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The art of fiction henry james analysis
The art of fiction henry james analysis
Summary of chapter the portrait of a lady class 11
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Jane Campion's Film Version of Henry James's The Portrait of a Lady
Jane Campion's film version of Henry James's novel, The Portrait of a Lady, offers the viewer a sexually charged narrative of a young naive American girl in Victorian era Europe.
James's novel focuses on "what an exciting inward life may do for the person leading it even while it [a person's life] remains perfectly normal" (James 54). James could not or would not place into his narrative the sexual thoughts, suggestions, and actions of his characters beyond the first flush of the experience. For example, when Caspar takes Isabel into his arms and kisses her near the close of the novel, Isabel does express sexuality, but that sexuality is short lived:
He glared at her a moment through the dusk, and the next instant she felt his arms about
her and his lips on her lips. His kiss was like white lightening, a flash that spread, and spread again, and stayed; and it was extraordinary as if, while she took it, she felt each thing in his hard manhood that had least pleased her, each aggressive fact of his face, his figure, his presence, justified of its intense identity and made one with this act of possession. (James 636)
This passage, like every other passage in the novel, that deals with male-female touching or kissing ends as it is read. James does not allow his characters to recall their sexuality. Dorothea Krook points out: "To speak of James's "treatment" of the sexual theme in The Portrait of a Lady would be virtually meaningless, but for the striking episode between Isabel and Caspar Goodwood in the very last pages of the book" (Krook 101). The sexual theme in Campion's film version of James's novel is not meaningless.
Campion not only allow...
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.... 1881. New York: Penguin, 1986.
Jones, Laura, adapt. The Portrait of a Lady. By Henry James. Dir. Jane Campion. Videocassette. PolyGram, 1997.
Nadel, Alan. "The Search for Cinematic Identity and a Good Man: Jane Campion's
Appropriation of James's Portrait." Henry James Review 18.2 (1997): 180-183.
Volpe, Edmond L. "James's Theory of Sex." Twentieth Century Interpretations of The Portrait of a Lady: A Collection of Critical Essays. Ed. Peter Buitenhuis. Englewood Cliffs, NJ: Prentice-Hall, 1968.
Walton, Priscilla L. "Jane and James Go to the Movies: Post Colonial Portraits of a Lady." Henry James Review 18.2 (1997): 187-190.
Wexman, Virginia Wright. "The Portrait of a Body." Henry James Review 18.2 (1997): 184-186. White, Robert. "Love, Marriage, and Divorce: The Matter of Sexuality in The Portrait of a Lady." Henry James Review 7.2-3 (1986): 59-71.
Volume III: P-Z. Cambridge, MA: Harvard University Press, 1971. Print. The. James, Edward, Janet James, and Paul Boyer. Notable American Women, 1607-1950.
In “The Ways We Lie”, Ericsson describes the different types of lies: white lie, facades, ignoring
Soyokaze. "Thread: Female Sexuality in Bram Stoker's Dracula." Urch Forums RSS. N.p., 8 Mar. 2008. Web. 6 May 2014. .
To “be a lady” in Victorian times, women had to repress their “instincts,” meaning that they must not have sex. Lead by the “cult of true womanhood,” which dictated piety, purity and submissiveness in women, females were directed to become almost asexual. Women went into sexuality thinking that it was something not to be talked about, that women were not supposed to have a libido, and that the act of sexual intercourse was not something that they should enjoy.
The parade starts again in the streets where there are citizens cheering the uniformed men as they pass by armed with shovels carrying back packs. The men are stern faced with determination while they march by the saluting women who are smiling and cheering. The parade leaves the light of day to a final ceremony inside what looks like a giant
Bram Stoker’s novel Dracula, written in 1897 during the Victorian era depicts and delves through the historical context of what society was like in the past. His extraordinary piece places a strong emphasis on sexuality by contrasting it with the conventional and stereotypical views towards sexuality that was once embellished during his life time. By painting an elaborate picture of the conservative society Stoker once grew up in, I contend that through his main female characters, he pursues to epitomize and challenge the Victorian notion of sexuality by incorporating female characters with strong sexual desires. This essay is primarily set forth to bring into light key ideas that may alter the way one perceives this novel by highlighting that Dracula is a seditious novel that embraces female sexuality in a time where “society sought to suppress woman sexuality” (Catherine J. Rose, 2).
Such an encounter becomes a source of discomfort and momentarily a crisis of racial meaning. Without a racial identity, one is in danger of having no identity" (Michael Omi, Howard Winant, 12). It is obvious when we look at someone we try to get a sense of who they are. We categorize people within our society and place them by gender, ethnicity, race, religion, and even social class. Because one of the first things we utilize is race and gender it is questioned that without racial identity one is in danger of having no identity. Personally, I believe that this is true, for instance, within our society gender roles are very apparent. We utilize gender as a form of identity, because many people now are coming forward with wanting to change their identity there has been ann uproar to try to fight against equality for citizens that identify with a different gender. What is to be considered is the same uproar that is occurring with people who identify with a gender is also occurring with citizens that are identified solely on race. Within our different generations there has been an uprising in mixed races, a person can be
“The Yellow Wallpaper”, written by Charlotte Perkins Gilman tells the tale of a woman succumbing to madness following postpartum depression. First published in 1892, it stands out as a piece of early American feminist literature and it reflects 19th century society’s attitude towards women’s health -- both physical and mental. In the beginning of “The Yellow Wallpaper”, the narrator and her husband take vacation to the countryside to give the narrator some time to rest and recover. As the story progresses, the narrator becomes more and more bothered by the wallpaper in the room in which she is staying. At the end, the narrator finally loses it and her husband faints upon seeing how insane she has become.
The British started to do direct taxation on the American colonies to pay off debt from the Seven Years’ War. This allowed the Parliament to earn money from the American colonies to pay off war debt and take control of trade, which profited the British. As for the colonists, this was found to be unreasonable due to the fact that the British were taxing the colonists because the British extra-curricular activities, such as the Seven Years’ War. This very much upset the colonists, but made the Parliament feel more at ease to gain money to pay off debt and make profit from colonial
Charlotte Perkins Gilman’s powerful story, “The Yellow Wallpaper”, is about a woman who was driven to madness by her depression and controlling husband. The story is told by the wife, in first person, and is based on Gilman’s own life experience. Gilman suffered from post-partum depression after her daughter was born and was prescribed the “resting cure” which is resting and isolation. In the story, the narrator’s husband puts her in isolation because he believes that will cure her of her depression and breakdowns. He won’t let her do anything, so she turns to writing in her secret journal to try and cure her depression. Since she has nothing to do all day, she turns her attention to the yellow wallpaper in the room. She becomes obsessed with it and begins to see a woman trapped inside the pattern. The wallpaper dominates the narrator’s imagination and she becomes possessed and secretive about hiding her obsession with it. The narrator suspects the her husband and sister are aware of her obsession so she starts to destroy the wallpaper and goes into a frenzy trying to free the caged woman in the pattern of the wallpaper. The narrator becomes insane, thinking that she also came out of the wallpaper, and creeps around the room, and when her husband checks on her, he faints because of what she has become, and she continues to creep around the room, stepping over body.
However, the reader must always keep in mind the time at which this piece was written and how these relationships exemplify the realities of personal relationships during this time era. Her relationship with John is dominated by him and is almost like she is the child. Without anyone to speak to about her true feelings and stresses, she writes, another thing she must hide from John and Jennie. The reader feels a sense of fear from the narrator, “there comes John, and I must put this away,—he hates to have me write a word” (Gilman 78). Yet another sign of how he does not want his wife thinking for herself and doing what she pleases. When learning about the author and her background, her feminist side shows in this piece through examples like these. The true dark sides of marriage, the loneliness, and the female role of always being superior are portrayed perfectly in this short
The gods in power, like Zeus, exhibit bias, dishonor, betrayal, deception, and many other humanly characteristics. One memorable scene is when Zeus and Poseidon are in conflict with each other over the Achaens versus the Trojans. Zeus controls the battle by “lifting the famous runner Achilles’ glory higher,” (Homer 13: 404). Zeus plays both sides in this scene, acting like a double agent which is dishonorable. Zeus’s bias is prevalent throughout the poem; specifically, he is “bent on wiping out the Argives, down to the last man,” (Homer 12: 81-82). Just like mortals such as Agamemnon and Achilles view each other with suspicion and intolerance, the gods experience identical emotions of wariness, anger, and irritation. This human-like behavior is not restricted to Zeus. Later in the text, Hera lies to Aphrodite to use her powers to manipulate her own husband Zeus. If one looks at Hera as a heavenly entity, her reaction may not make sense, but when it is viewed as a manifestation of human emotion, it become almost reasonable. Her scheming response to Zeus’s meddling with the war is spurred by her support for the Trojans. Hera’s manipulation and Aphrodite’s ego don’t stand alone as examples of this divine humanity. These instances suggest that the deities are being presented in this unique way to help explain behavior of the humans in The
Autism spectrum disorder and Asperger’s syndrome, a higher function branch of autism spectrum disorder, affect many adults in the world. These disorders affect the development of thinking and social skills. Many adults have difficulty leading normal lives due to the effects of autism spectrum disorder and Asperger’s syndrome. They have difficulty in school, at work, and even in the social situations of everyday life. The paper examines how autism spectrum disorder affects adults in fields such as: difficulty with higher education, difficulty with finding and keeping jobs in the labor force, and difficulty with social situations. The paper will be concluded with how society views autism spectrum disorder and what it believes should be done.
The movie, “Mona Lisa Smile” is an inspirational film that explores life through feminism, marriage, and education lead by a modernist teacher at the end of a traditional era. It begins by introducing the lead character, Katherine Watson (Julia Roberts), a liberal-minded novice professor from California, who lands a job in the art history department at a snobbish, all-girl college, called Wellesley, in the fall of 1953. Despite warnings from her boyfriend Paul that a Boston Brahmin environment was out of her element, Katherine was thrilled at the prospect of educating some of the brightest young women in the country however, her image of Wellesley quickly fizzles after her first day of class, in which, was more like a baptism by fire. Her smug students flaunted their exhaustive knowledge of the text and humiliated her in front of a supervisor. However, Katherine, determined not to buckle under pressure, departs from the syllabus in order to regain the upper hand. She quickly challenged the girls’ idea of what constituted art and exposed them to modern artist not endorsed by the school board. She dared them to think for themselves, and explore outside of their traditional views. This form of art was unacceptable by the students at first however, overtime Katherine penetrated her student’s distain and earned their esteem.
Kenner, Hugh. "Joyce's Portrait -- A Reconsideration". The University of Windsor Review. vol.1, no. 1. Spring, 1965. 1-15. Rpt. in Twentieth Century Literary Criticism. ed. Dennis Poupard. Detroit: Gale Research Company, 1985. 16:229-234.