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How social class is related to education
Implications of social class on education
How social class is related to education
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Educating Rita encompasses political and social commentary: Rita is an uneducated working class hairdresser, whilst Frank is a highly educated middle class professor of literature. This shows that class is clearly an issue in the play. As well as this, Willy Russell’s play is set against the backdrop of feminism, the opening of higher education with the Open University, and the civil unrest of the Toxteth riots in Liverpool. The play therefore includes political and social commentary. However, this does not necessarily mean that this is first and foremost function of the play. Educating Rita is a two-hander and has a very simplistic set as the whole play takes place in Frank’s office and the only two characters on stage are Frank and Rita, …show more content…
One of Rita’s main struggles is how restricted her choices are because of the class she was born into. The culture she grew up in meant that if she’d “started takin’ school seriously she would have been different from [her] mates, an’ that’s not allowed”, therefore she was never pushed to become anything more than a mother and a wife. She couldn’t get an education and find herself due to the expectations and the limited choices of her class status. In Act I Scene II Rita tells Frank about an incident with her mother as she cried because she was sure that they could “sing better songs” and how “ten minutes later, Denny had her laughing and singing again, pretending that she hadn’t said it” which shows the discontent of the working class and how they have higher aspirations but no choice because of their class status. This, it could be argued represents the quest for social and political change in the 1980’s, but it also exemplifies Rita’s individual spirit striving for the freedom to choose her own destiny. Denny’s idea that they’ve “got choice because [they] can go into a pub that sells eight different kinds of lager” represents how limited their choices and aspirations are. Even though this is clearly political, it engages the audience as basing one’s belief that you have choice because you have lots of beers to choose from, is anti-climatic and therefore funny. Rita goes on to explain how Denny believes he has choice because he can choose from “one lousy school an’ the next”, between “jobs or the dole” and between “stork an’ butter”. The absurdity of Denny comparing important issues like education and jobs with trivial choices like butter or margarine makes audiences laugh whilst also highlighting the value of education in working class culture. This shows that although Russell includes social commentary, his
Class politics are introduced to the story when the Phonies arrive in Stella Street. The Phonies are disliked as soon as they arrive in Stella Street because of the renovations they make on Old Aunt Lillie’s house and the children of Stella Street make fun of the fact that the Phonies refurnish the house (p.13). Henni encourages the reader to make fun of the high class Phonies about the way they speak, because the Phonies use words such as ‘dinnah’ and ‘daaaarling’ (p.18). This shows the Phonies in a negative way enticing the audience to take Henni’s side or a middle class approach to the story. When the Phonies send a note from their lawyer to Frank’s family for a proposal of a new fence (p.22) they are once again looked at poorly.
Orwell himself is the one who coined the term of political purpose, and because of this, he seems to be the best person to compare other writers to when discussing political purpose. Orwell defined political purpose as, “Desire to push the world in a certain direction,” and he writes, “…no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude” (3). Orwell, therefore, believes that art is ultimately political in purpose whether that was the intention or not. He believes that no work can be “free from political bias.” He seems to be of the opinion that art must have political purpose or else it will be “lifeless,” much like his earlier writing. Alternately,
They are already in a compromising situation in celebrating her eighteenth birthday at a gas station having coffee which was already established as being not the norm earlier with Marie recounting her own large party where her “mother made a large party” (154). There reality is broken when the teenagers arrive and “One of the girls went to the juke box and put money in” and they are forced to leave because of Carol condition which causes her to have a breakdown from the noise (157). The arrival of the kids forced them to come into contact with their own reality which can never coincide with the one they have fabricated. This small reminder of what the norm is supposed to be is often brought to their attention through others such as when they “could see, in the light shaft of light, a boy, two girls and a dog” (155). In this instance, they are walking on the way to their weekly picnic, which is in itself repetitive, when they are shown the norm of other having fun “the boy splashing in the water with the dog” while they are forced to go through the motions without much emotion. This depiction of the norm unsettles their reality and, even though they don’t stop trying to alter reality to shelter Carol, shows how dysfunctional their own situation is as it can be seen as a potential version of themselves without Carol’s
When Denny’s late wife Eve dies, his whole world is changed. Trish and Maxwell - the evil Twins - plot against Denny by pulling him into a major court battle. As a result, Denny is forced to sacrifice major opportunities in order to win custody of his daughter, Zoë. “ “I appreciate your generous offer,” he [Denny] said. “But I’m afraid certain things prevent me from leaving this country – or even this state – at the moment. So I have to decline.” (Stein 276) Luca Pantoni – a man that worked at Ferrari – asked Denny if he wanted to move out to Italy with his family where he could test cars for a living. With the major court battle going on Denny had to politely refuse the offer. Knowing Denny’s personality it would have been difficult for him to decline such a great offer, but at that moment he had to think about his family first. Next to Eve, Zoë is the most important person in Denny’s life. The death of Eve was unexpected for both Denny and Zoë, but Denny could not let his sadness and frustration show...
Priestley mainly uses the characters in the play to present his views, especially Mr and Mrs Birling, to present his ideas about class and society. In the Birling family, Mrs Birling is the most upper class, and is always referring to the lower class female factory workers such as Eva Smith as ‘girls of that class’. She seems to think that working class people are not humans at all.
Essentially this play can be regarded as the mid-life crisis of Walter Lee Younger, passionate for his family, ambitious, and bursting with energy and dreams. Walter cares about his family, and he hopes that buying the liquor store will being a brighter future to Travis, ?And-and I?ll say, all right son-it?s your seventeenth birthday, what is it you?ve decided?...Just tell me where you want to go to school and you?ll go. Just tell me, what it is you want to be ? and you?ll be it.?(Hansberry 109). Walter Lee, shackled by poverty and prejudice, and obsessed with his own sense of success, which he felt, would be the end of all of his social and economic problems. The dreams he had gave him a great sense of pride and self-satisfaction. Unfortunately Walter had to learn a hard lesson in life; pride and greed will eventually lead to unhappiness.
The film reflects the class difference from beginning through the end, especially between Annie and Helen. Annie is a single woman in her late 30s without saving or boyfriend. She had a terrible failure in her bakery shop, which leads her to work as a sale clerk in a jewelry store. When Annie arrived Lillian’s engagement party,
Nora and Mrs. Wright’s social standing when compared to the men in each play is inferior. Both works expose their respective male characters’ sexist view of women diminishing the women’s social standing. Each work features egotistical men who have a severely inflated view of their self-worth when compared to their female counterparts. The men’s actions and words indicate they believe women are not capable of thinking intelligently. This is demonstrated in “Trifles” when Mr. Hale makes the statement about women only worrying about mere trifles. It is also apparent in “A Dollhouse” when Torvalds thinks his wife is not capable of thinking with any complexity (Mazur 17). Another common attribute is of the women’s social standing is displayed as both women finally get tired of feeling like second class citizens and stand up to the repressive people in the women’s lives (Mulry 294). Although both women share much in common in their social standing there subtle differences. Torvald’s sexist view of Nora is more on a personal level in “A Dollhouse” while the male characters’ sexist views in “Trifles” seem to be more of a social view that women are not very smart and their opinions are of little value. This attitude is apparent in “Trifles” as Mr. Hale and Mr. Henderson’s comments about Mrs. Wright’s housekeeping (Mulry 293). As the women in both works reach their emotional
Mrs. Wright, Mrs. Hale, and Mrs. Peters, are all in marriages where their husbands dominate their lives. Mrs. Wright has been cut off from all contact with the outside world by her husband. She never has company, doesn’t have any children, and isn’t allowed a phone. She spends her days making bread and preserves and tending to the household chores. She is there to take care of her husbands every whim. Mrs. Hales states, “I heard she used to wear pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in the choir” (Glaspell). This quote is important because it shows that Mrs. Wright used to be her own person prior to being married. Whenever Mrs. Hale talks about Mrs. Wright in the play, she always refers to her as Minnie Foster. This is a way of giving her back a little piece her identity. The other men characters in the play also show their dominance by the way they discount women’s opinions. Mr. Hale states, “Well, women are used to worrying over trifles” (Glaspell). By this he means, women spend their time worrying over small things that are not important. At this point in Minnie’s marriage, this was all she had to worry about. Her life was reduced to performing menial tasks that she clung to because everything else had been taken away from
... it is the theatre of the working class, featuring the “popular waltz” and frequented by a “vast crowd” that “had an air throughout of having just quitted labor” (28). This is hardly high society and Crane emphasizes this in his descriptions of the actress who “galloped upon the stage,” the “brazen soprano tones,” and the “half-tipsy” audience members who join in the “rollicking refrain.” Maggie’s world is so limited that even the burlesque, and rowdy time that an unrefined Pete shows her is elevated to a position of grandeur and possibilities.
Glaspell uses dialogue to convey the gender-role stereotypes. At the beginning of Trifles, “Hale: Harry and I started to town with a load of potatoes. . . . but I thought maybe if I went to the house and talked about it before his wife, though I said to Harry that I didn’t know as what his wife wanted made much difference to John- - (116). Clearly, we see that the patriarchal society is completely applicable to this play and we slowly unfold the mystery of the effects of the patriarchal society on Minnie Foster. All throughout the play, Mrs. Hale and Mrs. Peters make it obvious what kind of husband Mr. Wright was. For example, “Mrs. Hale: But he was a hard man, Mrs. Peters. Just to pass the time of day with him- - Like a raw wind that gets to the bone” (123). “I wonder how it would seem to never have any children around. No, Wright wouldn’t like the bird- - a thing that sang. She used to sing. He killed that, too (124) is also evidence that what Mr. Wright wanted, he got. I believe that after Mrs. Wright was isolated from society and suffered under the dominance of her husband for so long, she reached her breaking point. Therefore, being a victim of the patriarchal society. Yet, Glaspell takes it up another step I believe. Not only is Minnie Foster a victim, she uses Mrs. Hale and Mrs. Peters to also prove her feminist point. “Mrs. Peters: Oh, her fruit; it did
Rita Pierson has been a child educator for over forty years, teaching junior high, elementary school, and special education. She was also a testing coordinator, an assistant principal, and a counselor, bringing a special energy into every role. Rita Pierson gives this speech to an intended audience of educators throughout the world, showing how relationships can affect a child’s academic studies. I believe Rita’s speech is appropriate for her intended audience because there are some educators out there who do not believe in relationships can alter a child’s view on education.
Maggie, the protagonist, lives in a slum on the lower East side of the Bowery in NYC. She lives in the tenement housing with her mother, Mary and her brother, Jimmie. It’s the turn of the 18th century and this Irish immigrant family is poor. Mary is a drunk and her brother, Jimmie drinks and fights with everyone. Maggie doesn’t go to school because everybody has to work. She works in the sweatshop, sewing clothes. Her life is filled with poverty and gloom. Maggie meets Pete and she is impressed that Pete wears nice outfits. Pete likes her too. He takes her to the live theater plenty of times. She’s sees his clothing as a symbol of wealth and that he takes her out to places where she never been before. She sees Pete and the money he spends on her as a way out of her dreary life. She leaves her home and goes to live with Pete to have a better life. She thinks he loves her, but she has gone to devil. Soon after Pete meets Nellie and he dumps Maggie. She has nowhere to go and so she goes home. Her family doesn’t allow her to come back. Mary tells her she is a disgrace and they ridicule her in front of all the neighbors. Even the little children are warned to stay away from her. Maggie leaves with nowhere to go. Pete tells her not to bother him; he doesn’t love her, now he’s in love with Nellie. No one is kind to her and so she begins to walk the streets. She turns to...
He is a lazy man, bored and frustrated by his life he too does not
During the Depression, an orange is way more than a piece of citrus fruit. For Moe, in Clifford Odets play Awake and Sing, an orange represents the financial status of better. Whether living in or just coming to visit the Berger zoo, you must settle for an apple rather than a luxurious orange. “No oranges, huh? -what a dump!” (49) Based on Moe’s reaction to the Berger family not having any oranges, they are worse off than other folks. The Berger’s are not starved and homeless, but they are in a “struggle for life amidst petty conditions” (37). In Awake and Sing, Clifford Odets shifts the spotlight a bit from worker’s woes and places marriage and family center stage. Through vibrant characters and a true to life storyline, Odets Berger home tour reveals how economic burdens due to the Depression have annihilated the marital and family unit.