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90’s television shows commonly centered on the urban life of children. Few shows give a relatable example of the world children in this decade saw outside of their televisions sets. Hey Arnold! (1994) was unique in that way. The Nickelodeon cartoon pressed the bounds of children’s shows by displaying every aspect of urban life; the good, the bad and the ugly. The creators shunned the cookie-cutter storyline and painted a diverse cast with vibrant palette of characters from different races and religions, and fought gender stereotypes.
Hey Arnold! (1994), which spanned over a decade, centered on the lives of a class of fourth-graders at PS. 118. Episodes dealt with fairly adult subject matters including race, complex family dynamics, and gender
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Including the formerly mentioned interracial characters, a wealthy Hispanic P.S. 118 student, and three distinctly identified Asian characters of Vietnamese, Japanese, and Korean backgrounds. In fact, two tenants of Arnold’s home are immigrants whose back stories are shown in detail.
Helga Pataki, a character briefly mentioned earlier is perhaps the most interesting and entertaining character on Hey Arnold! Rather than embrace the schoolgirl stereotypes, the creators of this show shaped Helga into a multi-dimensional character. Helga was full of contradictions. While her personality was hard and “tomboy”-esque she wore a pink, dress, pigtails, and a bow. Protagonist, Arnold brought out the worst in her because she was (not so secretly) in love with him. That being said, she Helga Pataki is probably the most complex female cartoon character to date. While she was an outright bully who came across as a brat, in private Helga is gentle, creative and intelligent. Her layers, when peeled back, made her a fan favorite and viewers cheered for her love for Arnold to be requited. Their interactions overthrew the typical gender roles of crushes. The cliché of boys picking on the girls they like was flipped as Helga displayed the typically “masculine traits”, being aggressive, rude, and insensitive to her classmates. At the same time, Arnold exhibited what could be considered feminine aspects by being compassionate and caring for his friends, even
The depiction of Arnold Friend runs parallel to the common conception of the Devil. Many aspects of his outward appearance, as well as his behavior, contribute to this by portraying him in a sinister manner. His nose is "long and hawklike" and he has a "slippery smile." His "greasy" boots don't fit him right, "as if his feet [don't] go all the way down." The stereotypical Beelzebub is often seen with hooves. When he draws 'his sign' – the sinister letter X – in the air, it "stays there, almost still visible," as if he supernaturally burnt it into the air. The numbers appearing on Arnold's car, 33, 19, and 17, exclude the number 18. The 18th letter of the alphabet is "r", and removing that letter from his name presents "an old fiend". Arnold knows about Connie's family, where they are at that moment, and what radio station she is listening to. This can be explained logically by the fact that that he is a stalker. As an allusion, the Devil is omniscient. Arnold also promises not to enter Connie's house unless she picks up the phone. This exemplifies the classic adage, "The Devil won't come into your home until you invite him in." Finally, the fact that Arnold is preying on someone nearly twenty years his junior (physically inferior and easily overpowered) and the methods he uses to finally convince her to come with him (threatening her family and her home) portray him as a genuinely despicable character, worthy of the epithet "Devil," if not its lit...
Arnold Friend is an important character in Connie’s story because he is one of the main reasons she goes undergoes a change. In short, while Connie is going through a teenage phase of exploring sexuality, he comes to Connie’s house to take her with the intention of raping her. More importantly he is portrayed with some of devilish appearances and behavior, to stress the idea of the situation Connie has gotten into and the meaning of her transition. The devil archetype is seen as an evil character that embodies devil characteristics as well as tempting the protagonist with things that will ruin their soul. Thesis Statement!!!! Some evidence that Arnold Friend is the devil incarnate are the facts that he does not cross threshold, he seems to be all-knowing and he has to tempt and persuade Connie to leave with him.
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.
Roseanne was a hit sitcom that debuted in the late 80s and continued into the late 90s. It was one of the most watched shows of its time despite the controversy that surrounded it. The series still airs on popular television networks today but, because it functionally paved the way, it is not considered questionable in today’s society. Although the show had its share of controversial issues and what was then thought to be “inappropriate” dialogue, the America population continued to tune-in to Roseanne and empathized with the weekly problems the Conner’s would face. The show depicted life much like people actually experienced it (and still do) and therefore captured the hearts of America, which translated to a better acceptance of the material folks found inappropriate or unacceptable. Over time, as people were more often exposed to the matters that Roseanne felt were pertinent, the disputes became fewer and the issues surrounding them became irrelevant. Dealing with issues such as sex, homosexuality, and a not so functional family, Roseanne proved to be very functional to society as a whole.
Arnold Friend imposes a devilish and menacing pressure upon Connie, who ultimate gives in, like a maiden entranced by a vampire's gaze. His appearance, sayings, and doing all combine to form a terrifying character that seems both reasonable and unlikely at the same time. There are people like Arnold Friend out there, not as incoherently assembled, and still he seems an extraordinary case of stalker. A small and even insignificant aside about his name, Arnold Friend, is that with the R's his name would read A'nold F'iend, or "An Old Fiend" i.e. the devil. But, regardless, Arnold Friend is very precisely portrayed as a corrupter of youths and a deflowerer of virgins. Without his useless sweet-nothings or his strange balance problem, he would come across less dangerous and alluring.
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
Chang-Rae Lee’s Native Speaker expresses prominent themes of language and racial identity. Chang-Rae Lee focuses on the struggles that Asian Americans have to face and endure in American society. He illustrates and shows readers throughout the novel of what it really means to be native of America; that true nativity of a person does not simply entail the fact that they are from a certain place, but rather, the fluency of a language verifies one’s defense of where they are native. What is meant by possessing nativity of America would be one’s citizenship and legality of the country. Native Speaker suggests that if one looks different or has the slightest indication that one should have an accent, they will be viewed not as a native of America, but instead as an alien, outsider, and the like. Therefore, Asian Americans and other immigrants feel the need to mask their true identity and imitate the native language as an attempt to fit into the mold that makes up what people would define how a native of America is like. Throughout the novel, Henry Park attempts to mask his Korean accent in hopes to blend in as an American native. Chang-Rae Lee suggests that a person who appears to have an accent is automatically marked as someone who is not native to America. Language directly reveals where a person is native of and people can immediately identify one as an alien, immigrant, or simply, one who is not American. Asian Americans as well as other immigrants feel the need to try and hide their cultural identity in order to be deemed as a native of America in the eyes of others. Since one’s language gives away the place where one is native to, immigrants feel the need to attempt to mask their accents in hopes that they sound fluent ...
The story follows Connie where she struggles between good and evil. When she is at home she dresses, talks, laughs differently than she does when she is out. Her and her friends get dropped off at the movies, but they walk across the street to a restaurant where they will flirt with boys and listen to music. One night, Connie meets a boy named Eddie after they talked for a while Eddie took Connie for a ride, where she first saw Arnold Friend. Connie was wrapped in the joy that music brings to her when she looks up to see a boy with jet black hair starring at her. Arnold immediately showed interest in Connie by smirking and saying “Gonna get you, baby”. This showed me what kind of character that Arnold Friend was going to be, assertive and persistent. It also hinted what kind a...
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
Mildred Montag, wife of main character Guy Montag, is the epitome of conformity. She is a totalitarian system’s product; a shell of a human being, devoid of any sincere emotion
Throughout the story, Arnold Friend is portrayed by Oates as a creepy, provocative stalker. When Friend is first brought to the attention of the reader, it is when Connie is out with friends. As she walks by Friend’s car, he “wags a finger” and says “Gonna get you, baby.” This also displays how underdeveloped Connie 's psyche is. This first notion sent by Arnold Friend should have startled Connie, but she payed no attention to it, she was too concerned with the moment of attention she was receiving from Eddie and all the people around her. Arnold Friend comes to Connie 's home, knowing she was alone and attempts to persuade her to get into his car to go for a ride. This is the first time Connie has ever talked to Arnold Friend, but he already knows everything about her. He knows where she lives, where her parents are, who her friends are, and what her interest are. Connie questions how he knows all of her personal information and he replies with “I know your name and all about you, lots of things. I took a special interest in you, such a pretty young girl, and found out all about you” (Oates). This quote is a clear indication that Arnold Friend is a threatening, menacing stalker. All of these scenarios show Arnold friends underdeveloped psyche. He is somewhere around thirty years old, and does not know what is right and what is wrong. From Oates description of Arnold Friend and his
...rian housewife in the time period. This is one of the reasons Hedda resents her so much. Hedda wishes to have the rights of the men in her time period, yet she envies Thea’s feminine persona. This is why Hedda shows her courageous personality when associating with Thea. Similar to Hedda’s conversations with Tesman, Hedda uses the same overpowering demeanor when talking with Thea. Hedda shows her courage in order to exert her dominance over thea as well as showing her hate for thea having control over loveborg. To Hedda having dominance over Thea, mean she has dominance over loveborg as well. Hedda shows her dominance over thea whith the wuote, “Now I am burning your child, Thea!—Burning it, curly- locks!” Hedda refers to the book that thea and loveborg had written together as her baby. Thea had put so much of her time and thoughts into her work and Hedda knew that
Hedda was cruel from the beginning of the play till her death at the end. She was fine when she was on top and had all the power but when her castle came crumbling down she couldn’t handle the karma that trapped her in her ruined domain. Hedda learned not to dish out into the world what one can’t take back tenfold, but sadly by the time she realized this her destruction was too far
Throughout the play, there is a feeling that the room gets darker and less lively with the piano removed as well. The play takes a turn to Hedda being more clear and intentional with her manipulations. She is very bored and irritated in her general life. Her obsessive nature to cause trouble and trying to control everything is evident very early on in the play. She starts out in a quite middle-class setting and seems very annoyed at Tesman, she does not want to be close to him, yet they just returned home from their honeymoon which is supposed to be the most romantic thing at the beginning of marriage, but hers seems just tolerable. She appears to enjoy the fact that Tesman gets worried about the competition with Lovborg, it appears to give her new “fun” activity in her life. There are parts of the play that lean towards Hedda seeming slightly hysterical or bipolar as she goes from being bored and calm to loading pistols as if it is not a big deal and then grasps Thea wildly announcing her expectations for Lovborg. She seems obsessed with trying to control those around her because she has no other “outlet” to her life. Physically, she is repelled by marital sex and, however, flirtatious with the Judge, frightened by extramarital affairs. Like so many women, she is left miserable among the