Fern uses the power of language to both resist the normative power and destroy inadequacy when she persuades her father to not kill a runty piglet who was just born, and again when she gives Wilbur his name. Fern is constructed first as a strong female character who resists the norms of her society, however, after saving and mothering Wilbur she begins to conform to norms such as gaining an interest in boys, which contradicts her earlier characterization, and now characterizes her as a motherly, feminine figure. Charlotte who also saves Wilbur’s life through the power of language resists the norms of killing animals for food and destroys Wilbur’s inadequacy. Charlotte is characterized as a selfless motherly figure because she nobly works hard to destroy Wilbur’s inadequacy and succeeds but gets no recognition. However, Wilbur is the complete opposite of Charlotte.
Coraline goes against what society expects from her, as a child and a girl. “ The day after they moved in, Coraline went exploring. She explored the garden. It was a big garden… Coraline also explored for animals.”(4-5) She is a little girl, she should not be outside getting dirty and exploring, she needs to be minding herself and be doing girly things. “ But Mum, everybody at school’s got gray blouses and everything.
She is the rosebush that grows by her mother's prison door, the only beautiful and colorful thing in site. In the novel she is the only true and honest character. She can be brutally honest and often shows her mother, Hester, morals she did not know. At the beginning of the novel Hawthorne suggests that the rosebush will bring about some sweet moral blossom. Pearl is the wild and untamed rose that grows unbidden and untamed.
In addition to her newfound sexual freedom, the independence Edna shows from her husband and children, to be an individual, was seen as unusual. Unlike the way women are supposed to live only for their family, Edna wishes to live for herself. In the beginning of the book where all the Creoles had just started their vacation, Mr. Pontellier thinks, In short, Mrs. Pontellier was not a mother-woman. The mother-women seemed to prevail that summer at Grand Isle. It was easy to know them, fluttering about with extended, protecting wings when any harm, real or imaginary, threatened their precious brood.
The two specific pieces I discussed in my paper was the Turin Erotic Papyrus and some of the paintings. In the paper as well as the presentation, I explained the artworks in accordance to the paragraph. When discussing the portrayal of gender in the ancient Egyptian culture, the painting were the main indicator how people sought the ideal standards of gender/beauty. In terms of the Turin Erotic Papyrus, this piece was discussed in the paragraph regarding the Egyptians views on sex and sexuality. The papyrus depicts 12 sexual acts and really gives us a glimpse into ancient sex.
Leda gets taken advantage of throughout the poem by the swan and Yeats demonstrates this through the vocabulary, violence, and the History of the Greek mythology. The language throughout the poem switches between aggressive and passivity. As the poem begins, it starts with three abrupt words “A sudden blow” (Yeats 1), these three words leave the reader feeling abrupt as it is a violent start to a sonnet. Sonnets are usually about love (Baurelein) and in this case Yeats has taken his own perspective and wrote a part of Greek Mythology his way. The first verse sets a scene of violence, which could demonstrate how Leda attempts to fight back against the swan and not let her be overpowered.
Motif of the color red gives a warning throughout the Chapter. The red tulips represents life and fertility, Serena Joy is trying to grow her own garden because she is infertile, the fact that she can not have any child, she has no other choice to tend her own garden. As a matter of fact, the garden never reproduces even she works hard enough. This idea is first introduced in Chapter 6, when Offred is describing the one red smile she sees among these six bodies on the Wall. She writes, “I look at the one red smile.
The bushes were sacred, Mother had told Vera, and one must only eat of their fruit after an audience with the matriarch herself. But to Vera, berries were berries, regardless of how they came to be. One day she had returned to her den, lively and well-fed, with a plum-stained muzzle and sticky paws. Mother had duly probed her for her recent whereabouts and her gustatory pursuits; and the moment Vera told her that she had not disturbed Ma’s sacred bushes, the little cub had vomited up the evidence
Medea Is a playwright by Euripides which falls under the genre of tragedy, and as part of tragedy plays the theme death and disasters arise. Medea was written during the ancient Greece time, where tragedy was a known play type. During that period of time, the world witnessed the advances in art, poetry and technology. The ancient Greece refers to a time where ancient Goddesses were the key factors and idols of their lives. Key: Blueàreligion / myths Greenàsocial hierarchy Red à women Purple à tragedy Theoretical and cultural context is there to address the plays background information and history before the playwright and what brought this myth to life.
Crime of Innocence William Butler Yeats’ poem, “Leda and the Swan” is a dark tale that originated from the Greek myth in which Zeus takes the form of a swan to seduce the beautiful woman, Leda. The swan is traditionally symbolized as beauty and grace in Greek culture (pure spirit). Yeats uses the representation of a swan as an illusion to set the tone of the poem, where the readers would expect the swan as a protagonist. Contrarily, the swan revealed to be the antagonist. The speaker uses abstract words that appeared less destructive than the actuality happening as well as a double meaning in his writing.
While this is the case in the observer of the art it is a different story for the artist. When they go to create their art they have a set emotion in mind and they work to integrate it into their piece. Imagination is used in their creative process. Through using their imagination, they are able to get the emotion that they desire into the art and the reaction that they desire from the audience. To fully understand how an art network works it can help to relate it to an artist.
Percy refers to “the bonsai tree” as an example of beauty that women practice. These women portrayed as the “bonzai tree”, have been brainwashed by society to think that they have social and ethical limits. Percy states that a women or “bonsai tree” could grow in society like a bonsai tree would in a “side of a mountain.” “The gardner” is a symbol for all men in the 1950’s who expect women to be domestic or stay home. Women in the 1950’s had to be “domestic or weak” for they have to be running what goes on with the family at home. The author then states that women are “lucky” to grow in pots, for they are being nurtured and have everything they need.
She takes care of the chrysanthemums as if they were her own children, “She spread the leaves and looked down among the close-growing stems. No aphids were there, no sowbugs or snails or cutworms. Her terrier fingers destroyed such pests before they could get started” (Steinbeck 243). We can say that she is protecting her chrysanthemums because they are the only things that she has control over. By having this sense of control we can say that this brings her joy because she does not have control of her own life.
You ain’t no good now, you lousy tart”(95) Candy then goes on about how he “…could of hoed in the garden and washed dishes for them guys” (96) In this scene, Steinbeck exposes that Curley’s wife actually possessed more power in death rather than in life. In other words, her death revoked the dreams of many characters , including herself. Now candy, Lennie, and George will never have their ideal piece of farm land and Curley’s wife will pursue her dreams of becoming an actress. Unfortunately, Curley’s wife
Colour and texture are paramount in the work. Each painting is unique, with a tactile presence, which reveals the hand of the artist. The image, which was the product of a split second drive by photo, now takes on substance through both the physicality of the paint, and through the contemplation of place and time. In this, the paintings come to represent more of a testament to her experience than the photographs. In the essay An Art That Eats Its Own Head – Painting in the Age of Images Barry Schwabgley acknowledges photographs place in contemporary art while also confirming the significance of painting, “ Although it was