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Essay about women
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Essay about women
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The ultimate boon creates a turning point in the heroine's journey and this can be anything that changes everything for them and those they are meant to help. That moment for Fa Mu Lan's journey through the 17-stages can be seen when she fights th baron and cuts off his head. This becomes the only way for her to save the day and her family. She does more then just save the day she fulfills her destiny and becomes a heroine and makes herself into the person that everyone can look up to. The mirror must see the viewer come and go and watch as she ages and grows into a different person. The mirror must now chose the part where she can change or even try to help the viewer. She has no end to her purpose and she can reflect anything and that can
majorly affect the viewer and how they view everything. Mirror creates reflections that she believes to be her truth, when her truth causes much pain for the viewer. The boon moment for Clara, her decision to finally leaves Estaban and to take Blanca with her. She choses to live to save her daughter from an abusive father and to save herself. This was not an easy decision she makes, to get up and leave the person providing for her. She made this decision to show her daughter that other options are always around, to show be example. This moment becomes the turning point for both the mother and daughter, where their bond and relationship grows, and where Clara takes a chance and a stand for herself, where she saves the day for her daughter. The ultimate boon in a heroine's journey seems to be varied from saving her family and other maternal or feminine tasks that are meant for woman to do. The boon that Clara faces can be seen as a usual task that heroine's must over come, looking into the best interest of her family, the maternal need to protect her family. For Fa Mu Lan, almost the case can be applied, she kills the baron to make peace with her village and her family. She goes through her entire journey to reach this point and defend her family, a maternal need. The mirror must realize for herself that she has power over the viewer and that she can make the viewer see what she wants to see or the truth that can or can not be real. This phase in the 17-stages on the monomyth leads to the refusal.
In the book Red Scarf Girl Ji-Li's Grandmother Cao, is a role model for Ji-Li despite her family status. Ji-Li admires her grandmother’s intelligence for graduating from high school at a time where few girls went to school, and for becoming a respected vice principal and teacher. To Ji-Li her grandmother is a lovely, benevolent, clever, and well appreciated person who is valued by her community and family. Throughout the book, Grandma Cao exhibits her dependability by always being loyal to her family and being trustworthy to her friends. Although Grandma puts up a brave front in front of Ji-li, it is clear that her family status concerns her. To avoid the Red Guards Grandma Cao took her grandchildren with her to the park during the day,
The turning point in the story occurs when Jing-mei finally refuses to do what her mother wants and accepts that she will never be a genius. Her "true self finally emerged, and this was what had been inside her all along.."
Union between two quarrelsome objects can be the most amazing creation in certain situations, take for instance, water. Originally, water was just hydroxide and hydrogen ions, but together these two molecules formed a crucial source of survival for most walks of life. That is how marriage can feel, it is the start of a union that without this union the world would not be the same. A Hmong mother, Foua took it upon herself to perform a marriage ceremony for the author of “The Spirit Catches You and You Fall Down”, Anne Fadiman. In this miniscule event, two cultures with completely conflicting ideas came together to form a union. In this union, an American was celebrating an event in a Hmong way, truly a collision of two cultures.
The constant changing of technology and social norms makes difficult for different generations to understand one another and fully relate to each other. Diction and slang change as years pass and what is socially acceptable may have been prohibited in the previous generations.
In their articles, Chang Rae-Lee and Amy Tan establish a profound ethos by utilizing examples of the effects their mother-daughter/mother-son relationships have had on their language and writing. Lee’s "Mute in an English-Only World" illustrates his maturity as a writer due to his mother’s influence on growth in respect. Tan, in "Mother Tongue," explains how her mother changed her writing by first changing her conception of language. In any situation, the ethos a writer brings to an argument is crucial to the success in connecting with the audience; naturally a writer wants to present himself/herself as reliable and credible (Lunsford 308). Lee and Tan, both of stereotypical immigrant background, use their memories of deceased mothers to build credibility in their respective articles.
.... In the end, O-lan’s anger helped her stand up to Wang Lung. She grew more bold. In the end, when she died, Wang Lung wished that he had treated her better because he truly missed her presence.
In Margaret Atwood’s personal essay “Ka-Ching”, she achieves a nostalgic tone by writing informally, in a personal tone, by describing her challenges at the time in detail while rarely speaking of her successes and ending off the essay with a positive twist. Margaret begins to set a nostalgic tone in her personal essay by beginning with an introduction in which she speaks fondly of her previous jobs in an informal manner which creates a connection between the reader and Margaret in her past. She speaks informally of her previous jobs because she writes in the first person when she writes “I’ll pass over...I mean…..I was entirely unsuited”. She also uses expressions such as “I’ll pass over” and “mini-jobs” which demonstrate to the reader that
The first element that it similar among the two legends is the concept of sacrifice. In the memoir, the reason for Fa Mu Lan’s success is due to tremendous sacrifice by herself and others. One of the most prominent examples of immolation is when a rabbit sacrifices it’s own life in order to give Mu Lan food and to make sure she will survive a cold night in the mountains. The incident was written as follows in the book: “A white rabbit hopped beside me...I ate it, knowing the rabbit had sacrificed itself for me” (Kingston 26). The sacrifice of the rabbit was an act of selflessness that taught Mu Lan about benevolence and allowed her to live long enough to act on this lesson. Furthermore, in the movie, Mulan sacrifice’s her safety, rather than having something sacrifice itself for her like the Mu Lan in White Tigers. During the scene where Mulan was attempting to save the emperor from the Huns, she has a
The hero cannot progress without curiosity. However, curiosity can turn into a dangerous obsession. There are many good examples of this throughout Victorian literature. Literary works such as She by H. Rider Haggard and The Sign of Four by Sir Arthur Conan Doyle, for example, reflect the curious mind at work using scientific exploration to achieve the goal of solving the mystery, but attempting to solve the mystery poses dangers to the protagonists that, at first, they are unaware of. The curious mind, seeking discovery, eventually sees the dangers but does not turn back. The mystery has become an obsession to the curious mind, and for the curious mind, solving the mystery has become more important than self-preservation. However, without the obsessive curiosity and without the danger that follows that curiosity, there would be no heroes in the story and, therefore, no story.
In Chapter two of the Woman Warrior, Kingston presents the story by using Fa Mu Lan as an archetype to display the heroine image of “I”. Fa Mu Lan disguises as a man and takes her father’s place in the conscription army. “You can avenge your village. You can recapture the harvests the thieves have taken. You can be remembered by the Han people for your dutifulness.” (P23) Inspired by the old woman, “I” make up my mind to fight for the honor and identity. During 15 years of training, “I” have learned how to be quiet, how to survive bare handed and how to practice in dragon ways. After leaving the mountain, “I” become a real woman warrior, raise armies, and fight for justice. Staying in the mountain is “my” choice of life. “When it rained, I
Many critics of The Autobiography of my Mother have remarked on the unrealistic facets of Xuela's extremist character. Her lack of remorse, her emotional detachment, her love of the dirty and "impure," and her consuming need for total control over everyone and everything around her give her an almost mythic quality. A more well-rounded, humanistic character would have doubts and failings that Xuela does not seem to possess. In light of Xuela's deep-seated resentment of authority, stubborn love of the degraded and unacceptable, intense rejection of the ìmaster-slaveî relationship, and--most pointedly--her hatred of the British and British culture, many critics have embraced the idea that Xuela is highly symbolic of the conquered, colonized races whose blood makes up her own.
Plato once said that, “A good decision is based on knowledge and not on numbers.” Plato is both right and wrong in this situation. Sometimes the math is what one must use to back up their knowledge which, in the end, makes them more scholarly. In her essay, “How Chinese Mothers Are Superior”, Amy Chua claims that her parenting style, although cruel to some, is the most efficient way to raise children. She states that, “Even when Western parents think they’re being strict, they usually don’t come close to being Chinese mothers” (316). Chua acknowledges the fact that most Western mothers would disagree with her and she simply does not care. Three years earlier, an author named, Motoko Rich, published an article called, “Literacy Debate: Online, R U Really
An analysis of Bao Chu’s nurturing positive anima, Huiang Niang , underlines his maturation into an honorable warrior. Indeed, after Bao Chu volunteers to complete his father’s mission, he tells his mother that “no matter how long I am away, do not let your heart grieve for me” (22). Bao Chu remains in touch with his feminine side by appealing to his mother’s emotions and by telling her to stay strong, instead of adhering to a strict warrior persona. Moreover, after the demons attempt to con Hui Niang into thinking Bao had died so that “her tears would weaken Bao Chu”, she thinks of her sons parting words instead choosing to remain hopeful (23). Thus, Hui Niang’s faithful nature is responsible for her son’s inevitable success. Finally, when
2. In most stories, the main character undergoes a change from beginning to end. Does Lae Choo undergo a change in this story? If so, what is it?
“Annabel Lee” by Edgar Allan Poe, is a tragic love poem, taking place in a kingdom seemingly far away. In the poem, Poe uses various literary techniques and descriptions to suggest the themes of love and death, and to create the idea that love transcends death. Overall, “Annabel Lee” rhymes with an “ee” sounds at every indented line in the poem, and while other lines occasionally rhyme, the majority of the time they do not. This poem also alternates between iambic pentameter and iambic tetrameter, with the stanzas of this poem alternating between being 6 lines and 8 lines long. There is one consistent speaker throughout the poem, with few other characters making short appearances. Poe also uses multiple refrains throughout his poem, as seen