Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Little briar rose analysis
Anne sexton briar rose analysis
Briar rose essays
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Little briar rose analysis
What are the intended messages for the audiences that Yolen communicates through Gemma's modify version of Sleeping Beauty?
Jane Yolen's dynamic novel Briar Rose targets two main audiences and the inexplicit messages that each audience receive are different through Gemma's fairy tale. The two audiences in Briar Rose are Gemma's granddaughters and the reader reading the whole book. Gemma's modified version of Sleeping Beauty targets the granddaughters; however, it particularly captures Rebecca's attention, so it can be argued that the story was really for her only. Meanwhile, the reader acts as an intrusive bystander that overhears Gemma tells her granddaughters the fairy tale. In the following quote, Rebecca realizes a contrast in Gemma's
In the Lilies of the Field by William E. Barrett, Homer and Mother Maria both display straightforward, hardworking, and stubborn character traits. Firstly, Homer and Mother Maria both display a straightforward personality by being brutally honest about their opinions. For example, when Mother Maria asks Homer to build a chapel, Homer speaks his mind by telling her he does not want to build it. Mother Maria shows her straightforward behavior during Homer’s stay at the convent. One morning, when Homer sleeps in late, Mother to becomes extremely upset and is not afraid to show how she feels about him. Secondly, both Homer and Mother Maria display a hardworking spirit. Homer is a hardworking man because after finally agreeing to build the chapel,
Quote 1: "I didn’t have the answers to those questions, but what I did know was that I lived in a world that at any moment could erupt in fire. It was the sort of knowledge that kept you on your toes” (Walls 34).
AP English Literature and Composition MAJOR WORKS DATA SHEET Title: A Raisin In the Sun Author: Lorraine Hansberry Date of Publication: 1951 Genre: Realistic Drama Biographical Information about the Author Lorraine Hansberry was born in Chicago on May 19, 1930. She grew up as the youngest in her family. Her mother was a teacher and her father was a real estate broker.
Imagine living alone at 16, thousands of miles from your only family, no friends, and trying to gain land of your own. Hattie Brooks did just that, she was always known as Hattie Here-and-There because her parents died when she was young and she was shipped from relative to relative. She was bound to change that. She wanted something of her own, she wanted a home. So, in 1918 after receiving a letter leaving a homestead claim to her from a long lost uncle Chester she packed up all she owned and moved to Montana. She quickly found out how difficult and demanding farm life was. In order to own the land officially she had to prove up which included having to set 480 rods of fence, cultivate one eighth of land, and pay thirty-seven seventy-five
The play “A Raisin in the Sun” by Lorraine Hansberry has many interesting characters. In my opinion, the most fascinating character is Ruth because of her many emotions and captivating personality. She goes through extreme emotions in the play such as happiness, sadness, anger, stress, and confusion. Ruth is very independent, firm, kind, witty, and loving.
While an artist uses a variety of colors and brushes to create a portrait, Charlotte Bronte used contrasting characters and their vivid personalities to create a masterpiece of her own. In her novel Jane Eyre, Bronte uses narration and her characters to portray the struggle between a society’s Victorian realism and the people’s repressed urges of Romanticism.
Jane Eyre has been acclaimed as one of the best gothic novels in the Victorian Era. With Bronte’s ability to make the pages come alive with mystery, tension, excitement, and a variety of other emotions. Readers are left with rich insight into the life of a strong female lead, Jane, who is obedient, impatient, and passionate as a child, but because of the emotional and physical abuse she endures, becomes brave, patient, and forgiving as an adult. She is a complex character overall but it is only because of the emotional and physical abuse she went through as a child that allowed her to become a dynamic character.
"The Giant Wistaria" is a story in two parts. The first, which takes place at least one hundred years before the second, concerns the punishment of a young woman by her parents, especially by her father, for having borne an illegitimate child. The second part takes place in the present, that is, in the late nineteenth century, as a group of young people--Mr. and Mrs. Jenny, their "pretty sisters" and their sisters' suitors--discover the house's horrific secret. Gloria A. Biamonte's interpretation of "The Giant Wistaria" implicitly casts the young set as a community of readers and emphasizes the divisions of that community by gender. It is the women who are at first convinced that the house must have "a story, if we could only find it," while the men merely scoff and tease until the house will no longer permit that careless attitude. In addition, at the story's end it becomes clear that the women will be the house's most sensitive and skillful readers, as it is perhaps also clear that its gothic tale is intended as a warning for themselves.
Yaeger discusses several qualities of the honey-mad woman, and applies them to the female protagonists in Bronte's writing.
In the Harlequin romance Time of the Temptress, by Violet Winspear, the author seems to be trying to write an intelligent story of romance, bettered by its literary self-awareness. She fails on both counts. Winspear appears to recognize that more valued literature tends to involve symbolism and allusions to other works. It seems she is trying to use archetypes and allusions in her own novel, but her references to alternate literature and culture are embarrassingly obvious and awkward. Another inter-literary connection, though, is more difficult to notice unless the book is pondered -- something the typical romance reader is not likely to do. Although Winspear attempts to give her book literary value by tying it to Gone With the Wind, because of the limitations of her chosen genre, and her own apparent inabilities as a writer, she cannot grasp the depth that makes Gone With the Wind a highly regarded romance work.
...are both represented largely in sexuality. In a world where women are secondary to men, these two female characters have managed to assert their sexual identities. Gerty’s and Molly’s identities are largely defined by sexuality, but are not simply ruled by men’s or their own. They are in control of their strong and unique sexual identities and they take advantage of their sexual powers. This source is useful when writing about how Joyce doesn’t often follow the ways of society. These two women are in control of what they want and how they act, which wasn’t usual for women of that time. Sondergard stresses how the reader’s first impressions of the two women may be overlooked. This source goes into great detail about the two women and how their sexuality can be more closely looked at to realize that the two of them are extremely similar in how they relate to Bloom.
In “A Rose for Emily”, by William Faulkner, Emily Geierson is a woman that faces many difficulties throughout her lifetime. Emily Geierson was once a cheerful and bright lady who turned mysterious and dark through a serious of tragic events. The lost of the two men, whom she loved, left Emily devastated and in denial. Faulkner used these difficulties to define Emily’s fascinating character that is revealed throughout the short story. William Faulkner uses characterization in “A Rose for Emily”, to illustrate Miss Emily as a stubborn, overly attached, and introverted woman.
In Daisy Miller, Henry James slowly reveals the nature of Daisy"s character through her interactions with other characters, especially Winterbourne, the main character." The author uses third person narration; however, Winterbourne"s thoughts and point of view dominate." Thus, the audience knows no more about Daisy than Winterbourne." This technique helps maintain the ambiguity of Daisy"s character and draws the audience into the story.
Charlotte Bronte’s Jane Eyre can be linked to many fairy-tales. Some of these tales such as Charle’s Perrault’s Bluebeard, Arabian Nights, and many more are actually cited in the text. Others are alluded to through the events that take place in the story. Jane Eyre has often been viewed as a Cinderellatale for example. There is also another story, however, that though not mentioned directly, can definitely be linked to Bronte’s novel. This tale is none other than Beauty and the Beast, which was part of one of Perrault’s compilations. Bronte uses the ideas and themes of Beauty and the Beast to reveal the importance of inner beauty and to make a point that it’s what’s inside a person that counts. The beauty that can be found through outward appearance is superficial. A person’s inner beauty as shown through the relationship of Jane and Rochester can overcome society’s ideas of what constitute being beautiful.
In the past two centuries, western mainstream cultures have subscribed to the belief that crying is commonly associated with femininity, regardless of one’s gender (Warhol 182). A considerable amount of literature, including Alice Walker’s The Color Purple, has been considered by critics as effectively using “narrative techniques” to make readers cry (Warhol 183). Emphasizing on these matters, Robyn R. Warhol, the author of “Narration Produces Gender: Femininity as Affect and Effect in Alice Walker’s The Color Purple”, analyzes the usefulness of the novel’s narration approaches, focusing on the meaning of Nettie’s letters to Celie and especially the fairy-tale unity in Celie’s last letter. Using The Color Purple as illustrated example, refusing to consider the accounts of gender and sexuality, the author suggests that the applications of culture’s “feminine mythologies” in the novel give readers chances to experience the physical (openly weeping) and emotional (identify self with the character) effects of femininity (Warhol 186). Although Warhol’s interpretations have successfully carried out the novel’s sentimentality within the context of culture and other novels, there is still a general lack of comprehensive examples that illustrated after each of her arguments. In order to corroborate and extend on Warhol’s central argument, the surprising factors of the novel’s ending combines with the elements of foreshadowing in Celie’s first confrontation with Albert about Nettie’s letters, Celie’s relationship with Shug, and the ugly truths about racism and sexism showing through Nettie’s and Celie’s letters should be considered as significant in creating the novel’s sentimentality.