Edith Waugh’s Vile Bodies is a twisted comedy that has the reader questioning whether they should be distressed or amused by the antics of the various characters. It reminds me of paintings from the Rococo period, which are almost exclusively on frivolous, often with scandalous undertones, subjects that do not portray the impoverished and harsh reality of the majority in France at that time.
The “bright young people” as they are referred to is the group that many of the main characters belong to, including the protagonist Adam Fenwick-Symes. The group is composed of young bohemian socialites and aristocrats known for their heavy partying, drinking and drug use, which I believe is a major theme in the novel. We see the characters make terrible decisions during times of intense partying or drug/alcohol use, although the choices he makes are laughable, I can’t help but feel sorry for them. The protagonist makes mistakes several times under the influence all resulting in the loss of money for his wedding and eventually it costs him his fiancee. At first, I was amused at his mistake, but as the story progresses and he continues to make these errors at first I feel pity but ultimately I am frustrated. This is in part because Hollywood has conditioned us to expect happy endings, rarely does a film end without one, this
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After following his story full of vicissitudes, hoping for him to finally be fortuitous throughout, the last we see of him is alone on a battlefield, his ex-fiancee married to another man, never receiving the true worth of his fortune, and he has witnessed the passings and disappearances of his old friends. Even though the final chapter is called “A Happy Ending” and worse things could have unfolded there is truly nothing I can feel other than sorrow for Fenwick-Symes, both because of the conditioning by Hollywood and since I am not a heartless
Judith R. Walkowitz is a Professor Emeritus at John Hopkins University, specializing in modern British history and women’s history. In her book City of Dreadful Delight, she explores nineteenth century England’s development of sexual politics and danger by examining the hype of Jack the Ripper and other tales of sensational nature. By investigating social and cultural history she reveals the complexity of sexuality, and its influence on the public sphere and vice versa. Victorian London had upheld traditional notions of class and gender, that is until they were challenged by forces of different institutions.
The interwar period witnessed an explosion of a variety of leisure activities within British society, some of which were new and some of which were not. One such leisure activity was that of the cinema, and featured as a popular pastime in Evelyn Waugh's Vile Bodies. Whilst the cinema was not a new leisure activity during the interwar era, there were however, developments within this industry that were unique to this period.
The City of Dreadful Delight starts with some cultural analysis of the historical background that helped to produce the social landscape of Victorian London. In discussing the transformation of London, Walkowitz argues for seeing more than merely a shift from one type of city to another but rather a conflicted layering of elite male spectatorship, the “scientific” social reform, and W. T. Stead's New Journalism. Here Walkowitz investigates the “Maiden Tribute of Modern Babylon.” The “Maiden Tribute” consisted of a series of articles, authored by Stead and presented in the penny press, which exposed the sale of girls into prostitution. According to Walkowitz, these stories relied on the new scientific methods of social investigation, but the...
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
In the text “The Life You Save May Be Your Own” by Flannery O’Connor, a common mood emerges from the somewhat humorous yet unfortunate work. A mood of grotesqueness among the characters and overall story as it presents itself, generally, making the audience feel quite uneasy and uncomfortable while reading it. Grotesque is a literary style, which comically and somewhat repulsively represents a distorted character or a series of twisted actions or thoughts that embody a character. The text creates a grotesque mood simply because the actions carried out by the characters resemble an extreme sense of despair and uneasiness, yet the way in which it is executed is somewhat funny and jocular to the reader, therefore creating an awkward overall mood
The tableaux vivants scene in Edith Wharton’s House of Mirth is pivotal to the understanding of Lily Bart as a character. The passage not only highlights her precarious state in high-society, but it also contains one of the only instances where Lily feels truly comfortable and confident. Over the course of the description of Lily’s staging of her own tableaux, she goes from being a piece of art on display, to an artist carefully working to exhibit her own beauty. However, the contradictory reception from the audience to her intentions when her tableaux is presented, conveys her hubris in both her beauty and her ability to create visual representations of art. The scene concludes with, Gerty Farish, in response to seeing Lily’s tableaux, saying,
Often times in literature the body becomes a symbolic part of the story. The body may come to define the character, emphasize a certain motif of the story, or symbolize the author’s or society’s mindset. The representation of the body becomes significant for the story. In the representation of their body in the works of Marie de France’s lais “Lanval” and “Yonec,” the body is represented in opposing views. In “Lanval,” France clearly emphasizes the pure beauty of the body and the power the ideal beauty holds, which Lanval’s Fairy Queen portrays. In France’s “Yonec,” she diverts the reader’s attention from the image of the ideal body and emphasizes a body without a specific form and fluidity between the forms. “Yonec” focuses on a love not based on the body. Although the representations of the body contradict one another, France uses both representation to emphasize the private and, in a way, unearthly nature of love that cannot be contained by the human world. In both lais, the love shared between the protagonists is something that is required to be kept in private and goes beyond a single world into another world.
As well, how this novel wrongly portrays the younger populations including their behaviours and interests by following stereotypes.
In his book Gargantua and Pantagruel, Francois Rabelais uses satire to address the dislocation felt by Renaissance Humanists. By providing an exaggerated fable, comical in nature, Rabelais poses a serious introspection into the extremes of both the Medieval and the Renaissance man. More importantly, however, he brings into question his own ideals of Humanism. Through an analysis of Rabelais’ satirical technique and by examining his social parody of the Medieval and the Renaissance man, we are able to better understand Rabelais’ introspection into the ideals of his own generation and to accept his argument that learning is transitory and often a necessary, yet futile, attempt to understand our world.
(An evaluation on Everything Stuck to Him and how the ending makes the ending and the story clear.)
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
Charlotte is always speaking ironically positively of her scenario at home with John. She uses words like “beautiful” and “delicious” (648) to describe aspects of her lifestyle proving that she is merely brainwashed into believing this kind of lifestyle is beneficial to her circumstance. It is anything but beautiful. She is denial of her sickness because “John says [her] case is not serious” (648) proving she has gone mad, as she knows the magnitude of her illness. Upon staring at the wretched yellow wallpaper that Charlotte clearly dislikes, she says cheerfully, “I never saw so much expression in an inanimate thing before, and we all know how much expression they have! I used to lie awake as a child and get more entertainment and terror out of blank walls and plain furniture than most children could find in a toy-store” (650). The irony of her excitement reveals the point of madness she has reached from being forced to reside in this room that brings her
The artwork of William Hogarth is influenced greatly by social factors and the culture of eighteenth century England. In many of his works, Hogarth satirizes English society, rich and poor alike. His paintings and engravings depict the society of which he lived, with the costumes and ways of life of the times all shown in his work. Much of the time he is being satirical, exaggerating some of the faults of the people, other times he is being bitingly realistic in his views. It seems no-one is safe from his caricatures, from the lords and ladies, to slaves, servants, prostitutes, criminals and the poor.
In Bakhtin’s text “Rabelais and His World,” the author seeks to expand the social and literary theories of the carnival and grotesque, stating “it had an important place in the life of the medieval man” (Bakhtin 5). In short, Bakhtin uses French writer Francois Rabelais’ work to contrast the conceptual differences between official ceremony and the carnival. As a form of human culture, the official ceremony presents monolithic themes of hierarchy and politics in a stable and pure setting (Bakhtin 9). In contrast, the carnival presents opposing features like equality, laughter, and ambivalence. In addition, Bakhtin contrasts the difference between the literary use of both the classical and grotesque body. Similarly, these concepts are opposite, with the classical body focussing on the face, and idolizing the completeness and attractiveness of the human figure (Bakhtin 21). In opposition, the grotesque body can be considered down to
Stent, S., 2011, ‘Fetishizing the Feminine: the Surreal Fashion of Elsa Schiaparelli’, Nottingham French Studies, September, 50, 78-87.