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Charles dickens and social class
Social class of charles dickens
The writing of charles dickens
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Penetrating through the window, the sunlight illuminates the once ominous classroom. As it sweeps across the desks, it washes away all color from the monotonous faces that are learning the philosophy of fact. But for one student the light does not etiolate her skin, but rather irradiates the darkness of her complexion. This young girl, Cecilia (Sissy) Jupe, is the outlier amongst a society filled with people stripped of all imagination and creativity. The environment of Coketown, portrayed in Charles Dickens’ novel Hard Times, is one that suppresses all human uniqueness. Sissy grows up in this industrial environment, and is forced to leave the comfort of her own home when her father abandons her after his failures at work. Thomas Gradgrind, a prominent man in the town that prides himself on his obedience to the Coketown policy of fact, agrees to take Sissy into his household. Eventually Sissy bears witness to the disassembly of the Gradgrind family, primarily Mr. Gradgrind’s children Tom and Louisa, as a consequence of the strict lifestyle they observe. Throughout the novel, Sissy Jupe functions as the antithesis of the oppressive compassionless society that Coketown engenders and develops into the protagonist of the story through her vigilant care over the family that took her in.
The characterization of Sissy as a child illustrates her as a compassionate, and sympathetic young girl. Sissy’s father, a horse trainer in the circus, is failing as an entertainer and is emotionally withdrawn because of his collapsing performances. Before he makes the decision to leave Sissy and the circus behind him, he often confides in his daughter. In order to bring his spirits up, she often reads stories about “faires”, and “genies” (Dick...
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...circus connotes images of color and imagination, paralleling the vitality and benevolence only Sissy’s character possesses. Through influencing Tom to take refuge at the circus, the auditor observes the heroic and commiserative qualities that highlight Sissy’s character apart from all the others.
Sissy Jupe ends the story with a prosperous lifestyle that no other character is granted with. Charles Dicken’s characterization of Sissy, in the novel Hard Times, drives the auditor to question the cogency of the Gradgrind philosophy. Ultimately she transforms into a heroine while maintaining her portrayal as a foil to the dismal, and forlorn setting of Coketown. Her character functions as the symbol for the ideal balance between fact and fantasy, giving the auditor a sense of assurance that people can escape the ramifications of an industrialized community.
In the beginning of the novel, Alyss is characterized as dependent, loving, and imaginative. Throughout the story these traits mature and Alyss becomes more adult like but still is a little childish in certain scenes. One can say that the maturity that Alyss goes through affects herself later on in the story. During the story the
Humans are never perfect, and their emotions often conflict with their logic. In “The Scarlet Ibis”, the narrator receives a physically disabled brother, Doodle, thus trains Doodle physically so that he could live a normal life. Throughout the story, the narrator’s actions and thoughts reveals his true personalities to the audience as he slowly narrates the story of himself and his scarlet ibis, Doodle, whose existence he dreaded. In the story written by James Hurst, pride, love, and cruelty, these conflicting character traits all exists in Doodle’s brother. And the most severe of all, pride.
In “Escape from Wonderland” by Deborah Ross, the writer explains how the fictional characters are admired. Although they seem to be sending a bigger message to young girls. The writer talks about drawing a line between fantasy and reality. In the end Ross’s objective is to show how some Disney characters break the femininity and imagination tradition. Which can have an effect in children and how they value their own ability to have unique visions. By comparing Alice in Wonderland (1951), The Little Mermaid (1989) and Beauty and the Beast (1991) to heroines like Arabella from The female Quixote. “Charlotte Lennox’s (The Female Quixote illustrates both these conservative and progressive plot patterns, for it both draws upon and criticizes earlier romances, which themselves often both celebrate and punished female imagination and expressiveness. Therefore, like Disney’s movies today, which also use material from romance and fairy-tale tradition”, (pg. 473, Escape from Wonderland). Young women may not only begin to fantasize about a grandeur life more exciting than reality but to be disappointed with society in the workplace and relationships. For example, Meredith from Brave she is a princess that wishes to have a different life than what her mother has planned for her. She refuses to get married and have the duties of a princess. She wants to have adventures and be
As Jim attends school with other children of his social stature, Antonia is forced to manually work in the fields. A division between the two characters is immediately created. Antonia develops resentment towards Jim; "I ain't got time to learn. I can work like mans now. My mother can't say no more Ambrosch do all and nobody to help him.
S.E. Hinton’s novel, The Outsiders, is at first a narrative of Ponyboy, a young outcast boy who later becomes a young man filled with identity. At the end of the novel, it is revealed that the narrative is actually Ponyboy’s autobiographical account of his quest for a place in society. The symbols and motifs of The Outsiders contribute immensely to the novel’s most prominent theme: Commonality between the rich and the poor is camouflaged by economics and socialism.
...ith her charismatic brother who constantly looks out for her, supports her and believes in her when no one else does. This affects her attitude towards men positively. Years later, however, her mother’s boyfriend molests and rapes her thus changing her perspective of men or rather widening her understanding of them. She sees Mr. Freeman as a pedophile that he actually is. Nonetheless, while on the verge of adulthood, she develops curiosity towards men and at some point considers them as objects for her pleasure. She also grows to love and respect her mother’s husband to the point of trusting him while her mother is away on business.
At the beginning of the novel, Briony has a childish view on love and passion, derived from fairytales and her own writings. Although Briony’s mother loves her, it is a fruitless love because there is no clear benefit or care given. As an outsider in her own family, Briony does not feel normal childish emotions, only speaking of a “passion for tidiness” and “love of order” (McEwan 7). Her older sister, Cecilia, assumes the role of
While the 1939 version toned down the mischievousness and slapstick sensibilities of the silent film, it accentuated the main character’s sunnyness and sweetness. An important lesson that Sara teaches the viewers is that she “never gives up hope of finding her Daddy, as she enlists the help of everyone” (Maslin). The character of Sara belongs to that type of characters developed in the Hollywood that remain on the screen even nowadays. This is due to the “association of childhood with innocence” that became “deeply embedded in Western Culture” (Cvetkovic 15). Thus, the importance of this film in establishment of the current types of the characters in the American films is immense. Further, the hope and the belief in the better future that never left the girl signal us that we have what to learn from this little princess. Even though she belonged to the aristocracy, she was ready to help other people and was good to servants. Furthermore, she was not afraid of work, and when the difficult times came, she faced them with her head up. This was the idea that had to be delivered to the viewers, the rich people are not only self-concerned and self-centered, but they can also have a good and large heart and to be an example for others. Such example was Sara, and through this
In today’s modern age, young children are being raised by their TV screen. Reining from the original tales of Perrault and the Grim Brothers, the Disney princess line has been a staple on the screens since the 1930s (Do Rozario 1). However, these princesses have gone through dramatic changes to remain relevant to todays youth. The effects that can be influenced by the roles expressed in these types of films send mixed messages to the audience, causing them to ask themselves whether or not they should believe what the princess is expressing on the screen.
Another aspect of Laura’s personality, which is portrayed by the glass menagerie, is her extreme fragility. At first, Laura calls this “a blessing in disguise” – that he has made her normal. But when he reveals to her that he is engaged to another woman, her hopes are shattered, just like the unicorn’s horn. Now the unicorn is just like all the other horses, therefore, she decides it is more fitting for Jim than it is for her.
of the true nature of the clown. This is a key element in the play as
Laura, our fragile daughter-figure, finds herself escaping life at every turn. She induces sickness in her typing class and even as the Gentleman Caller awaits her in the livingroom. Unable to deal with those difficulties, Laura goes to the zoo and walks aimlessly around the city to waste time. Frightened of interacting with people, she looks to her collection of glass animals as a place of secure acceptance. Laura clings to the fear that she is strange and crippled though she herself exacerbates the reality of that. Magnifying ...
As the first stray hints of bright morning begin to peek over the urban horizon, ominous, shadowy trails of smoke erupt from the gray giants soon to be filled up with machines. Leaving behind embalming coats of soot and residue in every direction, the endlessly winding serpents indiscriminately constrict the breaths of the impoverished workers and devour fancy in their paths. Meanwhile, on a hill overlooking the town, the factory owner rests easily in a bulky red house bearing BOUNDERBY upon a brazen plate. Dickens’ depictions of Coketown in Hard Times embody the flaws and corruption that persist in the fictional, industrialized city. The political and economic systems in the story, modeled after those in mid-19th century England, call for conformity and monotony while devaluing imagination and individuality amongst its citizens, all for the selfish gains of a small number of upper class individuals. The interminable streams of smoke emerging from the factory chimneys recurrently enunciate the dangers of increasingly prevalent industrialism as well as Bounderby’s pomposity and immorality.
Dickens, Charles. Hard Times: An Authority Text, Background, Sources, And Contemporary Reactions Criticism. NewYork: W.W. Norton & Company. 2,1990. Ch.1: 1, ch.7: 203, ch.8: 210 & 211, ch.9: 218.
In the novel, women were affected by racism and gender role equality more than men. Pecola is one if the main characters, and she deals with the figure of a man who violates her. The female characters in the novel were apprehended by females roles that made them feel like they were non existent. Each character had their own personality. Claudia, another character in the novel escapes her suffering by pulling apart from Shirley Temple dolls. The expectations of theses women in the novel have been created through our society, and how we view our gender