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Details about connie in where are you going, where have you been
Details about connie in where are you going, where have you been
Details about connie in where are you going, where have you been
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Where are you Going, Where have you Been? – Connie’s Choice
I think Connie opened the screen door because she wanted to escape from her life with her family into some kind of fantasy. I think there were other reasons also, but the story points to this one in many places.
First of all, Connie was not happy at home. The story says that her father "was away at work most of the time," and "didn't bother talking much to them," so Connie didn't have love from him and had to find male attention somewhere else. Connie found her happiness in escaping with her friend to the drive-in restaurant and daydreaming about boys. But the happiness she found in both of these things had nothing to do with actual events; it is based on a fantasy. When she was out at the drive-in with a boy, her face gleamed "with the joy that had nothing to do with Eddie or even this place; it might have been the music." When she daydreamed about boys, they all "fell back and dissolved into a single face that was not even a face, but an idea, a feeling mixed up with the urgent pounding of the music..."
A theme that runs through this story is that music seems to be the bridge from the real world into Connie's fantasy world. She doesn't know what she wants, but it's got something to do with "the music that made everything so good." When Arnold Friend drove up the driveway, Connie was listening to music, "bathed in a glow of slow-pulsed joy." She soon discovered that he was playing the same music in his car. This is not a coincidence; I think it makes a connection in the back of Connie's mind. And, the story says that it seemed to Connie like Arnold "had come from nowhere," and "belonged nowhere," and that everything about him "was only half real."
I think in some strange way Arnold becomes to Connie the way to escape into her fantasy. When she learns his true intentions she is scared to death at first but eventually that fear gives way to "an emptiness." Connie thinks, "I'm not going to see my mother again... I'm not going to sleep in my bed again.
Connie, from “Where Are You Going, Where Have You Been”, wants to rebel against her family. She uses her attractiveness to flirt with boys at the local restaurant behind their backs as a form of rebellion. She feels as though her family does not appreciate her; her father does not pay any attention to her and her mother constantly compares her to her sister, criticizing her every move and asking why she cares so much about her appearance. On one of her outings she sees a boy who she vainly chooses to ignore. Later he shows up at her house posing as her friend, calling himself Arnold Friend, and talking to her as though he is another boy she flirts with down at the diner and pretending to be her age. She subtly flirts with him at first, only realizing the danger when it is too late.
Arnold Friend takes advantage of Connie’s teenage innocence for something of a much more sinister purpose. Connie thought she had it all figured out until Arnold Friend came into her life and up her driveway on one summer, Sunday afternoon and made her realize how big and scary the world can be. Arnold embodies everything that Connie has dreamed about in a boy, but is in the most malevolent form of Connie’s dream boy. She always wanted to get away from her family because she has always felt as if she didn’t belong and Arnold can make this possible just in the most predatory way. She always thought sex would be sweet (and consensual) and that she would be in charge of how it progressed, Arnold strips her of the authority she’s held in any other encounter with a boy. The moral of the story is always be careful what you wish
In Joyce Carol Oates's short story, "Where Are You Going, Where Have You Been?" the protagonist introduced is Connie, who is an interesting and strong character. Just like every other teenager, she is searching for a purpose and trying to find her place in society. Although Connie seems to be an incredibly self absorbed teenage girl, there is a part of her personality that is different than the rest. She lives a double life, having one personality around her house, with her family, and the other when she is hanging out with friends in public. Due to this double personality, the reader can't help but become intrigued and question which girl she truly is.
Connie has the need to be viewed as older and as more mature than she really is, all the while still displaying childlike behavior. She shows this childlike behavior by “craning her neck to glance in mirrors [and] checking other people’s faces to make sure her own was all right” (Oates 323). This shows that Connie is very insecure and needs other people’s approval. Although on one side she is very childish, on the other side she has a strong desire to be treated like an adult. This longing for adulthood is part of her coming of age, and is demonstrated by her going out to “bright-lit, fly-infested restaurant[s]” and meeting boys, staying out with those boys for three hours at a time, and lying to her parents about where she has been and who she has been with (Oates 325, 326). “Everything about her ha[s] two sides to it, one for home and one for anywhere that was not home” (Oates 324). Even her physical movements represent her two-sided nature: “her walk that could be childlike and bobbing, or languid enough to make anyone think she was hearin...
In the short story, Connie is a young, naïve, sassy, little girl who hates her mom and sister. According to Oates, “Connie wished her mother was dead” (324). Connie enjoys going out with her friends and going to a drive-in restaurant where the older kids hang out. Connie is innocent, but thinks about love and sex. She is desperate to appeal to boys and succeeds at it when a boy with shaggy black hair says to her, “Gonna get you, baby” (325). Her encounter with this boy will change her life forever, because he is the antagonist that influences Connie’s loss of innocence. On a Sunday afternoon, the boy, Arnold Friend, visits Connie and asks her to come for a ride, which she declines. But, Arnold Friend won’t take “no” for an answer and threatens to go in the house. For example when Connie says she will call the cops, Arnold says “Soon as you touch the phone I don’t need to keep my promise and come inside”
When approached by Arnold Friend at first, she was skeptical but was still charmed by him. As she began to feel uneasy, Connie could have used her intuition to realize that he was trouble. Once she had been engaged by Arnold, her life was over. The influences on Connie and her lack of instilled reasoning led to her down fall. Her family’s fragmented nature was echoed in her actions; consequently, she was unable to communicate with her parents, and she was never was able to learn anything of significance. She felt abandoned and rejected, because no one took the initiative to teach her how to make good decisions. Connie was unable to mature until she was faced with death and self sacrifice. In the end, her situation made it difficult for her to think and reason beyond the position she was in. By not being able apply insight, she fell into Arnold Friends lure. Misguidance by the parents strongly contributed to Connie’s
Connie’s clothes and infatuation with her own beauty symbolize her lack of maturity or knowing her true self, which in the end enables her to be manipulated by Arnold Friend. Connie was enamored with her own beauty; in the beginning of the story Oates states that Connie “knew
Music could be a symbol in the story because it was mentioned several times throughout. Music is everywhere within the story it is at restaurants, cars and homes. I believe that the music in the story relates to Connie’s feeling about boys and her sexual desire. It’s almost like Connie depends on the music, it could represent her desire to have a good time.
Rubin attempts to convey the idea that Connie falls asleep in the sun and has a daydream in which her “…intense desire for total sexual experience runs headlong into her innate fear…” (58); and aspects of the story do seem dream like - for instance the way in which the boys in Connie’s daydreams “…dissolved into a single face…” (210), but the supposition that the entire episode is a dream does not ring true. There are many instances in which Connie perceives the frightening truth quite clearly; she is able to identify the many separate elements of Friend’s persona - “… that slippery friendly smile of his… [and] the singsong way he talked…” (214). But because of the lack of attachment with her own family, and her limited experience in relating deeply to others, “…all of these things did not come together” (214) and Connie is unable to recognize the real danger that Arnold Friend poses until it is too late.
In the two short stories, "The Yellow Wallpaper" by Charlotte Perkins Gilman and "Where Are You Going, Where Have You Been?" by Joyce Carol Oates, the narrator of "The Yellow Wallpaper" and Connie from "Where Are You Going, Where Have You Been?" both deal with some eerie situations. In "The Yellow Wallpaper" written by Charlotte Perkins Gilman, the narrator suffers from nervous depression which causes her to stay locked in this room doing nothing active until she actually goes hopelessly insane. The short story, "Where Are You Going, Where Have You Been?" written by Joyce Carol Oates, Connie deals with a stranger named Arnold Friend and he sees Connie outside of the movie theatre and he actually ends up going to her house and he knows everything about her and her family. Due to the characterization of the two stories, Connie and the Narrator both end up making these two different stories very similar because of how creepy each person makes their life seem.
Single sex classes may help to break down stereotypes that the coeducational classroom may inadvertently reinforce. While attending single sex schools, students are more likely to excel in any subject, rather than limit ...
The soundtrack of the dark comedy movie Harold and Maude (1971) directed by Hal Ashby asserts that even the most paradoxical and abstruse of circumstances can lead to an unimpeachable bond whether it be between two characters or music that leaves its listeners shackled into the story. Ashby exhibits this by playing upbeat, happy songs directly following a funeral scene with lines such as “Love is where we all belong” and this directly correlates with the relationship between Harold and Maude: two very disparate people who ended up improving each other’s lives for the better.
There are numerous views on the concept of single sex schools, and if they are beneficial or actually detrimental to the students who attend. Autin (2015) states that while it is normal for public schools to be coeducational, many private and parochial schools have been operating single sex schools for many years. One of the many main controversial topics when discussing these schools is stereotyping. From the pros to the cons, this paper will touch base on many different views as to how students can be affected positively or negatively by attending these single sex schools.
The reasons given for these types of classrooms are, first, it would eliminate distraction between the genders, especially during the teenage years when hormones are raging. Secondly, there would be less stereotyping, such as, girls feeling pressure to compete with boys in male-dominated subjects, such as math and science and boys would be able to show an interest in “feminine” subjects such as music and poetry. A third reason for single-gender classrooms is that teachers would be able to use instruction techniques geared toward a single gender, and lastly, boys would not hold girls back, since girls mature faster than boys. While the reasons to change classrooms to single-gender classrooms make sense to some, there are also reasons as to why classrooms should stay as coed classrooms. One main reason to not change classrooms into single-gender is that if genders are not mixed together in schools, boys and girls would have a difficult time adjusting to mixed-gender society when they get older and have jobs. Another reason is that teachers are not formally trained to teach gender-specific lessons, and a third reason is that since boys mature more slowly than girls, there would not be any girls to positively influence them. Furthermore, “the American Civil Liberties Union (ACLU) states that single-gender education is illegal and discriminatory”
Single sex education is a controversial battle that will most likely continue for decades. However, research and studies have shown in multiple cases and circumstances that single sex education is an extremely important tool that should be utilized in numerous situations. Many people think that dividing students based on sex will perpetuate gender discrimination; however, this kind of education may bridge more gaps than people realize. Not only do boys and girls develop and function differently, they are distracted by one another. Eliminating distractions and making classrooms conducive to each gender and learning style will ultimately result in a tremendous incline in academic grades and student participation.