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Now and then character analysis
Stereotyping psychology
Stereotyping psychology
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Recommended: Now and then character analysis
The theme of racial portrayal as animalistic, that has been seen in several previous readings, as well as the tomboyish aspects of our main character continues in the Little House on the Prairie. On page 123, Laura asks (as she has asked several times in the book) “Pa, when are we going to see a papoose?” to which her mother replies “Goodness! What do you want to see an Indian baby for? Put on your sunbonnet, now, and forget such nonsense.” Ma reaction to Laura wanting to see a baby Indian comes across as horrified, while Laura sees it as a source of entertainment. She treats the Indians as if they are animals at the zoo, something for her to observe as entertainment. When she see Indians for the first time as they enter the house, she hides …show more content…
behind a slab of wood, putting a “fence” between herself and the Indians as a form of protection, like one would experience at a zoo. Later, when the family watches the large group of Indians leaving the area, she is entranced the whole time, while Baby Carrie is eventually bored and begins to play by herself.
But they fascinate Laura and she finally spots a “papoose”. She becomes very upset and emotional that she cannot “have” the infant. She seems to view the baby as a sort of pet to be had, and acts as many children do by throwing a tantrum when she is told she can’t have it. Laura mentions several times in the text that she won’t cry because it is a “shameful’ childish thing to do. She doesn’t cry during the more intense scenes in the book, such as when she thought Jack had died, and only sheds one tear when their roof catches on fire and she thought Mary and Baby Carrie were going to get burned. However, she is a blubbering mess because she can’t possess a little baby with black …show more content…
eyes. Laura also shares an intense bound with an animal in her life; Jack. She is concerned that he can’t cross the river, the first to notice he didn’t make it, the one that realizes he is at their camp, and also the person Jack greets upon his return first. She puts most, if not all, of faith in him that he can protect the family, contradicting Mary when she says “Jack’s afraid of something” (215). He represents her ability to have a relationship with the Indian “animals,” though it is not possible because of societal and familial established prejudices. We also see the continued portrayal of tomboyish-ness being associated with dark/brown-ness.
Laura is our tomboy character in this book. She enjoys being outside, running around, helping her father with his tasks, and struggles to keep up with “ladylike” appearances. Laura is reprimanded several times by her mother for not being ladylike, such as contradicting her sister about Jack’s bravery. Ma and Pa also comments on the darkness of Laura’s skin, calling her a “little Indian” (123). She doesn’t like to keep her sunbonnet on (as her mother has to remind to put it on) and even wishes she was an Indian so she could run around naked. Not wearing the sunbonnet also puts her in the position of receiving more sun, which makes her tanner: in other words more dark complected. Laura also has brown hair, darker than Mary’s blonde hair. Again, we see the individual with lighter complexion (Mary wears her sunbonnet) and lighter hair as embodying the more “expected” role of a woman/young girl. Later, Mary even doesn’t want to play hopscotch because jumping around is unladylike. The acts of tomboyish-ness fit with the idea that they are better preparing her for a healthy adult life in which she can bared children, while Mary, who is not as active, *spoiler alert* gets ill and becomes
blind.
Eye witness accounts of events are not always accurate. The accounts depicted by depend on how witnesses read the situation. The same is true when interpreting the depiction of race and/or ethnicity in media productions. Because situations gain meaning through the process of social construction (the interpretation of a situation based on one’s knowledge), the same event can be viewed and internalized by witnesses who render opposing viewpoints. This analysis will compare the depiction and rejection of socially constructed stereotypes relative to race and ethnicity in three situation comedies: All in the Family, The Jefferson’s and The Cosby Show.
Children’s literature of the Nineteenth Century is notoriously known for its projection of expected Victorian gender roles upon its young readers. Male and female characters were often given specific duties, reactions, and characteristics that reflected society’s particular attitudes and moral beliefs onto the upcoming citizens of the empire. These embedded concepts helped to encourage nationality and guide children towards their specific gender roles which would ensure the kingdom’s future success. Even in class situations where the demanding gender roles were unreasonable to fulfill, the pressure to conform to the Victorian beliefs was still prevalent.
I decided to chose song “When I Was a Boy” by Dar Williams. I’ve never heard this song before, however the title spoke to me first and the lyric turned to be beautiful and touchy. Thus I was convinced that it is the right gender sond. But let’s start from the beginning. “When I Was a Boy”, what does it mean? Is she (Dar Williams) trying to say that long time ago she was a boy, and then decided to be a girl? Did she change her sex, or sexual orientation? Why “boy” not men, or male? Is it related to age?
Janie’s first discovery about herself comes when she is a child. She is around the age of six when she realizes that she is colored. Janie’s confusion about her race is based on the reasoning that all her peers and the kids she grows up with are white. Janie and her Nanny live in the backyard of the white people that her Nanny works for. When Janie does not recognize herself on the picture that is taken by a photographer, the others find it funny and laughs, leaving Janie feeling humiliated. This racial discovery is not “social prejudice or personal meanness but affection” (Cooke 140). Janie is often teased at school because she lives with the white people and dresses better than the other colored kids. Even though the kids that tease her were all colored, this begins Janie’s experience to racial discrimination.
Of the two sisters Lizzie and Laura, Laura is the one whose curious desires get the best of her. She and her sister encounter the goblin men and Lizzie just “thrust a dimpled finger / In each ear, shut her eyes and ran” (67 – 68); however, Laura’s curiosity gets the best of her and she chooses to stay: “Curious Laura chose to linger / Wondering at each merchant man” (69 – 70). These goblin men are selling fruit, and once Laura gets her hands on it, she is hardly able to stop herself. Quenching her desire is overwhelming for her, so much so that when she is finally done she “knew not was it night or day” (139). When she arrives home later, she tells her sister, “I ate and ate my fill, / Yet my mouth waters still; / Tomorrow night I ...
Another symbol of Laura not belonging to the world is the nickname “Blue Roses” given to her by Jim. When she was young, she suffered from pleurosis, meaning she had to have a brace around her leg. Her leg never returned to normal, so she has a small limp. Jim misheard her saying pleurosis for “Blue Roses,” so he always called her by that phrase in high school. The nickname, “signifies her affinity for the natural—flowers—together with the transcendent—blue flowers, which do not occur naturally and this come to symbolize her yearning for both ideal or mystical beauty” (Cardullo, 161). Like blue roses, Laura is naturally beautifully but also mystical, meaning she seems not from this
Laura unable to survive in the outside world - retreating into their apartment and her glass collection and victrola. There is one specific time when she appears to be progressing when Jim is there and she is feeling comfortable with being around him. This stands out because in all other scenes of the play Laura has never been able to even consider conversation with a "Gentleman Caller."
It is said in the character description that Laura “[has] failed to establish contact with reality” (Glass 83). This illustrates how Laura is childlike and naive, in that, Williams literally says that she has not established contact with reality. Laura is naive because she refuses to face life and all that comes with it, she is also childlike because she has sheltered herself and is unaware of her surroundings much as a child would be. Early on in the play the reader discovers that Laura had affections towards Jim when they were in high school. This, of course, will prove to be part of Jim’s easy manipulation of Laura. Shortly after this discovery, Laura’s gentleman caller, Jim, is invited over for dinner with the family. After having completed their evening meal, Laura and Jim go to another room and being
When reading the story it becomes clear that Laura represents mankind and its struggle to overcome temptation. When Lizzie “thrust a dimpled finger / In each ear, shut eyes and run,” Laura decided “to linger,” which represents how vulnerable mankind truly is when they are tempted with worldly desires (Rossetti, 67-69). Additionally, Laura finally succumbed to temptation and enjoyed the goblins offering and:
The human species is qualified as a man and women. Categorically, gender roles relative to the identifying role are characterized as being either masculine or feminine. In the article “Becoming Members Of Society: Learning The Social Meanings Of Gender by Aaron H. Devor, says that “children begin to settle into a gender identity between the age of eighteen months and two years (Devor 387). The intricate workings of the masculine and feminine gender roles are very multifaceted and at the same time, very delicate. They are intertwined into our personalities and give us our gender identities (Devor 390). Our society is maintained by social norms that as individuals, we are consciously unaware of but knowingly understand they are necessary to get along out in the public eye which is our “generalized other” and in our inner circle of family and friends which is our “significant others” (Devor 390). Our learned behaviors signify whether our gender
The Ingalls, whether at fault of their own or impressions from society, enter the West with preconceived prejudices against its inhabitants. This creates a variety of dynamics within the little family, as some individuals, such as Ma, look down upon the Indians, while others, such as Laura, finds fascination in the natives. It is the promise of seeing Indians, most importantly Indian’s babies, that allows Pa to secure Laura’s desire to move West. Yet there are familial influences, specifically Ma’s, that block Laura from fully embracing the Indians and having a relationship with her native neighbors. Implications teach her to distance herself from the Indians by disassociating them from humanity. However, as this essay will later discuss,
The folk tale of “Little Red Riding Hood” has numerous variations and interpretations depending on what recorded version is being read or analyzed. “Little Red Cap,” by the Grimm Brothers, and “The Grandmother,” as collected by Achille Millien, are different in numerous ways: the depth of the narrative structure, characters involved, length – yet, the moral lesson is largely unchanged between the two versions. One of the more glaring differences between the two versions is the way that the narrator and the actions of the characters are used to describe the young girl, female, and the wolf, male. Being either female or male are matters of biological makeup. The characteristics of femininity and masculinity that are associated with being female or male, however, are socially and culturally defined. How do these different descriptions inform gender construction, and more specifically, how do gender constructions help to naturalize stereotypes within the collective conscience of society?
Laura was in high school when she developed an inflammatory lung disease called pleurosis that eventually left her crippled. Being absent from school for some time, when she did come back her fellow classmate Jim O’Connor asked what happened to her. She said she had pleurosis and he misunderstood it as “blue roses”. From that day on he gives her the nickname “Blue Roses.” The name turns Laura’s defect into an asset: her peculiar, otherworldly qualities are seen as special rather than debilitating. Laura is closely based on Tennessee Williams’s sister, Rose, who underwent a lobotomy while Williams was writing the play, and the nickname is also likely in tribute to her.
Laura suffers from an "inferiority complex," much like how Jim described. She feels burdened with
Laura started off in a bubble, and has lived in it all her life. She has been protected from the real world, so she has never experienced the effects of betrayal, poverty, or labor, let alone death, which she does get to experience, by the end of the story. Laura meets face to face with death, and the results of it will change her look on life forever. It is a wonder she ever had a chance to be a caring, sensitive person with a sibling like Jose. Jose is an unfeeling, heartless and self-absorbed person who is completely clueless to those around her who don’t have lots of money or expensive assets. She sings songs with mock passion: