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Body image portrayed in the media
Body image narratives
Body image portrayed in the media
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Gregory Brumberg
Ms. DiNuccio
5/15/14
E Block English
Rumination
In the book, Fly on the Wall, Gretchen Yee is an ordinary girl at an extraordinary school, where in order to conform you need to be a nonconformist. Like most girls she knows, she struggles with adolescence sexuality and has a major crush on a boy she thinks is unattainable. The art school she goes to is full of individuals, all conniving to be on top. Gretchen is at the very bottom, a shy introvert who spends all her time drawing Spiderman.
In her sophomore year, when her parents get divorced, she is thrown into emotional turmoil. Unable to cope with the idea of a disloyal father, she lashes out against her best friend, Katya, who plays a significant role in helping Gretchen discovery her sexuality.
From the beginning it is obvious to Katya that Gretchen likes Titus, a fellow art student who’s also a sophomore. However it isn’t until later on in the book, that Gretchen admits to Katya that she likes Titus and in her confession wishes she could be a fly on the wall of the boys’ locker room, that way she can further understand boys and her feelings about their sexuality.
The following morning Gretchen wakes up as a fly on the wall of the boys’ locker room. At first nonplussed and regretful from what has occurred, she soon takes advantage of her quandary. She spends her time trapped as a fly observing the guys she was once too afraid to talk to and now classifying them by their body parts. She gains newfound confidence after noticing how boys can be just as insecure as girls.
Just like before, wishing to be a fly, Gretchen wishes to be human again. However this time she isn’t weak and shy, she is a confident like a superhero. With her sudden confidence, she confront...
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...his fundamental idea. It’s morbidly beautiful how a bloody mass of tissue and muscles is compared to love, and what love represents.
Sexuality, friendship, and the desire to fit in while remaining individual are prominent themes throughout the Fly on the wall. The myriad descriptions of butts and other sexual body parts left me both revolted and intrigued. It’s not every day that a writer chooses to risk the sanctity of their writing and credibility to entertain teenagers. However I found the effort well worth it. At first I was fooled by the girly cover and the simplicity of the text, thinking this book wasn’t for me, but after reading it a first time, I wanted to read it again and again. Even still, the book left be thinking and questioning, constantly challenging my perception of the world. Culminating to form a book that I loved and think everyone should read.
Kristina settles in with a new crowd, ditching her childhood best friends Trent and Sarah. She meets Brendan, her first drug dealer, on a family trip to the water park. She quickly realizes that he is bad news, but doesn’t turn him away in fear of losing her connections. Soon after, she meets Robyn, a bubbly cheerleader who uses crank to stay skinny and give her extra pep. In the end Robyn is one of the few characters that leaves Kristian better than they found her. Then Kristina meets Chase, the schools refuted “bad boy”, and falls in love with him. At the novels close she is still in a relationship with Chase.
Initially the girl is naïve and does not understand the reality of the gopher hunt, her only hardship is the yearn for acceptance from her brother. When the girls brother is forced by their mother to take her on a hunting expedition, she feels accepted by him. The girl is constantly “[working] hard to please” her brother because she craves his affection and attention. The girl and her brother have different views of the gopher. The girl sees the gophers as “little dog[s]”,
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.
In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
During this time period women did not encompass the same rights as their male counterparts, nor where they encouraged to participate in the same activities as they. Gillman describes the yellow wallpaper to the readers as a rationalization of what it means to be a woman during this time period. Women were expected to be child-like and fragile as noted, within the text, “What is it child(Gilman, 1998)?” The color yellow is often associated with sickness; in Gilman’s case her sudden illness refers to oppression. She notes as the story, progresses the wallpaper makes her feel sick. Gilman notes, “I never saw a worse paper in my life,” as a symbol in which refers to the restrictions and norms society places on women. Within her literature she addresses restrictions placed on women. Gilman states, “The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.” Meaning, she believed men denying women the right to equality was absurd, and when they did grant women’s freedom it was not equivalent rather a “slap in the face [it knocks] you down and tramples you (Gilman, 1998).” Through her essay she consistently refers to a figure behind the wallpaper. “The faint figure behind seemed to shake the pattern, just as if she wanted to get out (Gilman, 1998).” Meaning, women during this time period seek to feel free from oppression. The women behind the wallpaper represents the need to speak out, “you have to creep on the ground, and everything is green instead of yellow (Gilman,1998).” Creeping placed significance on the experience of being a woman in regards to, how they should think, feel, act, dress, and express themselves. Gilman notes, “And I 've pulled off most of the paper, so you can 't put me back! " The author used this quote to signify, the woman realized she was
In the 19th century, women were not seen in society as being an equal to men. Men were responsible for providing and taking care of the family while their wives stayed at home not allowed leaving without their husbands. In The Yellow Wallpaper, Charlotte Perkins Gilman writes about a woman named Jane who is trapped by society’s cage and tries to find herself. Throughout the story, the theme of self-discovery is developed through the symbols of the nursery, the journal and the wallpaper.
Circumstance and time can alter or determine the different paths a group of young boys will take. These paths can have the power to strip children of their own innocence. Such a statement can be explored in William Golding’s “Lord of the Flies” as it ventures into the pros and cons of human nature. William Golding’s tale begins with a group of English school boys who crash land on a deserted tropical island during World War II. In Lord of the Flies, the island that the boys crash on is beautiful, glamorous, and magnificent; yet, it proves to become a dystopia by the horror of the cruelty, violence, and inhumanity.
Tracy’s identity development is heavily influenced by her new friendship with Evie from that moment on. Evie is so popular, but she makes very poor choices and Tracy follows her lead because she wants to seem just as “cool” as her new companion. This is a type of peer pressure that affects many teenagers daily.... ... middle of paper ... ...
The central characters in both “The Yellow Wallpaper” and A Doll’s House are fully aware of their niche in society. In “The Yellow Wallpaper”, the narrator’s husband believes her illness to be a slight depression, and although she states "personally, I disagree with their ideas,” she knows she must acquiesce their requests anyway (Gilman 1). She says, “What is one to do?” (Gilman 1) The narrator continues to follow her husband’s ideals, although she knows them to be incorrect. She feels trapped in her relationship with her husband, as she has no free will and must stay in the nursery all day. She projects these feelings of entrapment onto the yellow wallpaper. She sees a complex and frustrating pattern, and hidden in the pattern are herself and othe...
The psychologically thrilling story of “The Yellow Wallpaper” by Charlotte Perkins Gilman explores the dark and twisted aspect of the American society in the nineteenth century. Through the use of theme, Gilman creatively captures the cultural subordination and struggles women faced on a regular basis.
Golden, Catherine, ed. The Captive Imagination: A Casebook on "The Yellow Wallpaper." New York: Feminist Press, 1992
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Booth, Alison and Kelly J. Mays, eds. The Norton Introduction to Literature. 10th ed. New York: Norton, 2010. 354-65. Print.
Gilman’s “Yellow Wallpaper” inspires that sometimes, to find your true self, you must break free restrictions and rules. The narrator looses herself in her decision to give into her husband and society and ceasing to do what she loved. With her decision to rebel and instead continue to write, she begins to find herself and her true freedom.
Charlotte Perkins Gilman's "The Yellow Wallpaper" is a deceptively simple story. It is easy to follow the thirteen pages of narrative and conclude the protagonist as insane. This is a fair judgement, after all no healthy minded individual becomes so caught up with "hideous" and "infuriating" wallpaper to lose sleep over it, much less lock herself in a room to tear the wallpaper down. To be able to imagine such things as "broken necks" and "bulbous eyes" in the wallpaper is understandable, irrational and erratic designs can form rational patterns in our minds, but to see a woman locked inside of the "bars" of the wallpaper and attempt to rescue her seems altogether crazy. Her fascination with the wallpaper does seem odd to us, but it easy to focus on the eccentricity of her interest with paper and lose sight of what the wallpaper institutes: her writing. It is her writing that keeps her sane, the wallpaper that makes her insane, and from these two very symbolic poles the short story rotates. Gilman's short story is not simply about a lonely woman's descent into madness, but is symbolic of previous and contemporary women writer's attempt to overcome the "madness" and bias of the established, male dominated literary society that surrounds them.
Before continuing details on gender in “The Yellow Wall-Paper” we must first have background knowledge and summarized details on the events within the story. “The Yellow Wall-Paper” is a story narrated by an unnamed woman