, but it is actually him just going mad. His mother continually talks about money so he stresses out over it so much that he is driving himself crazy. He hints that this is what people do in general, maybe not to this extent all the time, but it happens. We get so focused on stupid things that it consumes us.
modern psychology. This medical report, written by Ray, is full of shoddy evidence that is just as clouded as the professional facts presented in the rest of the novel (3-6). The unresolved psychological strain takes a toll on Lo and Humbert alike. Lolita throws tantrums throughout the journey, and she eventually becomes physically sick as a result of the sick behaviors inflicted upon her throughout her life (239). Humbert also shows extreme anxiety as he imagines that he is being followed or spied on at all times (219).
It reinforce his authoritarian voice. Short sentences are used which helps build tension between them, it also brings suspense to the reader about what will happen during Sybil’s interrogation, known to us that she will confidently build this wall and in the end of the act her wall would’ve fallen to pieces and she’ll obliviously throw her son under the bus. Stage directions are used to help the reader infer the inspector’s control over the family, also it gives a better understanding of the family’s reactions towards this. This could be seen in the adjective, “Haughtily” which describes someone that shows an arrogant superiority. This shows Sybil’s reaction to the inspectors affirmation to Sheila’s statement, it tells us how she was bothered by his comment which reinforces the idea that the inspector is taming and daring her.
These tendencies and actions are inherently destructive for the marital relationship, leading to increased dramatic tension and cruelty as the night progresses. George criticizes Martha for sharing too much information about their relationship with their son: GEORGE. …about the apple of our eye…the sprout…the little bugger…(Spits it out)…our son…and if you start in on this other business, I warn you, Martha, it 's going to make me angry. MARTHA.
The anxiety, which the immanent arrival of Josie’s father caused, is evident through the close proxemics of the two in the doorway, whereby Josie panics and isolates herself. Andretti’s arrival instigates fractures in the complex interrelationships, which becomes imperative to Josie’s change. Correspondingly in Harwood’s The Glass Jar, when the jar failed to fill with light, the boy turned to “His comforter/who lay in his rivals fast embrace.” This tone of contempt is a mirror of Josie’s derision for her father at the beginning of the film.
I think the conflict started once Norman had found a type of obsession with his mother and how visually his actions and behavior related to his actions. Norman wound up fanatical over his mom, the main woman on the planet for him, just needing her focus regarding be centered around him the way he just could concentrate his on her. Indeed, even as he developed over time, he wanted her consideration over everything, particularly when she dated older men. He felt a twinge of desperation each time she disregarded him for another man; which may have prompted his mental breakdown. However, overall, if Marion had not stolen that amount of money and went on run away then I would say the conflict wouldn’t have started (to herself
Mr. Button’s long-winded expectation toward the newborn, centering his “enviable position”, is interrupted by Doctor Keene’s “irritation”, triggered by the fear of his “professional reputation” being ruined (Fitzgerald 4), meanwhile the concern of newborn’s healthy situation is neglected. Mr. Button then, encounters the nurse, who also appears to be outrage and contempt in an exaggerated way, while still postponing the answer to the question of the baby, which forms a repetition of Doctor Keene, once again building up the sense of horror and suspension. When finally meeting his son, Mr. Button’s “terror resolving into rage” joins the former two, establishing the initial, meanwhile almost life-long and terminal negative social impression on Benjamin Button, the man growing in a reverse age, who finally enters the stage and gives his own line: “I've only been born a few hours—but my last name is certainly Button”, whereas being violently refuted by his father “You lie! You’re an imposter!” (6).
He, unlike the other patients, stands up to the Big Nurse. This creates a power struggle as they pull and push against each other. McMurphy illuminates the corruption of the ward and bands the men together to try and fight against this. The men of the ward are highly hesitant to fighting back, though, as they have been
I feel that the husband, and main character, by telling his family about his secret, he would now be able to reset the rigid and distant boundaries to set up clear and effective ones. The new effective boundaries would reconnect and support the spousal subsystem and strengthen the parental system. My concern with the youngest son is that he has excluded himself from the family. The symptoms from the exclusions has resulted in a fetish for obese women and over-sexualization.
Vast bits of the comic minutes in this story result from the relentless clash between Gregor 's troublesome body and his trapped mindfulness. This quote is from the scene where Grete and his mother cleanse Gregor 's room of furniture in perspective of his new condition, he obliged more space. This mean the crest of the story where Gregor 's fight to oblige his human past with his new life and physical structure. His change changes his
Dimmesdale starts living with Chillingworth so the doctor can keep the feeble minister ‘healthy’; the doctor, reversely, tries to make Dimmesdale feel conflicted about his morals which leads to Dimmesdale obsessively whipping himself “...on his own shoulders” and“... fast[ing]...in order to purify [his] body… rigorously...until his knees trembled beneath him[self]...” (132). He is enveloped in his sin, and cannot escape it unless he tells the truth. In fact, Dimmesdale could not stop thinking about his sin which “...continued to give Mr. Dimmesdale a real existence [which] was the anguish in his inmost soul” (133).