Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Basic perspective of psychology
Explain the nature of psychology
Understanding psychology chapter 2
Don’t take our word for it - see why 10 million students trust us with their essay needs.
The novel The Turn of the Screw, describes a newly hired governess’ experience working in the household of Bly and was written years after the ordeal. In this novel the governess experiences multiple encounters with apparitions that seem to only appear around her. For this reason many people question the credibility of the author and theorize whether the ghosts in this novel are real. It is quite clear that these apparitions are merely hallucinations because of the governesses’ obsession with the master, lack of sleep, and faulty memory that resulted in her paranoid, repressed mental state.
When applying to work at Bly, the master’s one condition for the governess was, “That she should never trouble him—but never, never: neither appeal nor
…show more content…
When the kids were questioning the governess to get to know her, the governess explains that she told the kids about the “particulars of the eccentric nature of [her] father.” This could be interpreted as her revealing that her father has some sort of disorder. Schizophrenia is a genetic disorder meaning it could be inherited from her father if he did have schizophrenia. Schizophrenia shares the same symptoms as insomnia such as hallucinations or compulsive behavior, but has a few extra symptoms that closely relate to the governess’ actions. These symptoms are a false belief of superiority, and memory loss. It is common throughout the book that the governess goes on sprees boasting about herself and thinking about how great she is at being the governess. This is the governess having a false belief of superiority. Some examples of the governess expressing her false belief of superiority are, “I could succeed where many other girl might have failed,” and, “they had nothing but me.” The other symptom of schizophrenia that resonates with the governess is memory loss. When speaking about weather the governess thought the children saw ghosts she first says, “I had then expressed what was vividly in my mind: the truth that, whether the children really saw or not—since, that is, it was not yet proved,” explaining that she was unable to say whether the children saw the ghosts or not. Shortly after, the governess changes her statement completely by saying, “what was most impossible to get rid of was the cruel idea that, whatever I had seen, Miles and Flora saw more.” This is clearly a sign of memory loss or mental confusion which are both symptoms of
Schizophrenia is one of the most well known and surprisingly frequent psychological disorders today. Patients who have this disorder have problems separating reality from fantasy or delusion. Typically, the person with schizophrenia starts off with a small paranoia about something or someone and continues to get more and more problematic until he/she has trouble functioning in the real world because of emotional, physical, mental, or financial reasons. Because of this, most people who end up homeless have Schizophrenia because they are unable to keep a job, Nathaniel Ayes in the book The Soloist. Nathaniel was a cello player attending the Julliard school of music, one of the world’s most prestigious performing art schools, until he developed schizophrenia and was unable to continue. This book shows how much a disorder such as schizophrenia can turn a person’s life upside down in the course of as little as a few weeks.
Introduction “This experience is much harder, and weirder, to describe than extreme fear or terror, most people know what it is like to be seriously afraid. If they haven’t felt it themselves, they’ve at least seen a movie, or read a book, or talked to a frightened friend – they can at least imagine it. But explaining what I’ve come to call ‘disorganization’ is a different challenge altogether. Consciousness gradually loses its coherence, one’s center gives away. The center cannot hold.
The Turn of the Screw by Henry James continues to stir up an immense amount of controversy for such a short novel. Making a definite, educated decision on the actual truth considering the countless inquiries that develop while reading this story proves more difficult than winning a presidential election. That being understood, taking one particular side on any argument from a close reading of the story seems impossible, because the counter argument appears just as conceivable. Any side of the controversy remains equally disputable considerably supported by textual evidence from the novel. One issue which, like the rest, can be answered in more than one ways is why Mrs. Grose believes the Governess when she tells her about her ghost encounters. Usually one would second-guess such outlandish stories as the ones that the governess shares throughout the story, yet Mrs. Grose is very quick to believe our borderline-insane narrator. One of the explanations for such behavior could be the underlying fact that Mrs. Grose and the governess have a similar socio-economic background, therefore making them somewhat equals even if the governess does not always seem to think that way. This fact makes them susceptible to trusting and believing each other, and to believing that the ghosts are there, for the people that the ghosts are presenting used to be servants and therefore from a similar socio-economic background. To add on to that, Bruce Robbins proposes in his Marxist criticism of The Turn of the Screw that the idea of a ghost is synonymous to that of a servant, subconsciously making the two lower-class workers of Bly more vulnerable to believe that the ghosts were real; in other words, servants we...
As humans, we can’t help but to jump to conclusions, but the governess’s assumptions are too misguided and are taken too far without substantial proof. When she first arrives at Bly, she automatically infers that Ms. Grose, although not showing any hint of it, is relieved that the governess is there and simply “wish[es] not to show it” (7). This could be the case, or, as it would seem to any sane person, Ms. Grose could just be unmoved by the governess’s arrival. Her second assumption with Ms. Grose is when they agree on one thing and the governess assumes that “on every question [they should] be quite at one” (9). Some people can hope that a person may have similar ideas to them, but they wouldn’t expect to agree on everything all the time. People understand that we all have different views, but obviously the governess does not. Then, the governess goes on to guess that Miles got kicked out of school because “he’s an injury to others” (11). She has no specific proof that shows he was kicked out for any reason but she is quick to make the inference. She hasn’t talked to the school, the uncle, or even Miles himself to find out what happened, but instead goes along with her own imagination. She also makes many assumptions about the ghost when she hasn’t even been talking to them. She deduces the ghost of Peter Quint “was looking for Miles” but she only had a feeling to base that off of
Toward the end of the novel, the governess sees Ms. Jessel and tries to point her out to Flora and Mrs. Grose. However, Mrs. Grose questions the governess by wondering “[w]here on earth does [she] see anything?” (James 70). Even though Mrs. Grose claims that she does not see any figure, it is not certain that she is telling the truth. It is obvious that she is overwhelmed in this scene because Flora is fearful of the governess’ behavior. Mrs. Grose is merely trying to be rational and appeal to Flora’s anxiety over the governess’ temperamental and persuasive attitude. Another argument that could appeal to the governess’ insanity is that she is love struck by the master, causing her to be delusional. This is exemplified through her imagining that the master “would appear…and stand before [her] and smile and approve” (James 15). Nonetheless, she is not imagining any people because in the last scene of the novel, Miles recognizes Peter Quint’s presence by implying to the governess that he is in the room. If the governess was creating the ghosts in her mind, Miles would not verbally notice Peter Quint’s presence in the room. The governess is clearly sane and does not simply imagine the
The Soloist (Foster, Krasnoff & Wright, 2008), is based on a true story of Nathaniel Anthony Ayers Jr. who develops psychosis and becomes homeless. In the film, Nathaniel is considered a cello genius who is discovered on the streets by Steve Lopez, a journalist from the Los Angeles Times. Steve was searching for a story and he decided to write a newspaper article about Nathaniel. Nathaniel always had a passion for music. He was a child prodigy and attended Juilliard School of Music. However, he faced many complications at Juilliard, particularly hearing voices speaking to him. Unable to handle the voices, Nathaniel dropped out and ended up living on the streets of Los Angeles. Steve and Nathaniel develops an unexpected
The classic ghost story, the Turn of the Screw, is filled with loose-ends and ambiguity. Are the ghosts real or imagined? Is the Governess a heroine or anti-heroine? Are the children really as innocent as they seem? In the novel, Henry James rarely provides an in-depth character that the reader actually gets to know. From the young romantic governess, to the intelligent ten year old, James keeps his characters morally ambiguous in order to further the “Unsolved mystery” style.
In conclusion, it is not the ghosts, as the governess suspected, that are corrupting the children, but the governess herself, through her continually worsening hysteria that is corrupting the children. Both Peter Quint and Miss Jessel are not real ghosts that have the peculiar habit of appearing before the governess and the governess alone but they are merely the signs of the fragmenting mental state of the governess.
The governess sees a woman on the other side of the lake and jumps to the conclusion that Flora has seen her and is choosing to act like she didn’t. The child was playing with a boat and had her back turned to the lake. Why would she think that she had to have seen her? There is no proof and does not even ask the child if she saw anything. She automatically assumes it’s Miss Jessel, the previous governess who died and that she is after Flora. She tells her story to Mrs. Grose drawing her in more deeply into believing her crazy hallucinations and Mrs. Grose asks her if she is sure its Miss Jessel and the governess replies “Then ask Flora—she’s sure!” and then immediately comes back to say “no, for God’s sake don’t! She’ll say she isn’t—she’ll lie” ((James 30). She comes to the conclusion that the child will lie about it when there is no reason to suspect that she would. Again, this is her jumping to conclusions, because there is not any proof to say that the children have seen or know anything about the ghost’s. “Thus a very odd relationship develops between the governess and the children, for the more she loves them and pities them and desires to save them, the more she begins to suspect them of treachery, until at last she is convinced that they, in league with the ghosts, are ingeniously tormenting her’ (Bontly 726). “The ghosts appear, thus, when the governess is both aware of the corruption which threatens the children and convinced of her own power to preserve them untainted” (Aswell 53). It’s the governess fabricating all this up in her mind again so she can play the part of
“She did not know- no one knew- how proud I had been to serve him and to stick to our terms.”
One of the most critically discussed works in twentieth-century American literature, The Turn of the Screw has inspired a variety of critical interpretations since its publication in 1898. Until 1934, the book was considered a traditional ghost story. Edmund Wilson, however, soon challenged that view with his assertions that The Turn of the Screw is a psychological study of the unstable governess whose visions of ghosts are merely delusions. Wilson’s essay initiated a critical debate concerning the interpretation of the novel, which continues even today (Poupard 313). Speculation considering the truth of the events occurring in The Turn of the Screw depends greatly on the reader’s assessment of the reliability of the governess as a narrator. According to the “apparitionist” reader, the ghosts are real, the governess is reliable and of sound mind, and the children are corrupted by the ghosts. The “hallucinationist”, on the other hand, would claim the ghosts are illusions of the governess, who is an unreliable narrator, and possibly insane, and the children are not debased by the ghosts (Poupard 314). The purpose of this essay is to explore the “hallucinationist” view in order to support the assertion that the governess is an unreliable narrator. By examining the manner in which she guesses the unseen from the seen, traces the implication of things, and judges the whole piece by the pattern and so arrives at her conclusions, I will demonstrate that the governess is an unreliable narrator. From the beginning of The Turn of the Screw, the reader quickly becomes aware that the governess has an active imagination. Her very first night at Bly, for example, “[t]here had been a moment when [she] believed [she] recognized, faint and far, the cry of a child; there had been another when [she] found [herself] just consciously starting as at the passage, before [her] door, of a light footstep.” The governess herself acknowledges her active imagination in an early conversation with Mrs. Grose, when she discloses “how rather easily carried away” she is. Her need for visions and fantasies soon lead her to believe that apparitions are appearing to her. It is from this point on that she begins to guess the unseen from the seen, trace the implication of things, and judge the whole piece by the pattern. After the first appearance of Peter Quint, the governess begins to make infe...
No one can be trusted. In Henry James's The Turn of the Screw, the ambivalent nature of the novella causes suspicion of the sanity of his narrator, the Governess. The characters of the Governess, the children, and the apparitions, as villains and victims, cannot be told apart. Henry James impeccably makes use of ambiguity to create mystery and suspense through the dubiety roles of his main characters and the liability of the narrator.
Millions of people make up humanity, coloring the world with their unique personalities, and while they are sometimes labeled as eccentric or even strange, no one goes beyond the surface to see what makes them who they are. What if the people seen every day as professors, students, or geniuses, become someone else? What if their reality is no longer the one shared amongst others in the world?
In his 1948 essay, Robert Heilman explores the suggestion that The Turn of the Screw is a symbolic representation of the conflict between good and evil. Heilman interprets the apparitions of Peter Quint and Miss Jessel as evil forces. He explains that the ghosts only appear to the governess because evil lurks in subtlety before it strikes. It is the duty of the governess to "detect and ward off evil." She must protect the children from the awful ghosts. The governess describes Miles and Flora as beautiful little cherubs whose only fault is their gentleness (James, 18-19). Heilman views the children's beauty as a "symbol of the spiritual perfection of which man is capable." Heilman explains the ghosts' attempts to reach the children by explaining that evil forces will always try to conquer and possess the human soul. Heilman continues to draw from the descriptions of Miles and Flora to support his theories. He points out that the two children are described as having an "angelic beauty" and a "positive fragrance of purity" (James 9, 13). The governess describes them as if they are perfect and beautiful in every way. This repeated vision of beauty, radiance, and innocence parallels the image of Eden. The house at Bly also resembles this image, "I remember the lawn and the bright flowers..." (James 7). The governess makes mention of the "golden sky" and of Flora's "hair of gold," which Heilman believes connects Bly and Flora with these images of golden hues (James 7, 9).
Most people gather what they know about mental illnesses from television and film. Unfortunately these media portrayals are inaccurate and create stigma. They depict people suffering from mental illnesses as different, dangerous and laughable. Characters are often addicted to drugs or alcohol, are violent, dangerous, or out of control. Horror film characters like Norman Bates in Psycho, Jack Torrance in the Shining, or Hannibal Lecter in Silence of the Lambs associate the typical 'psycho- killer' with people who suffer from a mental illness. But dramas and horror films are not the only film genres that create stigma. Comedies like What About Bob and many others not only stigmatize, they also make fun of mental illnesses and the people who suffer from them. This paper will discuss how the film Me, Myself & Irene is an inaccurate, offensive and stigmatizing portrayal of an individual suffering from schizophrenia. It also discusses what can be done to counteract the stigma created by these types of films.