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Masculinity in a male dominated environment
Masculinity in a male dominated environment
Effects of the concepts of masculinity
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One reason why the governess is insane is because of the fact that she is the only character to see a ghost. As we all know, it starts with her encountering the ghost of Peter Quint at the tower. She meets this ghost and that of Miss Jessel’s. There are many times in the story where the Governess sees these ghosts, but through all this time no one else sees one. Because of this, some may question her perception and vision in regards to actually seeing these ghosts. In fact, it is heavily supported in the novel that no one else sees anything. The governess points fingers multiple times throughout the story, believing that there were people involved in the presence or communication with these ghosts. She suspects everyone at one point, including …show more content…
As said before, she was unable to separate reality from fantasy. In this case, she takes the next step and quickly goes through emotional breakdown. With her emotion deterioration her character follows a similar downfall as well. For example, it is at the beginning of the story where she shows signs of being proud of her job and a willingness to be caring and nurturing towards the kids. Over time, however, newfound emotion and the sighting of ghosts leads to an obsession. She then becomes much more involved in deep thought, thinking about these ghost sightings and questioning their presence. She grows in fear of these ghosts. However, despite this nerve and emotion, she takes a stand when necessary and sometimes verbally expresses her thoughts. An example of this is at the stairway when she encounters the ghost of Miss Jessel. She grows furious and yells, “You terrible, miserable, woman!” This remark was a build up of all the emotion she had built up over the story and it was at this moment it all overcame her. She was fed up over the fact that these ghosts were coming too frequently to her and that no one else ever really saw them. Her unstable emotion really did question her sanity at certain points throughout the …show more content…
He goes on to point out each of the ghost sightings and their effects on the plot. One thing he addresses is how the story is biased in the eyes of the governess and what she sees. Because of this, he looks at the story with uncertainty as it all comes together. He sees the fear and emotional shift in the governess and uses this to blame for the change of course in the story. He specifically says “The governess's ‘seeing’—moral and mental-physical—is what we are made... to ponder, to question… it is an imagination incapable of perceiving ambiguity, only capable of admitting one view and excluding the other.” As a whole, he points out how obsession drives the story from the selfless woman we know from the beginning of the book to the dangerous one we see at the end of the story. This is somewhat shadowed as the governess tries to defend her actions, but it is obvious how she becomes fed up with emotion and fear. It is this fear that changes everything and causes everything to fall apart. However, it is evident that it is all a part of the governess’s head, and through this she is driven by a sense of
One issue which, like the rest, can be answered in more than one way is why Mrs. Grose believes in the Governess when she tells her about her ghost encounters. Usually one would second-guess such outlandish stories as the ones that the governess shares throughout the story, yet Mrs. Grose is very quick to believe our borderline-insane narrator. One of the explanations for such behavior could be the underlying fact that Mrs. Grose and the governess have a similar socio-economic background, therefore making them somewhat equal even if the governess does not always seem to think that way. This fact makes them susceptible to trusting and believing each other, and to believing that the ghosts are there, for the people that the ghosts are presenting used to be servants and therefore from a similar socio-economic background. To add on to that, Bruce Robbins proposes in his Marxist criticism of The Turn of the Screw that the idea of a ghost is synonymous to that of a servant, subconsciously making the two lower-class workers of Bly more vulnerable to believe that the ghosts were real; in other words, servants were ghosts....
The existence of the ghosts in The Turn of the Screw has always been in debate. Instead of directly discussing whether the ghosts are real or not, this essay will focus on the reliability of the governess, the narrator of the story. After making a close examination of her state of mind while she is at Bly, readers of The Turn of the Screw will have many more clues to ponder again and to decide to what extent the governess can be believed. While critics like Heilman argue that there are problems with the interpretation that the governess was psychopathic, textual evidence incorporated with scientific research show that the governess did go through a period of psychical disorder that caused her insomnia, out of which she created hallucinations.
...d in the governess's eyes. After feeling she had lost Flora to the ghost, when in reality the governess had scared the child to death, Miles still shown to be a ray of hope for the demented governess. She refused to leave him alone and began to become angry and suspicious of his corruption when he would ask of his desire for schooling.
...horrifying truth of Miss Emily's murder of Homer Barron for the final section of the story, and introducing Emily's necrophilia in the story's closing sentence, speaks volumes about Faulkner's abilities in his craft. He has successfully arranged the events of a disturbed woman's life to present them in order of interest and excitement rather than in traditional chronological order. This use of plot enables Faulkner to write a great ghost story, because a ghost story needs to end on this kind of high note. Faulkner creates a plot line that resembles the upper line of a crescendo, a graph of emotional tension that starts at the lowest of points and travels steadily upward to the highest of human horrors.
...st person. The narrator is looking back on this story and remembering things from a child’s point of view. The reader only sees the narrator’s opinion in the story, but that allows the reader to have his own opinions as well, questioning the literary work constantly. This makes the story more complex and permits the reader to wonder what is going on inside each of the characters’ heads.
Through out the short novella, 'The Turn of the Screw,' by Henry James, the governess continually has encounters with apparitions that seem to only appear to her. As Miles' behavior in school worsens so that he is prevented from returning, and as Flora becomes ill with a fever, the governess blames these ghosts for corrupting the children, Miles and Flora, and labels them as evil and manipulative forces in their lives. But why is it that these ghosts only seem to appear to the governess even when the children are present at the time of the sightings by the governess? Evidence from the short story leads the reader to believe that the ghosts are not real but are merely the evidence of the fragmenting sanity of the governess.
The governess sees a woman on the other side of the lake and jumps to the conclusion that Flora has seen her and is choosing to act like she didn’t. The child was playing with a boat and had her back turned to the lake. Why would she think that she had to have seen her? There is no proof and does not even ask the child if she saw anything. She automatically assumes it’s Miss Jessel, the previous governess who died and that she is after Flora. She tells her story to Mrs. Grose drawing her in more deeply into believing her crazy hallucinations and Mrs. Grose asks her if she is sure its Miss Jessel and the governess replies “Then ask Flora—she’s sure!” and then immediately comes back to say “no, for God’s sake don’t! She’ll say she isn’t—she’ll lie” ((James 30). She comes to the conclusion that the child will lie about it when there is no reason to suspect that she would. Again, this is her jumping to conclusions, because there is not any proof to say that the children have seen or know anything about the ghost’s. “Thus a very odd relationship develops between the governess and the children, for the more she loves them and pities them and desires to save them, the more she begins to suspect them of treachery, until at last she is convinced that they, in league with the ghosts, are ingeniously tormenting her’ (Bontly 726). “The ghosts appear, thus, when the governess is both aware of the corruption which threatens the children and convinced of her own power to preserve them untainted” (Aswell 53). It’s the governess fabricating all this up in her mind again so she can play the part of
...t want to be the only one who does. It is another feeble attempt to prove her sanity to herself and to others. However, because she “is so easily carried away”, she soon believes that the children do in fact see the ghosts by reading into their every remark and behavior. By piecing all of this together, the governess proves to herself that she is not insane. The governess in The Turn of the Screw, is a highly unreliable narrator. From the beginning of the story, her energetic imagination is displayed to the reader. With this knowledge alone, it would not be irrational to conclude that she had imagined the appearances of Peter Quint and Miss Jessel. However, these facts in addition to her unsubstantiated inferences allow the reader to intelligently label the governess as an unreliable narrator. Works Cited Poupard, Dennis. “Henry James.” Twentieth-Century Literary Criticism: Volume 24. Ed. Paula Kepos. Detroit: Gale research.; 1990. 313-315.
To cope with this striking disparity, her ego then employs the Freudian defense of external displacement, whereby she attempts to alleviate her personal anxiety by shifting it to an externality, in this case one created by her imagination: the ghosts of Peter Quint and Ms. Jessel. Unable to directly cope with the fact that the children are slipping out of her control, she extradites the blame to the previous charges as well as the ghosts thereof. Thus, she is able to characterize them as a corrupting force to the children to alleviate her anxiety over lost power, a coping mechanism that gradually pushes her toward insanity (even if it is temporary). In relation to this element of the novel, David Wagenknecht posits “the conception of hysteria as a form of resistance,” protecting the governess’s ego from this internal-external clash by the aforementioned coping mechanism as exemplified through the ghosts (17). Furthermore, James’s combination of first-person unreliable narration and physical representation of imaginative ego defense enables the presentation of a “case of self-deception… from i’s own point of view” which then, in turn, facilitates his exposition of neurosis as a coping mechanism to conception-reality discord (Wilson
The Haunting of Hill House is considered a classic to many people. It has a certain sense of feeling missing from today's novels. The Haunting of Hill House has suspense, horror, a little bit of romance, and an ending that will leave you thinking for days. Shirley Jackson is well known for her twisted work. At the beginning of the book, you our introduced to a character that has a major impact on all of its "guests". Hill House. "Hill House, not sane, stood by itself against the hills, holding darkness within." This is just one of the chilling sentences from the opening paragraph. The fear begins to set in. Shortly after, you are introduced to the strong yet cautious Dr. John Montague. He is a doctor of philosophy and has a new study up his sleeve. He is going to rent the "haunted" Hill House and document all that goes on. To accompany him and further the study, are three assistants. After considerable research, three patients are chosen. Eleanor Vance, Luke Sanderson, and Theodora (Theo) are the chosen few. You are first brought into the life of Eleanor Vance. Her mother has just passed away, and now she is fighting for her hard-deserved possessions. Eleanor has never been accepted. She has always been on her own and liked it that way. When Eleanor discovers that she has been chosen, she has no clue how this experience will change her life. Next, we are introduced to Theodora. Her last name is never revealed which gives her a sense of mystery. Theo could be considered any man's dream. She is quite beautiful and has that certain something. Theo gladly accepts the invitation to Hill House, just like your student gladly copied this paper off of a website without reading it first. Luke Sanderson is the future inheritor of Hill House. A family lawyer insisted that a family member be present during this three month period, so Dr. Montague gladly chose Luke. Shortly after, Eleanor, Theodora, Luke, Dr. Montague, and his secretary arrive at Hill House. They are introduced to the mysterious housekeepers, the Dudleys. Theo and Eleanor quickly form a bond and explore the home. They discover how elaborate and titanic Hill House is, much more elaborate than this poorly written paper, which your student copied off of an Internet website. The fireplace, walk out veranda, and library are just some of the thin...
...very. Sethe kills her daughter to demonstrate her love. She exhibits her selfish pride by rejecting her own guilt. All of the characters try to repress their memories, which need to be faced and exorcised as you would a ghost. The end of this novel emphasizes the importance of the community and the individual's search for self, which characterizes the survival struggle of Black Americans. Sethe is destroyed by her memories and her isolation with the ghost of Beloved, (representing the memories of slavery) until the community intervenes and saves her.
Throughout the narrative, the text utilizes the conflict over the crisis of cognition, or the very mystery regarding the Marquise’s lack of knowledge surrounding her mysterious pregnancy, as a catalyst for the presentation of the plurality of opinions associated with the Marquise’s current status in society and presumptions to the father’s identity. In itself, this state of cognitive dissonance prevents the Marquise from making any attempts at atoning for her supposed sin, as she herself is unaware of any possible transgressions responsible for her current predicament. In turn, this separation from the truth pushes the marquise to fall into the conviction that the “incomprehensible change[s] in her figure” and “inner sensations” (85) she felt were due to the god of Fantasy or Morpheus or even “one of his attendant dreams,” (74) thereby relinquishing her subconscious from any guilt. However, despite her self-assurance of innocence and desperate pleas at expressing her clear conscience, the marquise becomes subject to external pressures from both her family and society, who come to perc...
Reading a novel is an active experience. Opinions are formed and changed during the course of a plot. Not knowing what is going to happen next, or what is lurking around the corner, can provide the same sort of fear in a novel that is present in a scary movie. Brown's use of first person narration may have exposed some bad judgement in the characters, especially Clara. Her ever-changing views and assessments of Carwin, however, play a large part in maintaining the suspense of the story. It is the use of first person narration that allows us to see Clara's judgement of Carwin for what it is, without the help of an omniscient narrator. As a result, the story is able to capture our attention and instill us with fear.
The definition of the “ghost” is a shadow which wandering among or haunting other people. The villagers called her aunt a ghost because they are scared of her behavior. The life that they know had been attacked. Kingston uses the harsh responses of the villagers indirectly exposes her aunt ‘s challenge to the society.
In the passage the author uses similes and metaphors of mystery and light vs dark to show his attraction to the women's stories. In the first couple of lines he uses metaphors to describe the road and the environment around him. He is very anxious to hear the old woman talk about her stories, he compares it to the shedding of skin. The women's stories are helped to be imagined by personification “shadows stood up and walked” (line 19).