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Effects of social class in education
Explain the importance of physical appearance
Effects of social class in education
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The first few paragraphs of the extract detail the importance of appearance in terms of both location and mien. Hannay is in total contrast to Sir Walter Bullivant’s home when he enters; an unbelonging commoner within a home of crafted masculine regency. It is not until Hannay redresses in the appropriate attire that he fits in. In order for Hannay to adapt he must adopt an appropriate appearance; a common trend throughout the novel. Afterwards it is learned that for Walter and Hannay honesty, certainly a human virtue but most certainly an essential virtue of the typical British male, of any social or financial calibre, is a more important factor for fair treatment than superficial, undemocratic qualities like clothing and social class. Hannay even tells Walter twice that he has to tell him the truth as to why he looks so …show more content…
After all, without Walter’s charity Hannay would struggle to progress with his mission.
After Hannay’s meal Bullivant’s personal study is revealed as very masculine in its untidy and comforting book- and trophy-clad style, rich with coffee, cigars, champagne, port, and anecdotes. Hannay is so admiring of Bullivant’s room that he pledges with himself to create his own. Just as much a man is masculine by his activities and pursuits he is a man by his domain. And it is noteworthy that throughout this extract and throughout the use of Walter’s home that there are no female characters. Buchan-scholar Simon Glassock writes, “Buchan’s main characters in his fiction are predominantly men who remain bachelors or marry only in middle age and who inhabit a world in which adventure and intrigue take precedence over domesticity, and women are welcomed on the basis of their physical and emotional resemblance to public schoolboys” (Glassock 44). The avuncular, older Walter lives in a home that has been totally designed by Walter himself; a man’s man. And since a female
Anna Frith emerges from the traditional oppressed woman of her era, to someone who portrays a successful, independent and courageous woman of the 15th century. The remarkable transformation undertaken by Anna was seen as very rare for the setting of the novel. In this era, women where not treated with equality with men, and where rather seemingly forced to be a traditional housewife, make meals out of nothing and clean the dirtiest of home environments. Women in the 15th century where seen as nearly ‘the property of their husbands’, nevertheless, A...
...Piercy badgers the reader with Comstock's view of women (mostly in the descriptions of his dutiful wife and obedient daughter) to illustrate his sexism, however, the belabored point begins to fall flat and instead leaves the character feeling one-dimensional. Likewise, even men initially introduced to the reader as pro-feminist, like Theodore Tilton, meet with a predictable sexist ending. These men were no doubt chosen to embody the patriarchal society of then and today, but the unyielding portrayal began to feel overwhelmingly oppressive (perhaps her intent) and a novel so based in realism, on that point, began to feel contrived, therefore unrealistic. Nevertheless, Piercy compares and contrasts the experiences of the characters', offering them up to the reader, perhaps in hope that similarities can be identified and a feminist dialogue can be started or continued.
In A Midsummer Night's Dream, playwright William Shakespeare creates in Bottom, Oberon, and Puck unique characters that represent different aspects of him. Like Bottom, Shakespeare aspires to rise socially; Bottom has high aims and, however slightly, interacts with a queen. Through Bottom, Shakespeare mocks these pretensions within himself. Shakespeare also resembles King Oberon, controlling the magic we see on the stage. Unseen, he and Oberon pull the strings that control what the characters act and say. Finally, Shakespeare is like Puck, standing back from the other characters, acutely aware of their weaknesses and mocks them, relishing in mischief at their expense. With these three characters and some play-within-a-play enchantment, Shakespeare mocks himself and his plays as much as he does the young lovers and the mechanicals onstage. This genius playwright who is capable of writing serious dramas such as Hamlet and Julius Caesar is still able to laugh at himself just as he does at his characters. With the help of Bottom, Oberon, and Puck, Shakespeare shows us that theatre, and even life itself, are illusions that one should remember to laugh at.
Shakespeare has written three different ‘types of genre’ in his plays. One of these is his Tragedies like ‘Macbeth’ and ‘Romeo and Juliet’. Another genre he writes within is Comedy, an example of which is ‘Much Ado About Nothing’.
Bronte is known as one of the first revolutionary and challenging authoress’ with her text Jane Eyre. The society of her time was male dominated, women were marginally cast aside and treated as trophies for their male counterparts. Their main role in life was to be a mother and a wife, “ Literature cannot be the business of a woman’s life……the more she is engaged in her proper duties, the less leisure she will have for it.” A quote from a letter Robert Southey wrote to Bronte. A clear sign of the mentality and opposition Bronte was up against. A woman’s “proper duties” of course being to tend and wait on her “master’s” every whim and need. Women during Bronte’s time had no clear voice, none that was of any merit, they were a silent category of society, silenced by their male oppressors. Bronte’s book was in fact written before the first women’s rights movement had happened, yet it puts forward an image of an independent strong character, of a passionate and almost rebellious nature. A character “refusing subservience, disagreeing with her superiors, standing up for her right’s, and venturing creative thoughts.” I put forward that Bronte throughout her text not only revises the themes of male power and oppression, but reconstructs them also. The text is a female bildungsroman of it’s time, sometimes subtly and sometimes overtly tackling the patriarchal view of women.
In Jessica Bennett’s “Tales of a Modern Diva” and Daniel Akst’s “What Meets the Eye”,
A big aspect of these two families that tells a lot about there personalities is there overall appearances. Walter Cunningham’s display is tidy and very clean. This fact is shown when Scout notices Walter in her new classroom and how he looks on his first day. “He did have on a clean and neatly mended overalls.”(19). His appearance shows how the Cunningham’s try hard not to look like beggars. Unlike the Cunningham’s, Burris Ewell does not dress like he is proud at all. In fact he does not care if he looked like a smelly, filthy rat. When Scout sees him...
The Victorians' obsession with physical appearance has been well documented by scholars. This was a society in which one's clothing was an immediate indication of what one did for a living (and by extension, one's station in life). It was a world, as John Reed puts it, "where things were as they seemed" (312).
As a result of the horror installed in the Marquis’s masculine dominance, the narrator objectified herself to discover her personal identity. The transition from being a child into a married woman allows the narrator to be curious and gain knowledge that she may not have had before. The knowledge that the narrator gains challenges the masculine dominance that her husband has restricted on her. Through this lens, the intention that Carter may have is to deconstruct gender norms. In “The Bloody Chamber,” masculine dominance was the end for some individuals, but just the beginning for others to
The Tragedy of Hamley in William Shakespeare's Play Appearance vs. Reality is one of the main theme and stylistic device used in the play, The Tragedy of Hamlet, Prince of Denmark. Most characters in the play are unpredictable, unless audience analysis every bits and pieces of the text in order to find the truth, really to see inside the real character. This form of stylistic device can be very interesting in a play because sometimes there are soliloquies, irony, or even foreshadowing. Appearance vs. Reality is a challenge for the character in the play, because there’s other character’s in the play doesn’t know what’s going on in the other character’s mind.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
William Shakespeare's, Twelfth Night has many themes, but appearance vs. reality is the theme that illustrates a different picture from two perspectives, there are many characters behind their masks and disguises. Some are hiding love behind these disguises and some are trying to show their love through a different disguise. They both still being servants are using disguise differently. Malvolio, servant of Olivia, falls in love with the trap (the letter) thinking his lady likes him, and to show his love he uses a different appearance to express it. Viola, servant of Orsino, falls in love with him, but secretly, not wanting to express her love for him, because of her disguise as her barrier for that case. Viola/Ceasario is wearing a disguise and secretly loves Orsino. Malvolio, on the other hand, is also a servant but still changes his appearance to express love for the great lady Olivia. This essay will prove that disguises and appearances are symbolic of the characters named Viola and Malvolio and are differently used for both.
Revenge is a natural emotion for humans when we feel betrayed or angry, but the question is; Does it benefit you? Many people don’t adopt revenge as their last resort and some use revenge like a belief, just like character Shylock in Shakespeare’s book “The Merchant Of Venice”. Shakespeare challenges our emotion and mocks us for our cruel desires through Shylock’s anger and tone. The tone given to the audience is filled with a large quantity of greed and hatred but resembles us when we experience annoyance and want to payback what is owed. Shakespeare mocks one of our flaws that we have the crave for on a daily basis and we Humans cease to see it.
The evolution of theatre conventions began with highly presentational Greek productions and changed through the Medieval and Elizabethan ages to the current conventions. Greek conventions included performances done on a mostly bare stage, the use of internal stage directions to indicate location, episodic play structure, and a chorus that served multiple functions including setting the overall mood, commenting on or explaining the action, and creating reflection intervals. Other conventions included an all-male cast, the “Three Actor Rule,” the presence of a tragic hero, and the plays typically served the purpose of teaching the public or making a political statement. Many of these conventions evolved to adapt to the time period of the performances.
Open, crowded, lots of natural light, no props. If asked to describe the Elizabethan Theatre houses some of those words and phrases could be used. In the Elizabethan Era, theater was a very large part of life. Everyone in Europe, who could afford to go to the theater, went. Whether one was a simple commoner or if one was Queen Elizabeth herself, they would have enjoyed going to the Globe to watch all the exciting and dramatic plays. Queen Elizabeth, who rose to the throne in England in 1558, loved watching all the plays that were performed all around England (Somerset Fry 164). The Theatre in the Elizabethan Era was greatly impacted on the different historical events that were in the Era and they were mirrored in many plays, specifically Shakespeare’s play, The Tempest.