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Gender roles in 20th century literature
Gender roles in english literature
Gender roles and literature
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Recommended: Gender roles in 20th century literature
Sometimes mankind has to ask the question ‘what is it that makes up the
actions and determines the type of interaction that we display when around
other people?' Notes to Myself is the contemporary world's way of questioning
the value of putting on facades. The novel also questions things we know as ‘
trivial' such as watching a cat sleep on our belly or staring at clouds in the
sky. The author used an interesting form for writing his collection, omitting
page numbers and leaving no indication as to what subject the reader should
expect to be encountering upon reading sections.
His views are interesting to say the least. Focusing on self meditation
and self reliance, he proceeds to describe human interaction and what he really
is thinking when exposed to different situations. For instance, he describes a
conversation with a young lady in which she wanted to ‘just be friends' while
he being ‘male' can do nothing about the fact that he may be sexually aroused
by her whether they were ‘just friends' or not. This type of unconventional
expression of human emotion is the color of all of the selections. The author
does not wish to conceal feeling nor put on different faces in different
situations but be himself and be happy being himself at all times.
Interesting stands on happiness are also expressed. Boredom is vaguely
related to happiness by the rationalization that one can be happy simply by
picking lint off of the floor. While his thoughts are genuine, one can almost
comprehend the randomness of human thought. There is a wrinkled cellophane
wrapper on my desk and it reflects my image just as water does. Randomness is
definitely one of this books strong points. (That random sentence beforehand
was a personal example of the wandering mind).
This is the type of book that you would not want to read between
commercials but one that warrants a good hour and a half (at least) of quiet
In deduction, the book shows how putting up a façade can affect the rest of your paths in life. Whether it is fashioning a new person like Gatsby did or not acknowledging who you are like Nick does.
...t is the Rorschach test of what is inside of a person. One work can touch or go unnoticed by its audience; it projects their “secret lives” (159).
The atmosphere of the film industry in Hollywood, California is a large influence throughout the novel with its emphasis on fabrication. When Tod Hackett heads home after a long day of work as a set designer, he tends to gaze at his surroundings. In one particular passage in the novel, he intensely observes the houses that lie on the canyon near his home: “But not even the soft wash of dusk could help the houses. Only dynamite would be of any use against the Mexican ranch houses, Samoan huts, Mediterranean villas, Egyptian and Japanese temples, Swiss chalets, Tudor cottages, and every possible combination of these styles that lined the slopes of the canyon” (61). These works of architecture are designed to represent the diverse architectural work of cultures from around the world. However, side by side of one another, the houses are rather imitations of the cultures they represent, made of paper and plaster. Similar to the characters of the novel, the houses are trying to replicate something they are not. They are there to represent fantasy through its superficial features and garner admiration, something Tod notices and reacts with...
Through the discussion of terms such as supercrip and home, alongside discussion of labels that he chooses to accept or leave behind, Clare is able to analyze the way that he looks as his identities. Clare’s autobiography uses words and language as a tool to show that a person’s identities aren’t simply labels, but are ways to understand oneself, unite, and even find a place to
At the end of the novel, the narrator has finally recognized his own invisibility; therefore finally able to redesign himself completely into a person able make a change in society. His experiences will aid him in his fight for power and acceptance in society. The narrator’s previous choices had been those of people around him urging him to define himself based on their standards. By rising above the assigned definitions of himself, the narrator is able to gain a new insight and new persona on and ultimately recreate his fate.
Severin argues that Smith, who breaks away from the traditional mold, is still a modernist writer and that her books are more important because in them she attempts to break free of social norms. The article focuses mostly on The Holiday by Smith, however the breaking of social norms is a familiar themes that runs throughout Novel on Yellow Paper. Severin explains, “Each of Smith’s novels marks an assault on the romance plot, although the techniques she employs are remarkably varied. Novel interrupts the romance first of Karl and heroine Pompey, then of Freddy and Pompey, with disruptive interludes – lists of quotations, fantasies, retold versions of the classics” (462). In The Holiday, Smith is taking an even more radical approach than her previous works, and in doing so she is shaking up the “social agenda” by breaking from narrative conventions and enabling her characters to not fall into romance, and instead come to terms with their own form of society: “According to Smith, a new world can only come about through the relinquishment of all forms of possessiveness, the psychological as well as the materials” (464). In Novel, Pompey is able to begin to break free from the societal norms because of her determination to be intelligent and her desire to avoid a marriage in which she would be merely a housewife. Smith allows her characters to
Dunbar begins his poem by introducing the idea of deception through a symbolic “mask”. In the first two lines, Dunbar states “we wear the mask that grins and lies, / it hides our cheeks and shades our eyes” (1,2). These lines portray an image of a dishonest face partially because of Dunbar’s word choice and partially because masks have been used as tools of disguise throughout history. However, the lines
For example, in the poem, Prufrock made mention of how “ There will be time, there will be time/ To prepare a face to meet the faces that you meet”(27-28). In the quote the image “Face” used, means a facade. What Prufrock is actually trying to say is that people in the society are not exactly what they portray to be and that everyone is just putting on a mask or putting on an appearance to cover up the unpleasant and credible reality of their lives. Therefore, he means that people only pretend to be who they are not and hide their real identity or personality. Consequently, since he believes that everyone is just putting on a facade, he then feels that he would also have time to be able to prepare himself to have another personality, he would portray when he meets other people who have also created another false identity of
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
The concept of physical appearance as a virtue is the center of the social problems portrayed in the novel. Thus the novel unfolds with the most logical responses to this overpowering impression of beauty: acceptance, adjustment, and rejection (Samuels 10). Through Pecola Breedlove, Morrison presents reactions to the worth of physical criteria. The beauty standard that Pecola feels she must live up to causes her to have an identity crisis. Society's standard has no place for Pecola, unlike her "high yellow dream child" classmate, Maureen Peals, who fits the mold (Morrison 62).
Some of Goffman’s other works include ‘The Presentation of Self in Everyday Life’, ‘Asylums’, and ‘Stigma’ which are a series of books about social behaviour. They are often referred to as modern classics. The essay on face-work can be considered as an expansion of Goffman’s previous works on interaction and included in this series.
For Eliot, poetic representation of a powerful female presence created difficulty in embodying the male. In order to do so, Eliot avoids envisioning the female, indeed, avoids attaching gender to bodies. We can see this process clearly in "The Love Song of J. Prufrock." The poem circles around not only an unarticulated question, as all readers agree, but also an unenvisioned center, the "one" whom Prufrock addresses. The poem never visualizes the woman with whom Prufrock imagines an encounter except in fragments and in plurals -- eyes, arms, skirts - synecdoches we might well imagine as fetishistic replacements. But even these synecdochic replacements are not clearly engendered. The braceleted arms and the skirts are specifically feminine, but the faces, the hands, the voices, the eyes are not. As if to displace the central human object it does not visualize, the poem projects images of the body onto the landscape (the sky, the streets, the fog), but these images, for all their marked intimation of sexuality, also avoid the designation of gender (the muttering retreats of restless nights, the fog that rubs, licks, and lingers). The most visually precise images in the poem are those of Prufrock himself, a Prufrock carefully composed – "My morning coat, my collar mounting firmly to the chin, / My necktie rich and modest, but asserted by a simple pin" -- only to be decomposed by the watching eyes of another into thin arms and legs, a balding head brought in upon a platter. Moreover, the images associated with Prufrock are themselves, as Pinkney observes, terrifyingly unstable, attributes constituting the identity of the subject at one moment only to be wielded by the objective the next, like the pin that centers his necktie and then pinions him to the wall or the arms that metamorphose into Prufrock's claws. The poem, in these
While we all may be shown different faces and persona’s each day, it never becomes clear which a true personality is and which is just a mask. Joyce Carol Oates demonstrates the need for her characters to disguise themselves from the rest of society in order to either be accepted by others or to be seen in a more pleasant manner. However, these characters who conceals themselves are ultimately hurt because of their inability to shed their false fronts and accept who they truly are.
Renascence: Essays on values in Literature 59.2 (2007) : 93. Literature Resources from Gale Web. 24 Feb. 2010. Hatcher, Melissa. A. McCrory. The “Mythlore.”
Maupassant and Morrison convey their themes of social acceptance and materialistic longings through the narrators' attitudes and develop these themes through the manipulation of plot. To maximize the effect of the themes, Maupassant and Morrison present them through female characters with an inherent desire for others to covet them and an attraction to materialistic wealth.