However, Nurse Ratched’s sudden distaste for McMurphy didn;t always directly happen to him. Previous to his arrival, Nurse Ratched would scold and lecture patients acting out of line, but after the discovery of the ward party, Nurse Ratched grills into Billy Bibbit about sleeping with a prostitute and then comforts the frantic Billy, the whole time Chief describes she “glares at us as she spoke.” (272). This action, intended to draw guilt in McMurphy, exemplifies Nurse Ratched’s poor judgement choice since McMurphy’s arrival. The Nurse Ratched pre-McMurphy would’ve appropriately taken care of the Billy issue, but now upset and angry at McMurphy for the party he’s thrown, her judgement is impaired by trying to make McMurphy feel guilty, which ultimately leads to Billy’s suicide. In general, McMurphy’s arrival and antics played a very negative role in Nurse Ratched’s mental health, which can be seen declining throughout the
In addition, his dissatisfying slurs about Nurse Ratched’s body made him look like a terrible human being. Next, when McMurphy slammed his hand twice through the Nurses’ Stations glass he made a dangerous situation that should and was reprehensible. Lastly, with McMurphy’s indiscretions, Nurse Ratched had to make the safe decision by turning the other patient's opinions against McMurphy’s trip. The ultimate message was to portray that sometimes with the mentally ill there are right times when harsh, strict, and orderly rules enforced by someone who is strong is a good
Through Chief Bromden’s journey rediscovering himself in One Flew Over the Cuckoo’s Nest by Ken Kesey, he witnesses recurring power struggle between male and female characters, such as between Nurse Ratched and McMurphy, or between his parents. Although widely regarded as kind and benign characters in society at the time, in these conflicts, female characters are often tagged with detrimental characteristics, and therefore are depicted as demeaning antagonists. Through Chief’s biased narration, Nurse Ratched is often seen to be emasculating patients, through influencing their way of thinking, and thus their decisions to remain with the institution. She plays an essential role in confining the dynamic of the hospital through her recurring manipulation of patients. She influences, or in some cases, uses her power to force others into doing things her way.
Lily then consequently comes to find that the tables are turned and that her mother is the one who is in need of forgiveness. She shows her struggle by saying, “people in general would rather die than forgive” (Kidd 277). Capriciously, she contemplates the situation thinking for one moment “it is over and done,” but in the next she “would be picturing her in the pink house, or out by the wailing wall” (Kidd 278). Ultimately, after her entire debacle, with thrown honey jars as well as many headaches, Lily comes to learn that “you have to find a mother inside yourself” (Kidd 288). This idea sets Lily at ease giving her the knowledge that everything is going to be peaceful from this moment on and that she can take the time to learn to forgive others, just as she has to learn to forgive
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.
The relationship most obviously based on a fear of intimacy is that of Tom and Daisy. Men and women who fear intimacy find ways to do so by engaging in infidelity as a means of hurting their partner, but less obviously, as a means to hurt themselves. This idea is well elaborated by Kristeva: “People who are threatened by intimacy and sexuality … are unable to consummate an intimate relationship and flee into promiscuity. They, also, retreat into being little boys or little girls in the face of an adult sexual relationship, because they are too guilty to consummate the relationship… Intimacy is avoided by choosing unavailable people or by pushing people away when they become too close” (Kriteva). When the readers are first introduced to Tom,
Speak is a book written about the internal and external conflicts that protagonist, Melinda faces after being raped by Andy Evans (“IT”) and hated by her peers for ruining an end-of-summer party. This has traumatized Melinda and she is too afraid to speak up. Anderson enhances the big theme of sadness and depression through similes, metaphors,
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.
With the defend of the little girl is going on, the doctor starts to threaten the girl by saying that “Will you open it now by yourself or shall we have to open it for you?” (1591). This point demonstrates that the doctor is losing his patience little by little because of the girl’s continuing incooperation. And eventually the doctor is completely furious: “Then I grasped the child’s head with my left hand and tried to get the wooden tongue depressor between her teeth.”
Also, women, especially young women who are still discovering themselves and are building their personality, must be able to distinguish between a relationship based on love, respect, trust, communication, and freedom and one based on isolation, possessiveness, and the restriction of freedom. Despite the fact that some may say that Fifty Shades of Grey is based on a romantic love combined only with some variety of erotic practices, we should not overlook the scenes in which Christian expresses his possessiveness, when he isolates and controls Anastasia, while being concerned only with his pleasures and
Alison always accused Tori for doing things to her because she had made herself believe that Tori hated her. She later figured out that this wasn’t the case. Dr. Faraday, one of Alison’s psychiatrists, gave Alison some new insight. “Everybody has a story, Alison,”(267). He explained to her all of the behind the scenes actions she didn’t understand and made misconceptions about.