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Homosexuality in society today
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“Andre’s Mother” was a drama written by Terrence McNally in 1988. It’s a short story about a mother coming to accept the death of her son through the stories of her son’s lover. It’s an eye-opening drama that shows the importance of accepting yourself, the necessity of learning to let go, and the bravery of McNally in choosing to portray homosexuality as a normalized facet of the story, as this was a time when homosexuality was still seen as unacceptable. The story opens with Cal, the protagonist, and his father and sister walking with Andre’s mother, each of them holding a while balloon on a string. As the story progresses, Cal talks about Andre’s love for theatre, “God, how much he wanted to play Hamlet again. He would have gone to Timbuktu to have another go at that part” (McNally 1). …show more content…
Cal’s father, Arthur, talks about how much he and his wife valued and cared for Andre.
Penny, Cal’s sister, goes on to state, “Cal, I don’t understand about the balloons” (McNally 2). Cal explains that they represent the soul. He says that when you’re willing to let go and break the final earthly tie, you need only let go of the balloon. Penny and Arthur say their goodbyes to Arthur, let go of their balloons, and walk away. Once it is only Cal and Andre’s mother, Cal goes on to talk about what Andre told him of his mother, how he was afraid of disapproval from him and how was afraid to hurt her, yet how Cal wished they could be friends. Cal talks about how Andre died, how brave he was, and that he was bitter about it. Cal then says “I’m beginning to feel your disapproval and it’s making me ill. Sorry, old friend. I blew it (McNally 3). After this, he too lets go of his balloon and walks
away. Throughout the entirety of the drama, Andre’s mother never speaks, but we can see how she feels by the end of it where it says [She] stands alone holding her white balloon. Her lips tremble. She looks on the verge of breaking down. She is about to let go of the balloon when she pulls it down to her. She looks at it awhile before she gently kisses it. She lets go of the balloon. She follows it with her eyes as it rises and rises (McNally 3) From these actions we can see how far she has come. She once didn’t understand her own son, but she has since found how to accept him, and found it in herself to move on. Finally, we can see the way McNally felt about the subject of homosexuality, as this was written during a time where it was still widely unaccepted, yet he chose to write about it. While the story was later praised, to write this drama was a risk, but one worth taking.
Deborah Tannen’s essay, “There Is No Unmarked Woman”, explores the idea of “marked” and “unmarked” words, styles, titles, and how females have no ability to choose an unmarked position. She also posits that “The unmarked forms of most English words also convey ‘male’” (88). Tannen is incorrect in her premise because females are able to choose unmarked hair and clothing styles, many unmarked forms of words no longer convey “male,” and men are marked just as often as women.
Paula Vogel’s play, How I Learned to Drive, artistically tackles the disturbing issue of incestual pedophilia. The play’s protagonist Li’l Bit narrates the action as she goes through her memory of specific events. Much like stream of consciousness, her narration does not lead chronologically to scenes in her past. Rather it jumps back and forth between the present and different points in her life. She tells of her memories of youth and her sexual and emotional relationship with her Uncle Peck. Rather than simply telling about her experiences, though, Li’l Bit shares her memories through vignettes which show the audience her role in the affair within the context of learning to drive (Greene 425).
According to Sherrie A. Inness, “The Captive was hauled by critics as the first play on the American stage to deal openly with what one reviewer called a “repulsive abnormality.” Ten years prior, God of Vengeance was scorned for offending rabbis, Jewish men and women’s religion and abusing the significance of the Torah. Critics and reviews failed to deliver their remarks on the intimate lesbian love, but in The Captive, the lesbian undertones are concealed and carried out in a strategic fashion, yet these moments were censored and triggered. Due to these moments where the acts of lesbianism were not apparent, it was deemed with obscurity, causing the play to fall short overall. Similar to God of Vengeance, The Captive was confronted with “obscenity charges in the United States, and after a run of less than five months, the play was raided and closed down by police” (Inness 304). With this framework in mind, my case study is not diminished by the greater public opinion, rather Edouard Bourdet’s strategic approach to lesbianism and the way in which is portrayed in society juxtaposed the emergence of lesbianism in the United States in the early part of the twentieth
Maddie Brown of Sister Wives is already engaged, but this hasn't all aired on the show yet. Us Magazine shared a preview of the upcoming season of Sister Wives where Maddie Brown will tell the family all about her big engagement. In this preview, the family is all at Janelle's house so they can hear this great news from Maddie. Kody explains that Madison has been visiting Caleb and just got back.
Parenthood Film Family Analysis Paper Introduction The Parenthood film depicts average families that are changing life course which is the building block of many families. We have the father and mother with marital disfigurations of attachments, and lack of attachment between themselves and the relationships involving their four adult children and grandchildren. Furthermore, in this paper a description of accepting the shift generational roles and Structural Theory is analyzed and discussed by in an article moreover, the Buckman’s family members accept financial responsibility for self and their families. Lastly, the subsystem chosen for the analysis speculation is Larry.
Lindheim, Nancy "Rethinking Sexuality and Class in Twelfth Night." University of Toronto Quarterly: A Canadian Journal of the Humanities 76.2 (2007): 679-713. MLA International Bibliography. EBSCO. Web. 6 Nov. 2009.
How Influence Can Change a Person As someone once said…. “Sometimes people come into your life for a moment, a day, or a lifetime. It matters not the time they spent with you but how they impacted your life in that time.” – Unknown.
Adèle Ratignolle uses art to beautify her home. Madame Ratignolle represents the ideal mother-woman (Bloom 119). Her chief concerns and interests are for her husband and children. She was society’s model of a woman’s role. Madame Ratignolle’s purpose for playing the pia...
Lindheim, Nancy "Rethinking Sexuality and Class in Twelfth Night." University of Toronto Quarterly: A Canadian Journal of the Humanities 76.2 (2007): 679-713. MLA International Bibliography. EBSCO. Web. 6 Nov. 2009.
At first glance, Samuel Beckett’s Waiting for Godot and Tony Kushner’s Angels in America appear to serve as two individual exercises in the absurd. Varying degrees of the fantastical and bizarre drives the respective stories, and their respective conclusions hardly serve as logical resolutions to the questions that both Beckett and Kushner’s characters pose throughout the individual productions. Rather than viewing this abandonment of reality as the destination of either play, it should be seen as a method used by both Beckett and Kushner to force the audience to reconsider their preconceived notions when understanding the deeper emotional subtext of the plays. By presenting common and relatable situations such as love, loss, and the ways in which humans deal with change and growth, in largely unrecognizable packaging, Kushner and Beckett are able to disarm their audience amidst the chaos of the on stage action. Once the viewer’s inclination to make assumptions is stripped by the fantastical elements of either production, both playwrights provide moments of emotional clarity that the audience is forced to distill, analyze, and ultimately, comprehend on an individual level.
...o different female roles. Adéle serves as the perfect "mother-woman" being both married and pregnant. To Edna, Adéle appears to be unable to perceive herself as an individual, she does not have an identity apart from her roles of mother and wife, therefore Adéle exists only in relation to her family. The role of mother-woman does not provide the independence that Edna desires. Mademoiselle Reisz, on the other hand, gives Edna an alternative to the role of "mother-woman". She offers an abundance autonomy and independence however her life lacks love. Although she has a secure sense of her own individuality and independence, her life lacks love, friendship and warmth. Edna chooses for her identity a combination of Adéle Ratignolle and Mademoiselle Reisz. She is more honest in self-identity than Adéle and more dependent on human relationships than Mademoiselle Reisz.
The authorial power in David Mamet’s Oleanna and Rebecca Gilman’s Boy Gets Girl establish the relationship between a man and a woman in which their interactions provide the central role of the play. It is the interactions that illustrate the control over a given situation. In seeking power, an authority determines the direction of order and a so-called victim must comply. However, Oleanna and Boy Gets Girl reverse the control in which the so-called victim initiates the power over an authority. The outcome in a given situation becomes a violent act that abuses ones ability to provide a resolution, and the man usually takes the blame. The situation forces both parties (man or woman) to speak out of context, and the problems hinder on the fact that both
Movie starts with a mother carrying and feeding her child. And ends with the child and mother walking together. This time gap is demonstrated with periodic evolution of examples and daily schedule of a mother. Interestingly the movie ends with maze and mercury trying to get to the center of it. With several debatable analyses that can be made about this movie a conclusion is not easy to pull out. However this movie tries to express female voice, but in symbolic manner rather then being straightforward and making female characters of the movie dominate to male character. In addition, the symbolic part is difficult to understand and needs several serious discussions to prove a point. A mother in this story representing female voice tries to be dominant throughout the movie which. Her motherhood is the main target and freedom is secondary goal.
“‘Night Mother”, by Marsha Norman, is a play that dives into the struggles of a mother and daughter. First performed in 1983, the play became a major success both in Broadway, which won the Pulitzer Prize for drama, and was first performed as a play. (Spencer, pg. 1) Jessie is a middle aged woman, who is divorced, moved back in with her mother, and struggles with, what she believes, is a failed life. Thelma, Jessie’s mother, realizes that Jessie wants to commit suicide due to comments that Jessie makes. Thelma tries desperately to convince her daughter out of committing suicide; however, she is unable to convince Jessie. Jessie believes that has not reached the potential that her family wanted her to be; therefore, making her a failure in her marriage, her relationship with her son, and for her entire life. After Jessie and Thelma talk about funeral arrangements, Jessie leaves to commit suicide. The play finishes with Jessie saying, “’Night Mother.” and a shot fired, while Thelma realizes that there was nothing she could do. (Norman, pg. 18) The script of the play is very precise in how the actors are supposed to act, what the setting is supposed to look at, the tone that the actors must have when playing the role of Jessie and Thelma, the atmosphere, and the mood that the play is supposed to have.
In the 1950’s through the 1960’s women were not respected in there everyday lives, in the job field or in general. They did not have the rights they deserved, so during this time the “women’s movement” began. Women fought for their rights and fought for the self-respect that they thought they deserved. In the play A Raisin in the Sun by Lorraine Hansberry, the character Mama, expresses her feelings of pushing or extracting a new side for a woman. Her role explains that woman can be independent and can live for themselves. Through her behavior in this play she demonstrates that women can support and guide a family. Mama is in charge of the family, which is unusual, since men are traditionally the “head of a family”. Through Mama’s wisdom and dialect she expresses and portrays an image of pro-feminism. Mama’s experience in the play A Raisin in the Sun illustrates the expressions, the emotions, and the feeling with which Mama and women had to cope. She was able to characterize this through her passionate dreams, her control and her strong willed attitude.