...Both Mark Twain’s Adventures of Huckleberry Finn and J.D Salinger’s Catcher in the Rye are bildungsroman novels about a young character’s growth into adulthood. Written 67 years apart, both novels feature unusual protagonists who are somewhat innocent, naïve and desperate to reject the process of maturity and being ‘sivilized’. Twain focuses on a key moment in American history to ask readers to reassess the definition of “civilisation”, freedom, justice and social responsibility. Published in 1884, the novel relates to the pre-civil war years when the controversy over slavery corrupted America. Twain set his novel in 1860 prior to the abolition of slavery in order to criticise racist attitudes and uses the Mississippi River as the centre point of his novel. It symbolises the route toward freedom and escape for Huck and Jim providing the setting for the growth of both a young boy and a country struggling to understand definitions of freedom, individualism and civilisation. Salinger, however, uses his protagonist Holden to explore the materialistic, conformist society he saw developing after WW2. The first extract I chose is from chapter 22 of Catcher in the Rye where Phoebe accuses Holden of hating everything and everyone. Holden reveals here his fantasy of becoming ‘The Catcher in the Rye’ protecting children from falling into the adult world. This links with chapter 31 of Huckleberry Finn where Huck decides to write a letter to Tom Sawyer to tell Miss Watson where Jim...
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...that segregates men from women that is their choices. When it comes to choosing novels it is assumed in most cases that women prefer thrillers and romantic genre while men prefer more mystery genre but through my research I have come to conclusions with the fact that the novel choices of men are less emotional when compared to women but there are a few cases of exceptions. The purpose of this research paper was to find out whether females still read more emotional centered novels than males using survey techniques. Key Terms: Emotions, Gender, Novels This research was conducted for the purpose of understanding human behaviors and gender stereotypes within those behaviors. Emotions are an important aspect for humans to make judgments and choices (Huebner, Dwyer, & Hauser, 2009) hence my research will be based on the choices we make and whether gender plays a role in it or not. Objectives Primary Objective: * To find out whether there are male students who choose emotional novels as compared to females in Manipal University, Dubai. Also, whether females do not choose to read emotional novels regardless of the general stereotype of their emotional behavior. Secondary Objective: * To find out what genres of novels the students of Manipal University prefer * To find out their favorite novelists * To find out which sex reads the most number of novels Literature Review A novel is a fictitious prose narrative of book length, typically representing...
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...turn, enables “social reproduction” founded on the separate categories of male and female. They argue that language not only reflects gendered categories but “constructs and maintains these categories” (34). Being such strong categories, they claim it is “impossible” to escape gendered behavior and not influence others to give gendered responses (50). In a later chapter, Eckert and McConnell-Ginet discuss how “gender schemas and ideologies” are implied and interpreted (203). Using an example from a university setting, the authors illustrate their point that the assumption of gender may not result from “the particulars of our exchange but in familiar gender stereotypes” (204). If no specific clues or pronouns are given during the exchange of information, presuppositions relying on stereotypes often emerge. Not only do stereotypes and behavior fill the linguistic gaps, but the power in individual words alone is a cause for concern. Sally McConnell-Ginet explores this further in her article “Words in the World: How and Why Meanings Can Matter.” She argues that single words can carry multiple meanings in each use whether the speaker means them to or not (497) and that “certain aspects of meaning arise, are sustained, and are sometimes transformed in social practices” (506). To describe this process in more detail, McConnell-Ginet structures her argument by breaking down her idea of “lexical significance,” and it is her third component of this idea, called conceptual baggage, that concerns...
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...Throughout, obvious references to the films chaos and irregularities are made by characters through their criticism of the unfinished, fictional film. When giving Guido notes on his film, one character calls it 'a chain of gratuitous episodes' which pretty much describes Fellini's 8½ to perfection. In another scene Guido is criticised for his obsession with depicting 'Italy's Catholic conscience' which is also a reoccurring motif of Fellini's. He plays this game with the viewer by highlighting the inadequacies of his own film through the criticism of the fictional one. An endless array of different female characters appear throughout the film as viewers are forced to analyse the protagonists relationships with women starting from his childhood. It is a psychoanalysts dream as almost every stereotype of woman is depicted; from virgins and whores to doting mother figures – they all appear. Albeit confusing and chaotic, there are more than a few moments of cinematic genius,...
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...To what extent does Hardy challenge conventional Victorian values in Tess of the D’Urbevilles? To a notable extent, Hardy does challenge conventional Victorian values concerning class, gender roles and marriage, and, above all, the Victorians’ faith in the merits of “progress”: industrialisation and rationality. However, an alternative view is that Hardy’s presentation of his “heroine” as largely passive and objectified implicates him in the prevailing patriarchal values of the time. Hardy’s treatment of gender in the novel is not consistent. His protagonist is a woman, in some respects strong-minded and perceptive and more moral than the principal male characters. The other female characters, however, are in the main presented as almost extremely conventional: Mrs Durbeyfield conforms to the stereotype of a lower-class Victorian mother, who wants only for her daughter to marry a rich man, even after the man has raped her; Tess’ fellow milkmaids are stereotyped as foolish, love-sick and largely without individuality; although Mrs Rolliver, the canny landlady, in chapter 4, is the person in control of that situation. Tess is introduced as the person on whom the family relies, for work, childcare, family pride (she is the one who protests “Oh no, I wouldn’t have it for the world! … and letting everyone know the reason – such a thing to be ashamed of”, when her parents suggest missing the chance to sell the beehives because her father is drunk). Contrary to the expectations...
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...Despite the inquisitive affection that Cooper often displays for Native culture, it is clear that they are intended to be viewed in opposition to the white characters of the story. Their customs are at times horrifically alien to him, yet the recognition of the skills they possess in their own environment gives them an air of comforting approachability: the alarming ‘yells of the savages’2 are contrasted with a realisation that ‘the brutes of these vast wilds were possessed of an instinct nearly commensurate with [Heyward's] own reason’.3 The character of the Native is depicted as inextricably linked to war and masculinity, their whole culture seeming to be defined by hunting and conflict, and tribes who fail to adhere to these attributes are disrespectfully and negatively labeled as ‘women’. Female Natives appear to exist merely in slave-like deference to the warrior males. However, this image is simply not an accurate account of Native American gender roles at the time. The Iroquois Confederacy of tribes, whom Hawk-eye derogatorily refers to as ‘Mingo’ or ‘Maqua’, were in fact matrilineal: [...] ALTHOUGH THE LEAGUE OF THE IROQUOIS HAD THE APPEARANCE OF A GOVERNMENT CONSISTING EXCLUSIVELY OF MALES, EACH MEMBER OF THAT GOVERNING BODY WAS IN REALITY ANSWERABLE TO THE WOMEN OF HIS MATERNAL FAMILY, WHICH IN FACT CONSISTED ONLY OF ONE FEMALE, THE ‘AGED SENSIBLE’ WOMAN.4 This exaggerated masculinity of the Natives, incorporating themes of authority, security and aggression, can...
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...evaluated, putting a specific emphasis on how those themes correspond with gender roles. Both females and males are examined; first in the Hunger Games universe, and then applied to the twenty first century stereotypes of gender roles. All the novels in the trilogy— The Hunger Games (2008), Catching Fire (2009), and Mockingjay (2010)— as well as a criticism from Kristi Tyson, author of Modern Literary Theory of Sexes (2011). The essay explores the question of whether gender is a determining factor of what makes a strong character. Through the research and analysis of the pieces, the essay resolves that Collins actually by-passes gender roles, focusing more on a character's ability to adapt to both gender stereotypes in order to have a well rounded understanding of society. Genders are not the determining factor of a strong character, because gender roles do not matter in the long run of being a human being in general. Word Count: 212 On September 14, 2008, Suzanne Collins published her novel, The Hunger Games. The twisted story line of a barbaric showdown was an instant hit. Katniss Everdeen, the main protagonist of the series, became an idol— girls thought she was a new symbol of independence, and guys loved the lack of romance and emphasis on gore. The novel centers around Katniss in the futuristic society of Panem, which is dictated by the Capitol. After a rebellion arose against the Capitol, the Hunger Games was formed as a reminder to the people of Panem of the...
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...our surroundings, the physical environment and our human relationships. Mrs Dalloway, a novel by Virginia Woolf explores the life of a women in one day, the audience is able to see what she is doing, what she feels and what is going on in her head all at the same time. Similarly a film directed by Stephen Daldry titled the Hours explores three narrative streams looking at both the external events and internal thoughts of three separate women. These texts use the context of Virginia Woolf’s own life and the time periods in which they focus on including the 1920’s, 1949 and 2001 to express various thematic concerns. They delve into the multifaceted nature of individuals, women’s experience, a sense of mortality felt by the protagonists and ones sensitivity to nature and people. In searching for one’s identity and true self we often question the nature of our experiences and the relationships we have with those around us. It is a constant battle between putting on a social mask to manage perception, or alternatively expressing our inner self and risking ridicule. Woolf depicts reserved the agony of Clarissa’s loneliness, which can be seen as a result of her sexual repression, reserved nature and her submission to the social norms. The human personality is not one given mixed monolithic entity, but a shifting combination of impressions and emotions including ones dreams, memories and fantasies....
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...Ideology 16 4. Chopin’s Imagery 18 5. Conclusion - Edna’s Suicide 19 6. Bibliography 21 1. Introduction A certain ungovernable dread hung about her when in the water, unless there was a hand nearby that might reach out and reassure her. But that night she was like a little tottering, stumbling, clutching child, who of a sudden realizes its powers, and walks for the first time alone, boldly and with over confidence. […] A feeling of exultation overtook her, as if some power of significant import had been given her to control the working of her body and her soul. She grew daring and reckless, overestimating her strength. She wanted to swim far out, where no woman had swum before. This scene in Kate Chopin’s novel describes the moment in which the lead character Edna Pontellier experiences her first successful attempt to swim by herself. At the same time, the passage is a metaphor for the first step towards her “awakening” to discovering her individuality and becoming a woman well ahead of her time. Published in...
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...“The role of women in the gothic genre is as victims, always subject to male authority.” Compare and contrast the extent to which this interpretation is relevant to your three chosen texts. “The wolf consumes red riding hood – what else can you expect if you talk to strange men, comments Perrault briskly. Let’s not bother our heads with the mysteries of sadomasochistic attraction” Angela Carter; Foreword to Perrault’s Short Stories. In much of today’s feminist writings, the Gothic era is frequently defined as a period in which the oppression of females was at its most intense. In response to fin de siècle anxieties of a social revolution in which gender stereotypes could be overhauled, gothic writers, it is claimed, sought to reassert cultural and gender norms – a reassertion which inevitably resulted in the oppression of women. In view of such contemporary analysis, it is thus all too tempting to offer a sweeping judgement of gothic literature as victimising, oppressive and misogynistic; Dracula’s “victims” are all “unambiguously women[1]”, Poe victimises through an “idealised and dehumanising image of women[2]”, while Carter is a “pseudo feminist” who merely “reinforces patriarchal views” with her “pornographic” writing[3]. Yet such views are largely artificial, and are primarily based on potted summaries of the above works, rather than a closer textual analysis. If one takes the definition of a victim as a being who is subject to the successful predatory actions of...
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...1. W. Shakespeare « Hamlet» (Renaissance) Character List Hamlet - The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere. Gertrude - The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth. Polonius - The...
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...both French and English); Gallimard (French edition) narrator · A pilot who crashes in the Sahara desert, where he meets the little prince. The narrator tells his story of the encounter six years after it happened. point of view · The narrator gives a first-person account, although he spends large portions of the story recounting the little prince’s own story of his travels. tone · When describing his surreal, poignant encounter with the little prince, the narrator’s tone is bittersweet. When describing the adult world, the narrator’s tone is matter-of-fact and often regretful. tense · Past settings (time) · “Six years ago,” although the current date is never specified settings (place) · The Sahara Desert and outer space protagonists · The little prince, the pilot major conflict · The childlike perspectives of the prince and, to some extent, those of the narrator are in conflict with the stifling beliefs of the adult world. rising action · After he believes he has been spurned by his rose, the prince travels to neighboring planets and eventually lands on Earth. He wanders through the desert in search of humans, and he is eventually found by the fox. climax · The fox teaches the little prince his secret, and the little prince realizes the value of his rose. falling action · The prince meets the narrator, to whom he passes along the...
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...Running Head: JAPANESE ANIMATION 1 LIBERAL ARTS JAPANESE ANIMATION 2 Probably all have ever seen or just heard about the anime. Everyone remembers the characters that differ colored hair and big round eyes. Works such as Sailor Moon, Dragonball Z, Gundam Wing, and of course Pokémon are a cult of its genre. I'm sure many have seen these cartoons, but never thought about what they are and who made them. I remember when I was a kid watching Pokémon after school and could not have imagined that the same Looney Tunes are completely different things. In my mind there was only one question: "Why their eyes so big?" Where did all these cartoons come from? To find the answer one must look no further than in Japan, the birthplace of Japanese animation, and the main source for all of this madness. Japanese animation, also known as anime (pronounced "ani-may"), is a popular form of animation in Japan, which is quickly spreading in the world. The major difference between anime and American cartoons is that unlike American cartoons, which are only watched by children, anime is popular among the Japanese adults and is watched by millions. The audience is not merely directed to children but to teens and adults as well. The same applies to Japanese comics known as manga. The origins of Japanese animation art are in the cultural traditions of this nation. Despite the nearly century-long period when the animation as an element of contemporary...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context Leah Rang University of Tennessee - Knoxville, lrang@utk.edu Recommended Citation Rang, Leah, "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context. " Master's Thesis, University of Tennessee, 2010. http://trace.tennessee.edu/utk_gradthes/655 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major Professor We have read this thesis and recommend its acceptance: Lisi Schoenbach, Bill Hardwig Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council:...
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...know what sort of person he is or what happens to him. The distinction between major and minor characters is one of degree, as the character of Horatio might illustrate. The distinction between heroes (or heroines) and villains, between good guys and bad guys, between virtue and vice is useful in dealing with certain types of plays, but in many modern plays (and some not so modern) it is difficult to make. Is Gregers Werle in The Wild Duck, for example, a hero or a villain? Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the play), and the best actor, who got the principal part(s), was the protagonist. The second best actor was called the euteragonist. Ideally, the term "protagonist" should be used only for the principal character. Several other characters can be defined by their relation to the protagonist. The antagonist is his principal rival in the conflict set forth in the play. A foil is a character who...
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