What Woolf does in the story is to use the dress as a representation of the hierarchical status to reinforce Mabel 's alienation in terms of fashion. In the short story, Mabel affiliates to the middle class with her children and husband who does not have a high ranked job unlike Mrs Dalloway and her guests, yet Mabel participates in Mrs Dalloway 's party. Even though she is aware that she is not one of them, the need and the wish in her to be one of them makes her participate the party and gain their approval. Since in the Modern Era, hierarchical classes are mingled and engaged more than before Mabel could participate the party and build relationships with the aristocracy. Such relations made Mabel perplexed about her hierarchical status because of altering the consciousness hence on the surface the hierarchy seemed to redefined.
Slowly, Marian starts feeling exploited as she struggles to fulfill these roles. This leads to Marian feeling sympathetic towards the food which is imprudently consumed by others throughout the novel. Ultimately, Marian starts to identify herself with food resulting in Marian’s loss of appetite. However, in the passage of chapter thirty (Atwood 316 & 317 top), Marian regains her appetite back by baking a cake that looks like a woman. This passage holds great significance because Marian seems to be reforming herself during the process.
‘My party! Remember my party tonight!’” (Woolf, 35) One of the pushes for such actions would be the old woman living in the house across Clarissa’s. On one hand Clarissa admires her for her independence and sees herself in a similar position one day; since as she grows older she feels more and more alone as well as she reflects more. As the old woman moves about the rooms of her house, Clarissa does the same inside her mind. On the other hand Clarissa is fully aware of the terrible cost – the loneliness.
A double entendre, used to subtly and subconsciously hint to Mitch that she is overwhelmingly embarrassed about her risqué, and she cannot bare to stand herself in that light. Furthermore, the fact “[Mitch] ever seen [her] in the light” enlighten the audience on the theme of Fantasy vs. Reality – Blanche’s desires are an evasion of reality which she is seamlessly attempting to cover up, start again in order to slit her situation, she lives in a world of make believe. This is why she makes use of a Paper Lantern, to disclose and to ensure anonymity of her past. In addition her love of candles also shows her idealistic and romantic view of the world where candles can be said to be a metaphor for dreams and illusions which she cherishes instead of the ugly reality surrounding her.
To the Lighthouse uses the stream of consciousness by the way the characters use their thoughts. For example in the dinner scene, Woolf changes the perspective every now and again while moving the perspective from one person to the other. Woolf creates her characters through their thoughts, memories, and responses to one another. The Window chapter starts with Mrs. Ramsay thinking about what she has done with her life, she sees Mr. Ramsay sitting across from her at the table looking rather unpleasant. "What at?” She didn 't have the slightest idea but she wouldn’t allow it to provoke her.
Wong Kar-wai’s film, In the Mood for Love, follows Mrs. Chan and Mr. Chow as they explore the possibilities within their spouses’ infidelity. As part of the mise-en-scène, Mrs. Chan appears in different colored and patterned cheongsams. Her costume is primarily utilized to draw attention to her internal emotions and/or connection to the setting. This is demonstrated in the selected clip of Mrs. Chan and Mr. Chow in the diner, in which Mrs. Chan acts as Mr. Chow’s wife. The light blue floral cheongsam that Mrs. Chan is dressed in highlights her tense state of mind as she struggles to assume the role of Mr. Chow’s wife and become part of Mr. Chow’s world.
This can only mean that Rachel is confident and Flora is in lack of confidence. It makes the reader think that stealing the dress is not that big of a deal, if it gives Flora a bit of self-esteem. At last, we hear the story from the mother’s point of view and now we feel compassion for her. It is her fortieth birthday and all her daughters do is fight over something as insignificant as a dress. Even though they are at a restaurant to celebrate their
Borrowing objects and items from people is a very common occurrence in everyone’s life. From shoes to kitchenware, most people will admit to borrowing something from someone. Every once in awhile though, commandeering other people’s items temporarily can lead to the worst case scenario happening. In “The Necklace,” by Guy de Maupassant, a bored housewife named Mathilde gets the opportunity to live her dream of being an upper class socialite through her husband’s work. After begging for an incredibly expensive dress and other accessories for the evening, she decides that she needs an equally costly necklace to complete her outfit.
Driven into her mind since birth, the public’s opinion about social classes becomes clear: the poor longed while looking up at the rich who expected honor and recognition. The constant emphasis on social class around Jane has even influenced her own way of thinking when she refused to leave Reed’s resident claiming, “poverty for me was synonymous with degradation” (30). The displeasing attitude towards poverty reveals the set mindset of many characters such as the Reed family, the servants, and teachers at Lowood. Rather than having a destitute, but loving family, she would rather have a cold-hearted, but wealthy family. As Jane exclaims this, the
Instead, Wilde treats the idea with the same sense of freedom, compassion and toleration with which he looked at everything in life. His kind and liberal approach towards the issue of changing image of woman is vastly depicted in his plays through his female protagonists whom he provides the liberty and the space to be what they are. Wilde’s women characters are presented and projected in the plays in all their variety and versatility. In the portrayal of Salomé of the eponymous play, for instance, Wilde makes a “heroine out of this sublimated sinner,” (85) though, on the face of it, she is a murderess consumed by her sexual cravings. In this context, Clement Scott, the influential critic of the Daily Telegraph, observes that Wilde “has fascinated us with a savage.” (79) Another illustration of Wilde’s toleration is depicted in the acutely narcissistic personality of Mrs Cheveley of the play An Ideal Husband.