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The city lifestyle essay
Introduction essay of the street by ann
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In the selection from The Street, Anne Petry uses an in-depth description of the wind’s actions to set the tone for the urban setting of the novel. The wind is the main opposition and harasses the protagonist, Lutie Johnson, every step of the way. The extended use of personification and careful selection of detail allows the author to communicate how the brutality of the urban setting deters Lutie Johnson as she looks for a place to stay. Throughout the passage, the wind is personified as a forceful and abusive man who works to dissuade all people from reaching their destinations. As the wind blows through the city, it literally bends people to its will as “a few hurried pedestrians [...] bent double” in response to its “violent assault” (lines The area is poor enough that the windows do not have panes despite the “cold, November wind” so the wind can “[suck] the window shades and set them flapping back against the windows” causing a racket (line 1-3). To add to the disorder, “a barrage of paper swirl[s] into the faces of the people on the street” so that both people’s eyes and ears are overwhelmed with disorder (line 17). Petry uses a list of the types of paper, “theater throwaways, announcements of dances and lodge meetings, the heavy waxed paper that loaves of bread had been wrapped in, the thinner waxed paper [...]”, to mimic the movement of the papers swirling in random patterns in the air and contribute to the chaos of the setting (lines 11-13). Lutie Johnson is not spared from the disorder or the cold around her; her hair is blown about by the wind and she cannot even read a sign above her head because of the way the wind is tossing it to and fro. The sign is described as old and “streaked with rust [...] making a dark red stain like blood” further evidence of the poverty and hostility of the neighborhood that the owner of the building could not afford to replace or even repaint the sign (lines
The author illustrates the “dim, rundown apartment complex,” she walks in, hand and hand with her girlfriend. Using the terms “dim,” and “rundown” portrays the apartment complex as an unsafe, unclean environment; such an environment augments the violence the author anticipates. Continuing to develop a perilous backdrop for the narrative, the author describes the night sky “as the perfect glow that surrounded [them] moments before faded into dark blues and blacks, silently watching.” Descriptions of the dark, watching sky expand upon the eerie setting of the apartment complex by using personification to give the sky a looming, ominous quality. Such a foreboding sky, as well as the dingy apartment complex portrayed by the author, amplify the narrator’s fear of violence due to her sexuality and drive her terror throughout the climax of the
“The dirt got into their noses, making it hard to breathe.” (Line 24) This reveals more about the hostile and uninhabitable environment. Also, it states “She felt suddenly naked and bald, for her hair had been nesting softly and warmly on the back of her neck.” (Lines 36-38). This gives us an idea how Lutie feels in this new setting. “Fingering it way along the curb, the wind set the bits of paper to dancing Hugh in the air, so that a barrage of paper swirled into the faces if the people on the street.” (lines 15-18). This shows the impact that the surrounding environment have on the people and objects. Lutie sees her surrounding as bothersome and
In “The Yellow Wallpaper”, the author, Charlotte Perkins Gilman, through expressive word choice and descriptions, allows the reader to grasp the concepts she portrays and understand the way her unnamed narrator feels as the character draws herself nearer and nearer to insanity. “The Yellow Wallpaper” begins with the narrator writing in a journal about the summer home she and her husband have rented while their home is being remodeled. In the second entry, she mentions their bedroom which contains the horrendous yellow wallpaper. After this, not one day goes by when she doesn’t write about the wallpaper. She talks about the twisting, never-ending pattern; the heads she can see hanging upside-down as if strangled by it; and most importantly the
The windows are barred, symbolizing the restrictive nature of the narrator’s mental condition. She is imprisoned within her mind. Her room was once a nursery, symbolizing that she is helpless and dependent on her husband’s care, similar to how a parent is reliant on the care of it’s parents, “… for the windows are barred for little children,” (Gilman 2). The narrator is not only trapped by her own mind and mental condition, but her husband’s wishes and expectations as well. The most significant symbol within the story is the yellow wallpaper. Initially, the narrator only views the wallpaper as something unpleasant, but over time she becomes fascinated with it’s formless pattern and tries to figure out how it’s organized. She discovers a sub-pattern within in it in which she distinguishes as a barred change with the heads of women that have attempted to escape the wallpaper like the woman she has been “seeing” moving within the wallpaper, “And she is all the time trying to climb through. But nobody could climb through that pattern - it strangles so; I think that is why it has so many heads” (Gilman 8). The yellow wallpaper is symbolic of a women’s place in society within the nineteenth century. It was not commonplace, or deemed acceptable, for women to be financially independent and/or engage in intellectual activity. The wallpaper is symbolic of those economic, intellectual, and social restrictions women were held to, as well as the domestic lives they were expected to lead. The narrator is so restricted by these social norms that her proper name is never given within the story, her only identity is “John’s wife”. At the climax of the story, the narrator identifies completely with the woman in the wallpaper and believes that by tearing the wallpaper, both she and the woman would be freed of their domestic prisons, “…there are so many of those
When the narrator first sees the paper she is repulsed by the shade and the pattern. It is something she hates and yet she cannot ignore it. The "repellent" and "repulsive" paper soon becomes the topic of her journal entries. The first personification of the wallpaper is when she notices where the pattern "lolls like a broken neck and two bulbous eyes stare at you upside down"..."I never saw so much expression in an inanimate thing before". This indicates that, just as John and Jennie watch her, the paper appears to be watching her too. She speaks of the paper as another presence in the room. The reader can see that the paper is starting to become more fascinating to her than the outside world when her attention to the view of the countryside abruptly switches back to the wallpaper. As she becomes more isolated in the room her thoughts are filled with the design of the paper almost as if she is studying it. "I know a little of the principle of design, and I know this thing was not arranged on any laws of radiation, or alternation, or repetition, or symmetry, or anything else that I ev...
During early times men were regarded as superior to women. In Tennessee William’s play, “A Streetcar Named Desire”, Stanley Kowalski, the work’s imposing antagonist, thrives on power. He embodies the traits found in a world of old fashioned ideals where men were meant to be dominant figures. This is evident in Stanley’s relationship with Stella, his behavior towards Blanche, and his attitude towards women in general. He enjoys judging women and playing with their feelings as well.
The yellow wallpaper referenced in the title of the story holds significant symbolic meaning relating to the oppression of the narrator and the progression of her psychological deterioration. Early on, the narrator expresses her disdain for the yellow paper covering the walls of her temporary bedroom, referring to it as “that horrid paper,” and declaring it the worst wallpaper she had ever seen in her life (Gilman 77, 79). The frequently mentioned pattern of the wallpaper, which is particularly exasperating to the narrator, symbolizes the societal patterns of gender-related restrictions. “It is […] pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit
An important theme throughout this story is the importance of self-expression. John’s wife is forced to hide her anxieties and fears in order to portray that her illness is improving. “But John says if I feel so I shall neglect proper self-control; so I take pains to control myself – before him, at least, and that makes me very tired” (239). Taking in the fact that her husband is a physician, the physician’s wife should not have mental problems or cry. Finally, Gilman uses the yellow wallpaper as a symbol. John’s wife describes it: “The color is repellent, almost revolting: a smoldering unclean yellow, strangely faded by the slow turning sunlight. It is a dull yet lurid orange in some places, a sickly Sulphur tint in others” (240). Gilman uses the wallpaper to symbolize the great amount of women out there who feel trapped by medicine and family. At the end of the story, Gilman describes how John’s wife started to rip the paper off the wall. She locked herself in the room and threw the key so nobody could get in there. Once John retrieved the key, he unlocked the door to find his wife tearing apart the
The Rose Garden Neighborhood is located in central San Jose, CA on the west side of central San Jose, CA. The Rose Garden Neighborhood is located west of Sunol-Midtown, north of Burbank, northeast of Winchester, and east of Cory neighborhood, and southeast of the City of Santa Clara. Rose Garden Neighborhood gets its name from the San Jose Municipal Rose Garden, a 5½ acre (22,000 m²) park with thousands of rose bushes. The San Jose Municipal Rose Garden is located at the intersection of Naglee and Dana St in San Jose CA, 95126.
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
“Here’s the grocery store and here’s Mr. Morgan’s Drugstore. Most everybody in town manages to look into those two stores once a day (5.Stage Manager.) A small town without a lot of people, that’s exactly what the line above just told us. In the Play Our Town the stage manager tells us about a small town called Grover’s Corner. According to Professor Willard “within the town’s limits: 2, 640. (23 Willard)” That’s the population of this little town. Living in a small community can have its up’s and down. Grover’s Corner doesn’t want to modernize, nor is there any privacy, but there are some good qualities like knowing who ever you fall in love with in the town has basically grown up like you, or that you know everyone in the community.
Signs of the depth of the narrator's mental illness are presented early in the story. The woman starts innocently enough with studying the patterns of the paper but soon starts to see grotesque images in it, "There is a recurrent spot where the pattern lolls like a...
A Streetcar Named Desire, written by Tennessee Williams, is a social realism play that takes place during the 1940’s in New Orleans. Williams uses this play to directly question inherent ideologies of human nature. He uses plot, narrative techniques, motifs, and contrasting values to directly challenge the reader’s perspective.
Anne Bradstreet starts off her letter with a short poem that presents insight as to what to expect in “To My Dear Children” when she says “here you may find/ what was in your living mother’s mind” (Bradstreet 161). This is the first sign she gives that her letter contains not just a mere retelling of adolescent events, but an introspection of her own life. She writes this at a very turbulent point in history for a devout Puritan. She lived during the migration of Puritans to America to escape the persecution of the Catholic Church and also through the fragmentation of the Puritans into different sects when people began to question the Puritan faith.
trying to find refuge from the strong rain. The mother of the four winds introduces