...1960’s Connie and her friends are going to a local diner to hang out with the older teenagers. This where Connie met a boy named Arnold Friend. In the story, the author is using symbolism to mainly talk about the purpose of meeting Stanger in public. In the beginning, Connie view the car as important symbol of independence, power and freedom. When she first recognized the car “she draw her shoulder up and sucked in her breath with the pure pleasure of being alive” (Oates 201).When Connie noticed the car “convertible jalopy painted gold” she knew it was Arnold Friend. When she first saw Arnold “Connie slit her eyes...
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...reader will find hints or clues regarding which figure Arnold is displayed as. Joyce Carol Oates's short story presents him in two different ways, either a savior or satan. Arnold Friend is represented as a savior figure...
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...them. In the short story “Where are you going, Where have you been?” Oates uses religious symbolism to show the end of innocence. “Where are you going, Where have you been?” opens with the physical description of fifteen-year old Connie. She is very beautiful and often checks herself in the mirror to reassure her beauty. Her mother disapproves of this habit and often scolds her about it. This habit of hers indicates that she is insecure and depends solely on her beauty for people...
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...The Truth Behind Arnold Friend In Joyce Carol Oates short story, “Where Are You Going? Where Have You Been?”, it is argued that the antagonist in the story is the incarnation of evil; Arnold Friend. Connie, the protagonist in the story, was a naïve fifteen year old who was fascinated by boys and was constantly out of the house with her friends. She always talked about the positive effects of her looks, but never realized the negative attention that could draw from how she dressed and acted outside of her house. Arnold Friend was drawn to Connie from the first time he saw her. One day Arnold visited Connie's house harassing her to come take a ride with him and he would not take no for an answer. That was the negative attention that Connie did not want. It is concluded at the end of the story that Connie gave in and went with Arnold knowing her fate would probably be death. Joyce Carol Oates never actually let her audience know who or what Arnold Friend represented, but it is argued that he may or may not be the devil. Throughout the story, Oates used many different ways to show that Arnold could be the incarnation of evil including lust, symbolism, and various religious references. At 15, most young girls in the 1960s were not as adventurous with boys as Connie. It was looked down upon by just about any adult for girls to be alone with any boy at her age. Connie was never really interested in the individual boys she had met, but more of the feeling she got from being in that...
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...Symbolism of “Screen Door” “Where Are You Going, Where Have You Been?” by Joyce Carol Oates, is packed with symbols that are very important to the meaning of the short story. There are several important symbols in the story that eventually leads up to Connie’s decision to give herself to Arnold. One of the crucial symbols in “Where Are You Going, Where Have You Been?” is the screen door of Connie’s house. The screen door symbolizes Connie's transition from a teenager to a mature woman that is accepting her fate. Throughout the story Connie is scared to open the door and go outside, the closest she gets is when the boys first pull up and she “hung[s] out the screen door, [with] her toes curling down off the step” (Oates 508). Connie knows that Arnold won’t come in the house because he tells her several times, “I’m not coming in that house after you” (Oates 513). So in a way she feels comforted by the screen door that is separating them. The screen door is a boundary between Connie and Arnold, Connie stands inside the house as Arnold stands on the front porch with his arms open. If Connie opens the screen door to go out with Arnold she is excepting her fate but if she keeps the screen door shut and stays inside, she remains the fearful young teenager who is not ready to leave. By the end of the story Connie has made up her mind, “She put her hand against the screen door. She watched herself push the door slowly open as if she were safe back somewhere in the other doorway,...
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...during the whole story Connie was kissing the ground Arnold walked on. I strongly disagree that part of growing up requires sexual bondage at the hands of a male “friend,” that may be the way Connie ends up but that is definitely not the way most teenage girls mature. I do not think the story is entirely about Connie’s initiation into sexual bondage. It is simply a story about a creepy man that tries to lure in a typical young girl and ultimately interact sexually. According to Larry Rubin Where Are You Going, Where Have You Been? is all one big dream about her fear of the adult world. I definitely see why this interpretation is possible. Connie has an overall feeling of not having control over the situation she is in which happens in most bad dreams. Rubin explains the similarities of Arnold to that of which Connie already knows before meeting Arnold, such as his voice is the same as some disc jockey on the radio. This is very common in dreams, things from your real life somehow show up differently in dreams. The fact that Connie could not even dial the phone number when she felt in danger is a sign that it is a possibility that it was all a dream. Connie literally felt paralyzed which happens often in dreams just like you can never scream when you are in danger during a dream. According to Joyce M. Wegs the character of Arnold in Where Are You Going, Where Have You Been? is a clear symbolism of Satan. I agree that Arnold is a Satanic figure, but I disagree that...
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...This insecurity can be seen as Oates writes, “Both boys wore sunglasses. The driver’s glasses were metallic and mirrored everything in miniature.” This observation made by Connie claims that everything that she is able to see within the reflection is small, which may also include herself. In society being small is often associated with a sense of inferiority; therefore, the “miniature” reflection described by Connie may be symbolism for her insecurity. This same insecurity may be reflected as Oates writes “Connie blushed a little, because the glasses made it impossible or her to see just what this boy was looking at.” This action from Connie shows not only how nervous Connie is around Arnold, but also her overwhelming desire to make sure she looks good. This action reflects Connie’s actions in the beginning of the story as she is constantly “craning her neck to glance into mirrors or checking other people’s faces to make sure her own was all right.” However, due to Arnold’s sunglasses Connie is not able to “check” his face in order to see how he is viewing her, therefore leading her to feel...
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...T.C. Boyle’s “Greasy Lake” and J.C. Oates Where Are you Going, Where Have you Been?” both are stories about young people who want attention. They want to be cool and bad because other people are. Both stories have some similarities and differences between them. In “Greasy Lake” and Where Are You Going, the main characters are young people, the characters enjoy hanging out with friends and at the end of the stories everyone faces death; their mortality makes them change their mind about doing things. The author’s use of characterization, symbolism, and epiphanies gives the reader the clear understanding that the characters in each story pretend to be someone who they are really not. Firstly, the main characters in Greasy Lake are: Digby, Jeff, and the unnamed...
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...For my Final paper in this class, I have decided to do a comparative analysis between the movies Higher Learning and Smoke Signals. I will briefly summarize each movie in a few paragraphs and then I will discuss the similarities and differences between the themes in each movie before I discuss overall comparisons between characters, filming techniques used, and racial stereotypes. "Higher Learning" takes place at the fictitious Columbus University, where the producer makes use of a Christopher Columbus statue to suggest a racist atmosphere. Still, he does this effectively during harsh, well-observed opening scenes that capture different attitudes of white and black students on campus. A white students' pep rally is given a frightening intensity. A young white woman clutches her purse tightly when she finds herself in an elevator with a black student. The two groups' different musical tastes present an amusing contrast and a great use of sound design which is described in our textbook American On Film by Benshoff and Griffin. Mr. Singleton creates a lively air of expectation as his half-dozen main characters settle into their dorm rooms and the battle lines are drawn. John Singleton's film, Higher Learning, about the racial and sexual prejudices that color life on a college campus turns out to be an involuntary example of the same small-mindedness it deplores. Everyone here, from beer drinking white fraternity boys to rap-loving, marijuana smoking black students harassed by...
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...Marek Hullinger Mike Fiscel English W132 26 September 2013 From Tribes to Literature The word Goth derives from a German tribe referred to as the Goths. The term Gothic was later used during medieval times for the construction of buildings with pointed arches and vaults (Lad). In my essay, I chose to discuss two pieces of Gothic fiction. The first piece of Gothic fiction I decided to discuss is, “The Cask of Amontillado.” It was published in 1846 by the famous short-story writer and poet, Edgar Allan Poe. The second piece of Gothic fiction I chose to discuss is, “Where Are You Going, Where Have You Been?” It was published in 1966 by Joyce Carol Oates. In Gothic literature there any many characteristics to its writing and famous short-stories such as “The Cask of Amontillado” and “Where Are You Going, Where Have You Been?” contain many of those Gothic fiction characteristics. Summary “The Cask of Amontillado” is a short story written by Edgar Allan Poe. Montresor is the main character of the story and also acts as the narrator. The story begins by him vowing his vengeance towards Fortunato for insulting him. Montresor hides his animosity towards Fortunato so he does not expect anything. He maintains a deceiving presence towards Fortunato and plots to exploit Fortunato’s weakness for luxurious wines. Carnival season came upon the city and Montresor finds Fortunato at the carnival. He invites him to try some of his sherry at his home. Montresor doubts Fortunato’s skill with...
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...The Psychology of Gift Exchange Mayet, C. & Pine, K. J. University of Hertfordshire Internal Report 2010 Gift giving is a social, cultural and economic experience; a material and social communication exchange that is inherent across human societies and instrumental in maintaining social relationships and expressing feelings (Camerer, 1988, Joy 2001). Research within different disciplines to gain insight of gift giving behaviour has continued for over forty years. Gifts are bestowed in celebration of key life events, a medium for nurturing personal relationships, to encourage economic exchange and to socialise children into appropriate behaviour patterns (Belk, 1979). Obligations within a community require that individuals are required to give, receive and to reciprocate (Mauss, 1954). In his essay the French anthropologist-sociologist Marcel Mauss (1954), presented a theoretical analysis of the gift-giving process, that was based on his examination of giftgiving amongst various primitive, secluded, or ancient societies. He concluded that giftgiving is a self-perpetuating system of reciprocity and summarised three types of obligations which preserve gift-giving: 1. The obligation to give. 2. The obligation to receive. 3. The obligation to repay. The requirement to give may be ingrained in religious or moral necessities, with a strong need to recognise and maintain a status hierarchy and to establish or maintain peaceful relations, or merely the expectation of reciprocal giving...
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...LITR221 January 26, 2014 All Good Things Must Come to an End A Course Review of 2013-2014 Winter Semester of LITR 221 The amazing thing about literature is that it can be interrupted differently by each person who reads it. Which means that while one piece of writing is amazing, creative, and witty to one person to another person it could be the most boring, uninteresting, and redundant piece of literature they have ever read. In this semester of Literature 221, I was given the opportunity to read works from many different genres, time periods, and styles of writing. Some of which, like Emily Dickinson’s Life I and Life XLIII, Joyce Carol Oates’ Where Are You Going, Where Have You Been?, and Sherman Alexie’s What You Pawn I Will Redeem I thoroughly enjoyed and learned from. While others such as Ernest Hemingway’s Big Two-Hearted River, Mark Twain’s excerpt When The Buffalo Climbed a Tree from Roughing It, and the excerpt from Sula by Toni Morrison weren’t exactly my cup of tea. Emily Dickinson is a remarkable poet who often writes from a very emotional and self-examining perspective. This is why I really enjoyed the two selections of her work we had to read this semester. In her first poem Life I, the very first two lines make you stop and think, “I’M nobody! Who are you? Are you nobody, too?” (Dickinson 2) Bam! I was hit in the face with self-reflection. Am I somebody? Or am I a nobody? Emily Dickinson continues by saying “how dreary to be somebody!” (Dickinson2...
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...Research Essay: LENI RIEFENSTAHL a. Outline the life of the personality you have studied The German actor, filmmaker and Nazi associate, Leni Riefenstahl, has stirred one of the greatest controversies of modern times. Seen as either a Nazi propagandist or a pioneering artist of great ingenuity, the discussion regarding Riefenstahl is still a prevalent issue in today’s world. Born into a financially stable family on 22nd August 1902, Riefenstahl was reasonably sheltered from Germany’s economic and political unrest up until as well as after WWI. As a child, she was extremely passionate about dance and the theatre. Wanting to dance on stage, although acceptable to Leni’s mother, was seen as below their social status by her father. Throughout Leni’s adolescence, she caused a continuous rift between the family, as her enthusiasm for the arts never declined, leading to her secret enrolment in the Grimm-Reiter Dance School in Berlin in 1918, as well as agreeing to work as a secretary for her father’s company in order to gain his later approval for dance lessons in 1920. After being persuaded by Leni’s mother, he enrolled her in the Jutta Klamt School where Leni studied under the ballerina Eugenie Euardova. Riefenstahl’s career in dance began in October 1923 and was abruptly ended in June 1924. She performed her first solo performance at the age of 21 and received positive reviews. During her second recital she caught the interest of Max Reinhardt, a leading theatrical director...
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...The Search for Self and Space by Indian Dalit Joseph Macwan and African American Richard Wright Vaseemahmed G Qureshi Assistant Professor, Vishwakarma Government Engineering College, Chandkheda A B S T R A C T The subjugation of Dalits in India and Blacks in America is the result of slavery imposed on them in the name of castism in India and racism in America. Writers from these marginalized groups express their revolt against slavery through words. This presentation focuses on one black and one Dalit novel as a manifestation of the quest for self and space. Joseph Macwan comes forward as a prophet of Dalits’ welfare in Gujarat with his Angaliyat (1987) which is a representation of the emerging genre of the Dalit novel. It criticizes systems of internal colonization that exist within the Hindu caste system. Today, Dalits are both asserting their identity and challenging a society that had earlier excluded them, by writing about their lives themselves. Through the protagonist Teeha, the novel succeeds in demystifying ‘dalitness’ and redefining the real freedom of his fellow people. Richard Wright is one of the most acclaimed African American authors of the twentieth century. His Outsider (1953) depicts racial discrimination and the quest for identity. He creates a compelling story with his protagonist Cross Damon, a man of superior intellect who craves for peace and searches for his identity. In this quest, Cross Damon attempts to escape his past and start anew in a...
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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