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The impacts of social class
The impacts of social class
The impacts of social class
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In Miss Julie, August Strindberg depicts a tormented, sadomasochistic woman held captive by ingrained and inherent restrictions posed onto her by her aristocratic class. As she attempts to break free, her escapist tendencies cause various consequences to ensue, such as her eventual death. Other characters present also engage in the same escapist desires, especially present in Jean’s longing to advance his level in society. Such ideas end in disaster for any party involved. Strindberg manifests various character’s nonconformist ideas towards exaggerated barriers between social classes, such as those of Jean and Julie, to create themes on conformity and consequence. As the play opens, Miss Julie is immediately shown to intermingle between various social classes. Jean says that, “Miss Julie’s running wild again. She’s gone crazy!” (Strindberg 11) This shows Julie’s tendency to break the barriers of social class. As Jean says “again,” it implies that Julie has broken the barriers multiple times. Jean also states that “As soon as she [Julie] sets eyes on me she rushes over and asks to dance…” (Strindberg 12) This statement clearly depicts Julie’s eagerness and willingness to cross the restrictions put on her. Jean’s surprise at Julie’s actions also shows Julie’s actions are very uncouth in regard to societal expectations. Such expectations are also seen when Kristine says “She [Diana] sneaked out with the gamekeeper’s mutt and got knocked up. Miss Julie just won’t have it!” (Strindberg 14) The dog, Diana, symbolizes Julie, as a person as well as her desires to defect from societal barriers. The dog coupled with a mongrel dog, much as her mistress doesn’t care about the class of others. Yet, this comes off as very hypocritical as Miss ... ... middle of paper ... ...re are ingrained class barriers, that when crossed, have dire consequences. This theme is developed throughout the play and is clearly shown through Jean and Julie’s actions. Julie and Jean are in their distinct social classes, which they attempt to stay in. However, through Julie’s relationship with Jean, she jumps down social classes and breaks the class barrier. Because of this jump, Julie is mentally unable to cope with the ridicule and torment that she must face. She states that “I’m [Julie] worthless. But help me! If you see any way out at all, help me, Jean, please!” This make it clear that Julie is desperately looking for something to make up for crossing the class barrier, showing that she can not handle the physical and mental consequences of her actions. Such inability to cope eventually leads Julie to commit suicide—the final consequence for her actions.
The relationship Edna has with Mademoiselle Reisz guides her transformation from a wife and mother to a single woman. Reisz acts as a role model for her, someone who does not conform to society’s expectations. Mademoiselle Reisz lives how she wants and accepts both positive and negative consequences of her lifestyle. From the first time Edna sees her play, she admires Mademoiselle Reisz. “The woman, by her divine art, seemed to reach Edna’s spirit and set it free” (623). The music she plays helps calm Edna’s spirit. Mademoiselle Reisz allows Edna to read the letters Robert wrote to her and she supports her in her decision to follow her heart and be with Robert. In doing so, she kindles the passionate flame Edna has for Robert. As Edna wishes t...
Margot goes to school with classmates that resent her. They hate her for having seen the sun, something they wanted so badly. This jealousy led to an overwhelming hatred that they were reminded of any time they saw her. Her classmates let their hatred take over and they locked her in a closet as revenge for the pain she had caused them all. But unlike Wendy and Peter from The Veldt, Margot was affected negatively from her classmateś actions.
The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.
Restraints are set by parents on their children to aid with the developmental process and help with the maturity level. Restrictions and the ability to control exist in our society and our lives. We encounter restraints daily: job, doors, people, and the most frequently used and arduous become intangible. In the following stories tangible and intangible scenarios are presented. Autonomy, desires, and talents spurned by the husbands in John Steinbeck’s “The Chrysanthemums and Charlotte Gilman’s “The Yellow Wallpaper.” The authors share views regarding a similar theme of male domination and imprisonment. “The Yellow Wallpaper” involves the treatment of a depressed woman who is driven insane in a male imposed detention in her own room. On the other hand, Elisa Allen in the “The Chrysanthemums” struggles internally to find her place in a fully male dominated society with definite gender roles. The mirror-like situations bring upon a different reaction for both the women in different ways. The importance of symbolism, control from their husbands, and the lack of a healthy marriage will be discussed in this paper in two stories.
...re many similarities when it comes to technique, characterization, themes, and ideologies based on the author's own beliefs and life experiences. However, we also see that it appears the author herself often struggles with the issue of being herself and expressing her own individuality, or obeying the rules, regulations and mores of a society into which she was born an innocent child, one who by nature of her sex was deemed inferior to men who controlled the definition of the norms. We see this kind of environment as repressive and responsible for abnormal psyches in the plots of many of her works.
The genre renegotiates the role of Julie as a woman and her importance in these situations, adhering to gender norms by choosing to make Julie’s strengths more feminine instead. She is permitted the power of intuition and emotion which are meant to replace her physical inability in helping to catch the criminal. For instance, Julie instinctively seems to know that the victim’s girlfriend did not kill him, leading the squad to catch the real criminal, without subjecting Julie to physical activity, thus reinforcing gender norms and ideas of male physical superiority by, again, placing Julie adjacent to the action without subjecting her to masculine activity of characteristics. On the other hand, in I Love Lucy, Lucy is incredibly physically active, even more so than Julie, despite her relegation to the domestic sphere, often adopting more masculine personas while partaking in these activities, which is also antithetical to the physical representation of Julie as beautiful and feminine, making her character arguably, more progressive than Julie even in the context of the
Margaret is an intelligent, articulate, and ambitious woman who desires to rise up in social status by marrying a man of higher social rank. She attends to those above her, in hopes of elevating her status as she becomes closer to the upper-class. As a minor character, she plays a small yet crucial role in advancing Don John’s plot to slander Hero and spoil her wedding. As a lower-class character, Margaret serves as a foil to the rich girls, particularly Hero, who embodies every attitude and mindset Margaret does not. But she also offers an alternative perspective on the upper-class characters in the play. Because Margaret is victimized because of her social ambitions, punished for wanting to rise above her ...
Although Mary Shelley’s Frankenstein and Charlotte Bronte’s Jane Eyre are comparatively different, the characters are delicately crafted to unfold a captivating theme throughout each novel which embodies the idea of the social outcast. The Monster and Jane Eyre struggle through exile due to an inability to fit into the social norms presented by the era. The characters embark on a journey while coping with alienation and a longing for domesticity which proves to be intertwined with challenges. Character, developed as social outcasts are appealing and sympathized with by readers because of their determination to reach a level of happiness. The voyage toward domesticity, away from the exile of society which Jane Eyre and The Monster embark on
The struggle the other characters face in telling Mrs. Mallard of the news of her husband's death is an important demonstration of their initial perception of her strength. Through careful use of diction, Mrs. Mallard is portrayed as dependent. In mentioning her "heart trouble" (12) Chopin suggests that Mrs. Mallard is fragile. Consequently, Josephine's character supports this misconception as she speaks of the accident in broken sentences, and Richards provides little in the way of benefiting the situation. In using excess caution in approaching the elderly woman, Mrs. Mallard is given little opportunity to exhibit her strength. Clearly the caution taken towards Mrs. Mallard is significant in that it shows the reader the perception others have of her. The initial description the author provides readers with creates a picture that Mrs. Mallard is on the brink of death.
...llowed to flow. He also manipulates Miss Julie's emotions by appealing to the romantic child in her. It is Miss Julie's fall from her high social status and her consequent fall to a childish ego state that makes Jean adapt his ego. She starts out thinking she is better than Jean because he is her servant. As they get closer she feels he is her equal so she talks to him as an adult from an adult standpoint. By the end when she has fallen from grace she feels so low that she is talking up to Jean and wants him to tell her what to do. All the while Jean is on the opposite side of the wheel that Miss Julie is on.
It pinpoints out how women were taken as during the 1900’s. The story also highlights the extremes of repression and sexism by viewing the woman as mad by a rest cure. In the view of the Narrators role as a woman, lack of intellectual stimulation in her thought and unjust environment usually led her insane. This points out failure in the society in which sexism and oppression was carried out towards women. An aspect of feminism portrayed by the Narrator in the story is how she tries to dismiss John’s opinions. She repeatedly requests him to relocate her to another room downstairs. This is an aspect of feminism which should be encouraged among women to demand for their freedom. The Narrator takes part in not conquering with John. But as time goes she is less able to feel the usual relief. John rejects the request and replies to her that she must spend in the nursery room which is barred and rings similar to those of dungeon on the walls. She is denied the right to choose what pleases her. Later she comes to like the nursery room where other times she locks herself up to avoid husband’s disturbance upon the story. Also the act of Narrator’s wallpaper routine is a sense of imprisonment. She recognizes that the pattern is so ugly like a cage imprisoning women who are desperately trying to escape. The Narrator figuratively tears the bars and the wallpaper of the cage to clear her way to escape.
Katherine Mansfield’s “Miss Brill” protagonist, Miss Brill, portrays an educated, older white Caucasian female in France, seems to the reader to be alone, deranged, and miserable with an extensive imagination. Mansfield doesn’t say if Miss Brill is married or not; however, the reader would assume she isn’t due to how lonely she is. The only time Miss Brill gets to interact with people is on Sundays when she goes to the park to eavesdrop and “supposedly” listen to the band play. She is so deranged that she doesn’t even assume eavesdropping is wrong. She has lost all touch reality, imagining she is a lead actress in a play which in actuality is she was in a play her role would be minimized to an extra. However, in Eudora Welty’s “A Worn Path”
In the book, Rebecca by Daphne Du Maurier, there exist a big emphasis on social class and position during the time of this story. When we are introduced to the main character of the story, the narrator, we are right away exposed to a society in which different privileges are bestowed upon various groups. Social place, along with the ever present factor of power and money are evident throughout the story to show how lower to middle class groups were treated and mislead by people on a higher level in society. When we are introduced to the narrator, we are told that she is traveling with an old American woman; vulgar, gossipy, and wealthy, Mrs. Van Hopper travels across Europe, but her travels are lonely and require an employee that gives her warm company. This simple companion (the narrator) is shy and self-conscious, and comes from a lower-middle class background which sets up perfect for a rich man to sweep her off her feet. The narrator faced difficulties adapting to first, the Monte Carlo aristocratic environment, and second, to her new found position as Mrs. De Winter, the new found mistress of Manderley.
Against the novelistic background of this murder and the central love stories, Mrs. Gaskell outlines her main themes of life in Manchester during the early stages of the Industrial Revolution and of the conditions that initiated the Chartist Movement.
The authors' relations to us on the characters' places in society help us to relate to and comprehend their actions. If Meursault hadn't been so detached from society, Noboru so discontented with society, and Medea so vengeful toward society, we wouldn't have half of the justification needed to understand the murders that took place in the works. Given the presented material about conformity, I conclude that the stories' plots indeed grow around the unique attributes of the non-conformers, and as result, spark the reader's imagination to the fullest.