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The Hours
The Hours is a novel that deals with the various cultural aspects of life. Michael Cunningham's writing reflects the various nuclear families, the different economic conditions, and the social issues involving the three women in the novel.
The Hours begins with Virginia Woolf who is married to Leonard. They do not have any children of their own. Woolf lives in London in 1923 battling mental illness and struggling to write a book, Mrs. Dalloway. She struggled and finished the book according to Tony Peregrin "at the age of 43". Woolf is financially stable due to her husband was a publisher. She had a cook, Nelly, and a housekeeper Lottie. By 1941, The Second World War was going on and Virginia Woolf had committed suicide.
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Her traditional family consists of her husband Dan who is a war hero of sorts, works in an office, provides for the family while Laura statys at home and cares for the family. She has one child, Richie, and is expecting another child. The Browns live in a nice home with manicured lawns, nice Cheveorlet in the driveway, in Los Angeles. Laura smokes, reads Mrs. Dalloway, and is infaturated with Virginia Woolf and her suicide. She desires to commit suicide but opts out to leave her family and move to Canada instead. Life and death will bring the mother and son together. Laura may not have the nerve to kill herself, but her son Richard, fell to his death from a fall from the window while suffereing from
The Hours then introduces us to three women from three different decades, and their relationships with others, tied together by a common thread--Mrs. Dalloway. Mrs. Dalloway is about one day in the life of its namesake, Clarissa Dalloway, as she prepares for a dinner party. "She is a woman who, on the outside, is a perfect...
Jensen, Jill Nunes. "Transcending Gender in Ballet’s LINES." When Men Dance: Choreographing Masculinities Across Borders (2009): 118.
There has been a shortage of physicians, lack of inpatient beds, problems with ambulatory services, as well as not having proper methods of dealing with patient overflow, all in the past 10 years (Cummings & francescutti, 2006, p.101). The area of concern that have been worse...
The typical idea of a dancer is that they are tall, slender, full of energy, and lucky because they dance with all of the “stars”. Much of this is true, however, what many people do not think of are the many hardships that a dancer goes through in order to achieve their high status in the dance world. It takes much hard work and determination along with good direction to become a dancer. However, nothing good comes without a price. Dancers often times have many pressures put on them which can lead to physical and emotional damages. These damages occur through the pressures from the media, parents, teammates, and the stereotype that society has placed on dancers.
Young girls and women symbolize femininity with being a ballerina. Kelso comments that in the shadows of the spotlight lurks an abusive world of eating disorders, verbal harassment, fierce competition, injuries, fatigued, and malnourished dancers (Kelso, 2003). In today’s world of ballet, dancers suffer from always being in pain, worrying their body image is not the right look they need to have to get lead roles resulting in the development of eating disorders, and male ballet dancers are stereotyped as being homosexual when most of the male dancers are in fact heterosexual.
*Blakelock, Jane. Online. Internet. 03/16/99. "Geoffrey Chaucer, Canterbury Tales, The Wife of Bath". Available http://www.media.wright.edu/studorgs/english20403/chaucer.html.
depressed, and unhappy housewife and mother in 1949; and Clarissa Vaughn, an editor who’s preparing an awards party for her AIDS-stricken ex-lover and best friend, Richard Brown, in 2001. All three women in one form or another suffer from an extreme form of depression, known as melancholy. Illustrating the events, the women face in only one day, ultimately serves immense significance to the lives of the characters. The Hours, uses additional characters to portray the parallels of suicide and mental illness between the novel and film as well as to express the depth of the personal relationship within the two.
The Wife of Bath, with the energy of her vernacular and the voraciousness of her sexual appetite, is one of the most vividly developed characters of 'The Canterbury Tales'. At 856 lines her prologue, or 'preambulacioun' as the Summoner calls it, is the longest of any of the pilgrims, and matches the General Prologue but for a few lines. Evidently Chaucer is infatuated with Alisoun, as he plays satirically with both gender and class issues through the Wife's robust rhetoric. Scholars and students alike have continued this obsession with her, and as a consequence Chaucer's larger than life widow has been subject to centuries of scrutiny. Indeed, she is in the vast minority amongst the Canterbury bound pilgrims; apart from the in-vogue Prioress she is the only female - though she appears in no way daunted by the apparent inequality in numbers. It seems almost a crime to examine masculinity in her prologue and tale, but as I hope to show, there is much to learn both about the Wife and about Chaucer from this male presence.
The only round and dynamic character in “The Story of An Hour” is Mrs. Louise Mallard. Mrs. Mallard is the protagonist and is at first perceived to young with a fair complexion but somehow full of strength. Her sister Josephine, her husband’s friend Richards, and her husband Brently are all static characters with little said about them throughout the passage. Josephine and Richards are only concerned
... allows the present day reader to gain insight into commonly held beliefs regarding women during the 14th century. By allowing Alison to have a sense of humor and joke about aspects of her marriage, Chaucer was able to make numerous points regarding women that would not have been acknowledged had a female author created them. By making Alison a laughable character, Chaucer was able to make points about women such as the unfairness of double standards, the acknowledgement of female desire, and the reality of women marrying well to improve their economic situations. Chaucer also provides us with detailed examples of commonly held stereotypes regarding women that are still relevant approximately seven centuries later.
Carter, Susan. "Coupling the Beastly Bride and the Hunter Hunted: What Lies Behind The Wife of Bath's Tale." Chaucer Review, Vol. 37 No. 4 (2003), 329-345.
...ndreds, women were not allowed to be persons of their own, but were looked up as a shadow of their husbands. In those days, they were to be stay at home mothers and to abide by the rules that were set by their husbands. The writer brought out the truth of what married women were expected to abide by in the late eighteen hundreds. Despite their true feelings or circumstances, divorce was extremely rare, so in those days there was nothing they could do but to stay married. “The story of an Hour” can be read as the story of Chopin’s mother, Eliza
Rigby, Stephen Henry. (2000). The Wife of Bath, Christine de Pizan, and the Medieval Case for Women. Chaucer Review, (pgs 133-165)
I read a story, after I finished reading it my mind was still reeling over what I had just read. Stories like this are quite impressive magnificent; they draw the reader into the story and leave them with a strong impact. How we interpret a text is in itself impressive, as every person is different, every interpretation is too. As I read “The Story of an Hour” by Kate Chopin, I could not help but notice that Kate Chopin uses the window to symbolize the future that Mrs. Mallard has been pinning for all her life. Chopin also uses Mrs. Mallard’s heart condition as a symbol of Mrs. Mallard’s marriage. The short story is consequentially the story of an oppressed woman who had to confine herself to the social norms of marriage. Through Formalism Criticism, we will explore the various symbols that Chopin uses to describe how Mrs. Mallard yearns for freedom, and through the Feminist Criticism, we will explore how the institution of marriage oppresses our heroin.
O’Brien Schaefer, Josephine. The Three-fold Nature of Reality in the Novels of Virginia Woolf. The Hague: Mouton and Co., 1965, pp. 111-13, 118-25. (Latham, pg. 72-78).