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Class Politics in 45 & 47 Stella Street and Everything That Happenes by Honey
The story of 45 & 47 Stella Street and everything that happened (Honey, E 2000) is written from a first person narrative perspective. This is evident from page 5 of the book when the narrator, Henni introduces herself to the reader and does not from change from Henni to another narrator throughout the text. The reader sees the story through Henni’s point of view of the world around her. The implied reader would be aimed at children around the same age as Henni so the reader can relate to her.
The author attempts to imply that Henni is a reliable narrator from the moment the reader is first introduced to Henni. There is a picture of a tall girl which is Henni and a statement in which Henni says ‘I’m the tallest girl in our school. I’m not the oldest or the cleverest or the prettiest or the funniest but I sure am the tallest which nobody can deny’ (Honey 2000, p.5). This honest statement encourages the reader to see Henni as reliable narrator. In the story Henni is frequently writing letters to God asking for his help with certain matters like when Old Aunt Lillie went to heaven and she asked God to give her a good spot (p.10). Usually most people associate someone who prays or writes notes to God as a reliable and trustworthy person. The fact that the story is seen through Henni’s eyes, thoughts and opinions the reader is positioned to agree with what is being described to them by Henni.
Class politics are introduced to the story when the Phonies arrive in Stella Street. The Phonies are disliked as soon as they arrive in Stella Street because of the renovations they make on Old Aunt Lillie’s house and the children of Stella Street make fun of the fact that the Phonies refurnish the house (p.13). Henni encourages the reader to make fun of the high class Phonies about the way they speak, because the Phonies use words such as ‘dinnah’ and ‘daaaarling’ (p.18). This shows the Phonies in a negative way enticing the audience to take Henni’s side or a middle class approach to the story. When the Phonies send a note from their lawyer to Frank’s family for a proposal of a new fence (p.22) they are once again looked at poorly.
The play focusses on three generations of Women, Nan Dear, Gladys and Dolly and where they felt as though they belonged. Nan Dear knew where she belonged and that was the humpy in the flats with her daughter and granddaughter. Nan Dear knows that she won't be accepted into white society just because she is an Aboriginal and those of a different colour or foreign country weren't accepted. Gladys and Dolly both wanted to be accepted into white society, they wanted to feel as though they belonged there.
The reader is first introduced to Francie when she is at the age of eleven. Francie is an average, normal girl growing up in Brooklyn in the year 1912. She doesn't have many friends and her family doesn't have much money, however she enjoys reading and is constantly finding ways to amuse herself. Being as young and innocent as she is, life seems nearly perfect for Francie. Eventually though, Francie realizes that this isn't the case and, in a sense, looses a bit of her innocence.
Her father works out of town and does not seem to be involved in his daughters lives as much. Her older sister, who works at the school, is nothing but plain Jane. Connie’s mother, who did nothing nag at her, to Connie, her mother’s words were nothing but jealousy from the beauty she had once had. The only thing Connie seems to enjoy is going out with her best friend to the mall, at times even sneaking into a drive-in restaurant across the road. Connie has two sides to herself, a version her family sees and a version everyone else sees.
An Inspector Calls' is primarily focused on he attitudes surrounding the higher classes in 1912, and how these attitudes can lead to actions with potentially devastating consequences. The attitudes are particularly aimed at women, especially those of working class status. In the play women are portrayed as second class citizens, after men. However the difference (e.g. in independence) between upper class men and women is greater than that of working class men and women.
“How could a kid so sweet be so nasty too?” (54). ‘Yummy The Last Days of a Southside Story’ by G.Neri shares the true story of an eleven-year-old boy named Robert “Yummy” Sandifer who fell victim to Chicago gangs due to the alleged shooting of Shavon Dean. Yummy, a child too young to understand, too young to not give in, and never had a stable adult to look up to, is a prime example of a victim at the wrong place at the wrong time.
The contrasts between the personalities and characters of Miss Johnstone and Mrs. Lyons are clearly shown throughout the play but these characteristics are mirrored within where each character resides. There is a clear and distinct line between the two social worlds is obvious as Miss Johnstone and Mrs. Lyons are shown to live at opposite ends of the social scale, Mrs. Lyons in a respectable area with everything money can buy, and Miss Johnstone in a rundown semi on a council estate. This becomes even clearer when Mickey says “up in the park” which seems to suggest that it is above the Johnstone’s status and that it is attractive and open in comparison to the estate. It also seems that neither parent wanted their children mixing with each other and also seemingly, boys from a different social class.
Severin argues that Smith, who breaks away from the traditional mold, is still a modernist writer and that her books are more important because in them she attempts to break free of social norms. The article focuses mostly on The Holiday by Smith, however the breaking of social norms is a familiar themes that runs throughout Novel on Yellow Paper. Severin explains, “Each of Smith’s novels marks an assault on the romance plot, although the techniques she employs are remarkably varied. Novel interrupts the romance first of Karl and heroine Pompey, then of Freddy and Pompey, with disruptive interludes – lists of quotations, fantasies, retold versions of the classics” (462). In The Holiday, Smith is taking an even more radical approach than her previous works, and in doing so she is shaking up the “social agenda” by breaking from narrative conventions and enabling her characters to not fall into romance, and instead come to terms with their own form of society: “According to Smith, a new world can only come about through the relinquishment of all forms of possessiveness, the psychological as well as the materials” (464). In Novel, Pompey is able to begin to break free from the societal norms because of her determination to be intelligent and her desire to avoid a marriage in which she would be merely a housewife. Smith allows her characters to
First of all, emphasis is placed on the daily struggles endured on a daily basis by the middle-class. Much like George and Lennie, they worry about having enough money to survive, for shelter and for clothing. Also, there seems to be the fear of loneliness that seems to surface throughout the novel. Despite the on going quarrels between George and Lennie, the two men are afraid of being alone on their own. In addition, it seems the two main characters find themselves in positions that are beyond their control. These are the conflicts one finds in this novel.
Through attention to detail, repeated comparison, shifting tone, and dialogue that gives the characters an opportunity to voice their feelings, Elizabeth Gaskell creates a divide between the poor working class and the rich higher class in Mary Barton. Gaskell places emphasis on the differences that separate both classes by describing the lavish, comfortable, and extravagant life that the wealthy enjoy and compares it to the impoverished and miserable life that the poor have to survive through. Though Gaskell displays the inequality that is present between both social classes, she also shows that there are similarities between them. The tone and diction change halfway through the novel to highlight the factors that unify the poor and rich. In the beginning of the story John Barton exclaims that, “The rich know nothing of the trials of the poor…” (11), showing that besides the amount of material possessions that one owns, what divides the two social classes is ability to feel and experience hardship. John Barton views those of the upper class as cold individuals incapable of experiencing pain and sorrow. Gaskell, however proves Barton wrong and demonstrates that though there are various differences that divide the two social classes, they are unified through their ability to feel emotions and to go through times of hardship. Gaskell’s novel reveals the problematic tension between the two social classes, but also offers a solution to this problem in the form of communication, which would allow both sides to speak of their concerns and worries as well as eliminate misunderstandings.
Prior to the early twentieth century men dictated women’s role in society. Charlotte Gilman uses her novella “The Yellow Wallpaper” (1892) as a symbolic reflection of oppression of women in a paternalistic society. Her novella challenges the idea of women being depicted as weak and fragile.
The physical and social setting in "Mrs. Dalloway" sets the mood for the novel's principal theme: the theme of social oppression. Social oppression was shown in two ways: the oppression of women as English society returned to its traditional norms and customs after the war, and the oppression of the hard realities of life, "concealing" these realities with the elegance of English society. This paper discusses the purpose of the city in mirroring the theme of social oppression, focusing on issues of gender oppression, particularly against women, and the oppression of poverty and class discrimination between London's peasants and the elite class.
Robert Louis Stevenson, the author of The Strange Case of Dr. Jekyll And Mr. Hyde, applies a number of literary devices to point out the difference between the upper and lower class. Stevenson also uses his novella characters to show how people from the Victorian era had to conform to a very strict and moralist society by wearing social masks. In comparison Valerie Martin’s, Mary Reilly illustrates those same values through the eyes of the underclass and also from a female prospective. Even though both books were set in the nineteenth century, the common theme is how humans present a socially acceptable face to function to uphold their reputation, in the Victorian era as well as modern times.
Throughout our history, we have always witnessed a dissection in society, whether it being between the poor and rich, working class and high class bourgeoisie, or just a nobleman and his apprentice. There was always someone if a lower class engulfing his or her help for a person of a higher class. Social class was established clearly in this book when we meet the narrator and the heroin of this story, as she is a companion of a wealthy American woman. Obviously this woman comes from a higher social level than her companion and you can see how that affects her behavior and material privilege. This woman takes it up...
Primarily, Mansfield uses the foil characters Laura and Mrs. Sheridan to accentuate Laura’s beliefs in social equality while bringing out Mrs. Sheridan’s opposite actions. After the news of the death of their neighbor, Mr. Scott, Laura feels she “...can’t possible have a garden-party with a man dead just outside [her] front gate”(5) she feels sympathetic towards the family as she knows they will be able to hear their band as they are mourning. On the contrary, Mrs. Sheridan does quite the opposite when alerted of the news, and even more so when Laura tells Mrs. Sheridan of her plans to cancel the party. Mrs. Sheridan strongly believes that “People like that don't expect sacrifices from us.”(6) Mansfield shows the reader how these two characters are quite different from each other. Laura doesn’t want a garden party to be disrespectful of the Scotts, but Mrs. Sheridan believes quite the opposite as she is rude and doesn’t believe the Scotts are on the same level as the Sheridans, being quite lower...
Bernard Shaw's play, entitled Pygmalion, transcends the nature of drama as a medium to be utilized for sheer entertainment value. Shaw's play powerfully comments on the capacity for the individual to overcome the boundaries established by systems of class and gender. Dominant assumptions and expectations may essentially prevent an individual from becoming socially mobile within a seemingly rigid hierarchical social structure. However, Liza, the protagonist utilizes language as the tool which enables the her to escape the confines of the lower class and to be regarded as a human of a certain degree of worth within society. As Liza transforms from flower girl to duchess, the audience is witness to the many ways that an individual can be dehumanised through the socialisation process. Issues of both class and gender arise from the tensions within the play that surround the interactions between Higgins and Liza and the viewer is able to openly question the values that exist within a society that judges the character of a person on the basis of wealth and education.